I spent four months of 1968 on a similar pilgrimage to Europe directly focused on the making and playing of Baroque instruments. One of the ports of call was the historical instrument studio in the Moeck establishment, run by Otto Steinkopf. I had been playing his instruments for a few years and met him in NYC (where I’m from) in 1967. When told of my impending trip, he invited me to visit him in Celle if the itinerary could be steered in that direction.Quoting Terry, quoting me:
"I was doing the same thing with Moeck’s Rottenburgh recorders in Celle a few years earlier."
What prompted that, stringbed? I spent 7 months in England, Scotland and Ireland in 1974 to find out what was happening in folk music in those countries. … I wasn't aware of any whistle or Irish flute makers (if they even existed), but it was a great period for baroque instrument making.
Making a long story short, I made that visit and returned a year later after accepting a generous unexpected offer of a position there from Dr. Moeck, It was formally as an apprentice to Herr Steinkopf but on regular terms of employment. I had no intention of becoming involved with recorder manufacture. However, when plans were made for Friedrich von Huene (who I knew from the States and had made my go-to alto recorder and traverso) spending the summer of 1970 in Celle working on the production of his Rottenburgh instruments, I moved into that shop.
There was only one tuner and voicer there at the time and I was encouraged to expand that number, while continuing the broader apprenticeship. I was trained by the incumbant, who was the most experienced in the organization, and benefitted immeasurably further from working with Friedrich. A third voicer was taken on board shortly afterward and I became the one of us who dealt with custom tuning and voicing requests.