The Workshop

My building philosophy centers on the methods of historical makers and modelling my instruments after their designs. My instruments build on the perfection that was achieved through hundreds of years of development. My harpsichords combine a balance between tonal intricacies, aesthetic proportions, and decoration to encompass instruments that are not only built to last, but also delight the senses.

Based on 17th and 18th century French, Flemish, Italian and German designs, I have sourced materials that remain true to the origins of these instruments. Below are photos from some of my trips to Europe to find sources of yellow poplar, German spruce, Swiss pear, Italian cypress, and European beech. 

Unlike the period practice of a strict guild system where different skilled craftsmen produced specific building elements, I accomplish nearly all tasks myself. From the large-scale wood-working, fine-tuning of the keyboard mechanisms, stringing, to finishing decoration (painting, brass-work, or gilding), I manufacture all elements myself by hand in my West Vancouver workshop. The photos below will give you some snapshots of the intricate process of bringing these truly aesthetic instruments alive.

I am very fortunate to have collaborated over the years with my mother, Olga Kornavitch-Tomlinson, who has decorated many of my sound boards with rich potpourris of baroque-style motifs. Her painting expertise and excellence have added a degree of aesthetic authenticity to many of my instruments, ensuring they are loyal to their original baroque designs.