[Angel logo]
Clavichord Maker in London 1987–2020


This workshop closed in July 2020. I can no longer make instruments or sell supplies, but this web-site remains live; all existing reference material and links will be maintained and extra items will be added from time to time. If anyone needs help or advice about an instrument made by me, please contact me by e-mail.


I have just completed a study of the little-known revival clavichord and harpsichord maker Henry Tull (1869–1958); this will be published in the spring edition of Harpsichord and Fortepiano. But the exciting thing is that I have followed that up by embarking on the restoration of a real-life clavichord by Tull. It was made in 1924 so the aim is to bring it alive again in its anniversary year.

This return to hands-on workshop work has been made possible by my kind host Andrew Wooderson, who has allowed me to work in a little annexe of his Bexley workshop.

It is quite a change to swap the life of cultured scholarly ease that I was leading for the hard work and multifarious difficult decisions that restoration involves. Luckily I have the support of Andrew and other valued colleagues. Watch this space!


(scroll down to see the complete list)


The following informal essays on clavichord subjects appeared originally in the blog ‘Workshop News’:


This section contains lists and other documents which will be of interest mainly to those doing research into keyboard instruments, particularly the clavichord.

Please feel free to print out or download any of these documents. I would be particularly grateful for additions, corrections or comments.



This link will take you to a performance by Julian Perkins of Handel’s lovely Air in G minor, HWV 467, played in the composer’s London bedroom on a small clavichord made by Peter Bavington in 2016.

Here you can hear Timothy Roberts playing Domenico Scarlatti’s Sonata in D minor, K 9, on an ‘Iberian’ clavichord made by Peter Bavington in 2001.

This link is to a performance by Richard Smith of J. J. Froberger’s Lament for Ferdinando IV, FbWV 612, played on a fretted clavichord after Bodechtel made by Peter Bavington in 2008.






PETER BAVINGTON was born in 1941 and educated at William Ellis School, London and Exeter University. After working for many years as a Civil Servant, he decided in 1982 on a complete change of career and enrolled at the London College of Furniture (now part of London Metropolitan University), where he studied early keyboard instruments under Lewis Jones. In 1985 he obtained his Higher National Diploma in Musical Instrument Technology with distinction in every unit.

He then spent two years working with John Rawson before founding his own London workshop, making and restoring harpsichords, clavichords and fortepianos. In addition to individual musicians, his customers included the Royal Academy of Music, the Guildhall School of Music and Drama, and the Hochschule der Künste Berlin.

Peter retired from instrument making in 2020. He continues to undertake research into all aspects of clavichords and other musical instruments, and is the author of numerous articles (click here for list) and the book Clavichord Tuning and Maintenance, now in its third edition. He was a founder member and past Chairman of the British Clavichord Society (now disbanded). In 2020 he received the Anthony Baines Memorial Prize, which is awarded annually for an outstanding contribution to organology, the study of musical instruments.

[Return to Contents]

last update 6 February 2024