William Carter

William Carter ranks among the foremost performers on the lute, theorbo, and related early plucked-string instruments. He maintains an active profile both as a recitalist and as principal lutenist for several prominent English period-instrument groups while also maintaining a distinguished teaching career.

Born in Florida, Carter completed undergraduate and graduate degrees at Florida State University under Bruce Holzman, concentrating at that time on modern classical guitar; he later taught at the same institution. After serving as state artist-in-residence in North Carolina, he joined the faculty of Pennsylvania State University. While there he developed a strong interest in historical instruments, secured a Fulbright Fellowship for study in London, and prepared for the move by working with Patrick O'Brien in New York. He reached London in 1989 and continued his training with Nigel North. Before long he was engaged by the Palladian Ensemble, the Academy of Ancient Music, and The English Concert, eventually becoming principal lutenist of the latter two ensembles.

His first appearance on disc occurred in 1994, when he played theorbo on the seventh volume of Hyperion’s complete Purcell anthems and services edition. He subsequently recorded ten albums with the Palladian Ensemble. In 2002 he accompanied singer Clara Sanabras on the Linn release The New Irish Girl and Other Folk Songs and Ballads to the Lute, marking the beginning of his long association with that label. His solo debut followed in 2005 with La Guitarre Royalle: The music of Francesco Corbetta, which Gramophone placed on its Critics’ Choice list. Concurrently, Carter established an international solo career, performing throughout Europe, Asia, and the Americas at major festivals. He joined the teaching staff of London’s Guildhall School of Music and Drama, where he advanced to professor of Baroque Studies.

Further Linn recordings include the 2022 album Esaias Reusner: Delitiae Testudinis. By the early 2020s his discography encompassed roughly forty-five titles spanning composers from Bach to Santiago de Murcia; he has indicated plans to investigate nineteenth-century guitar repertoire as well.