EarlyMusicNews.Org

Handmade flutes and headjoints in wood and precious metals.

Visit website for more information. (ed.)

Added on: May 02, 2011 | Hits: 249

“While the first instrument I played was the modern oboe, the first instruments I made were harpsichords and organs. A talent for metal and woodworking as well as an attraction to early music led me to recreating woodwinds of the past. It was 1973 and I bought a metal lathe and designed and made my first instruments: cornamuse and bagpipes. The pipes were born of the revelation that, according to the iconography, pipes were played all over the Old World and in a multitude of forms. I remember the first thing I played, the Cantiga #1 of the Cantigas de Sancta Maria. It was a hit! No one had thought of using a bagpipe, in spite of the pipers dancing in the marginalia!

In the same period I bought a milling machine and started designing and making cane processing machines, profilers, shapers, and tooling for other makers. In 1983 I started working for Levin Historical Instruments and was introduced to and made a full array of woodwinds: bassoon, dulcian, clarinet, oboe, shawm, and recorders. In 1993 Leslie Ross, the bassoon maker, and I set up shop in New York City.

When I am finished with an instrument hopefully it will look beautiful. But it is the collaboration with a growing number of fine musicians who are further gifted with an understanding of bore and tone holes that turns my work into musical instruments!

Joel “

Visit website for more information. (ed.)

Added on: May 27, 2011 | Hits: 256

“I have been making replicas of historical bassoons since 1984 and modern bassoon bocals since 1993. The following pages contain information on current models.

These instruments are all handmade to order with most models offering a choice of wood, various tuning options, and custom requests such as silver keywork. Delivery times vary depending on the length of my waiting list and can be estimated when an order is placed. Please inquire about pricing and deposits, or write for any further information.

In addition, I very much enjoy, and am available for, restoration work of all kinds.

Along with workshop activities, this site also includes some notes and measurements - for which I would welcome any comments - as well as a glimpse of the work I do as a performer/composer/instrument builder.“

Visit website for more information. (ed.)

Added on: May 27, 2011 | Hits: 245

“I felt sure that by breaking free of traditional design ideas, it should be possible to create
the best recorders in the world.

I started working in fall 2003 on such a design, with my new inventions in it. I made and bought tools and jigs, found sources for obscure supplies, and I learned fine woodworking, "jewelers" metalworking for making keys, and some pottery skills.
Along the road new ideas arose that made it even better. It took until fall 2005 to work out the various "bugs" associated with any new design, but I am now able to supply instruments that musicians will be pleased or even proud to own.

These strong and flexible alto recorders are fine general mixed ensemble instruments that fit in with flutes, clarinets, string quartets, pianos, guitars and so on without apology. They are available in models from regular baroque fingered to the 7-key fully keyed "orchestra ready" recorders with no weak forked fingerings, all with the strongest achievable sound, over 2-1/2 octaves range, the ability to fine-tune and play dynamics, and a lovely pitch-vibrato.  …“

Visit website for more information. (ed.)

Added on: May 28, 2011 | Hits: 323

"Supplying Highland, Border and small pipe ferrules and ferrule sets, in plain and beaded formats in Brass, Nickel alloy and Sterling silver, also horn dowelling and antler pieces for small & provincial pipe sizings.    Huge stock holding, catering to pipe trade in Scotland and North America. Visit related site: Highland Horn Ltd."

Added on: Jul 15, 2011 | Hits: 207

“Richard Seraphinoff has been producing accurate copies of 18th and 19th century horns since 1983. His Baroque and Classical model orchestra horns are played regularly by hornists in period instrument ensembles throughout the United States, as well as in ensembles in Europe, Scandinavia, Japan, and elsewhere.

The various models cover music from Bach and Handel, through Mozart, Haydn, and Beethoven, into the early Romantic period, including the early valve horn.

His concept of making historical horns is that of making a fine playing instrument, copied as directly and meticulously as possible from an original from a specific period, with as few compromises and alterations as possible. Using measurements from the original, and traditional handworking methods and materials, an instrument is made that functions well in the type of ensemble or setting for which it was intended, and makes a sound that would have been familiar to, and respected by, the players and composers who originally used the instrument.“

Visit website for more information. (ed.)

Added on: Oct 10, 2011 | Hits: 285

“I am a recorder maker and a professional recorder player. Since 1987 I have had my recorder-making workshop in the center The Hague, Holland.

Being a player myself, my approach towards instrument-making is based on the needs of the player in today's performance practice of early music. Therefore I aim for a rich sound and maximum flexibility in playing conditions within the possibilities of the recorder. I make instruments which invite the player to be active and creative in sound production. This as opposed to a different style of making, where the sound of the instrument is already there for you, the only thing you need to do is blow and it will work. Whether you blow in a lazy or active way, it doesn't matter really because on these instruments the sound is dictated to you. Easy, but for me not so interesting. My opinion is that if we want to take the recorder seriously, we will have to work for a good and/or our own sound, just as we have to do with no matter what other (wind)instrument.

I make my instruments after historical models found in museums and in private collections. I combine traditional craftsmanship with modern technology. For the client the advantage of direct contact with me as the maker of his instrument is evident: this contact enables me to fulfil the personal wishes of the player as much as possible. I consider helping you as an important part of my work, also after you have bought your instrument. Therefore you are always welcome with any problem or question you might have about your recorder. In principle revoicing and retuning work is free of charge and promptly done. My recorders are played by many musicians all over Europe, as well as in the U.S., South America and Japan. “

Visit website for more information. (ed.)

Added on: Nov 24, 2011 | Hits: 158

“I started making bassoons in 1977, later collaborating with bassoonist, Mr. Danny Bond, to develop some models of 18th and early 19th century bassoons. Danny is one of the leading performers on historical bassoons and is principal bassoon of The Orchestra of the 18th Century, and The Philharmonia Baroque Orchestra in San Francisco. With Mr. Bond I first made rconstructions of bassoons by Prudent Thierriot, Paris (c.1770,) Heinrich Grenser (Dresden c. 1810),and a contrabassoon after A. Eichentopf (Germany, 1714). Many of these replicas found their way to musicians all over the world.
    
Together with Mr. Marc Vallon and later also with mr. Sergio Azzolini we did a project to reconstruct a German baroque bassoon from the period of J.S. Bach. Mr Vallon is principal bassoon of both the Amsterdam Baroque Orchestra and the Orchestre de Champs Elysiis. He also is professor early bassoon in the Paris CNSM. In 1995, 1996 and 1997 Mr. Vallon and I visited the musical instrument collections of Prague, Leipzig, Neurenberg and Linz to examine the bassoons made by the german makers I. Poerschman and J.H. Eichentopf, both working in Leipzig during the first half of the 18th century. This research resulted in a reconstruction of a Eichentopf bassoon that we finished in the summer of 1998. Many important bassoonists have ordered this instrument already.

After intensive research, together with Mr. Sergio Azzolini, we recently finished the first reconstruction of a four-keyed bassoon. The instrument is tuned to a=440 Hz., the Venetian pitch standard at the time of Vivaldi. The instrument possesses a special timbre that is perfectly suited to the language of Vivaldi.”

Visit website for more information. (ed.)

Added on: Nov 24, 2011 | Hits: 205

“I studied recorder and baroque oboe at the Royal Conservatorium in The Hague. I received the diploma “uitvoerend musicus” for recorder under supervision of Ricardo Kanji in 1984. 1986 was the year I obtained “aantekening” Baroque oboe with support of Ku Ebbinge. …

The first ten years the activities were mostly aimed at the building of recorders. Since 1990 the interest has increasingly shifted to baroque oboe, because I wanted to make what I played most in concerts. Because of that I have build solely baroque oboes for several years.

Since 1984 I have worked at many orchestras as baroque oboist and sometimes as a recorder player. Some of these orchestras are “Les Musiciens du Louvre”, “The Amsterdam Baroque Orchestra”, “Wiener Akademie”, “Les Arts Florissant”, Concerto Köln and many others. Important ensembles are Ottetto Amsterdam and baroque ensemble "Les Echos". At the moment, part of my activities besides building and playing oboes is the organisation of the Baroque Orchestra Florilegium Musicum which has specialised in the accompaniment of choirs. We play approximately 40 concerts a year. These activities in the organisation and the playing of baroque oboe could have the consequence that the planned delivery time of orders has to be postponed.”

Visit website for more information. (ed.)

Added on: Nov 24, 2011 | Hits: 184

“Claire Soubeyran has settled her workshop near Paris.

Since 1979, she has been building traverso and flutes after historical  instruments of the baroque classic and romantic aera.
Her production includes traverso flutes from the early baroque three joint flutes up to the first Boehm system.

As a renown specialist in woodwind conservation she has been working for private and public collections (musée de la Musique in Paris, Smithsonian Institution in Washington, Metropolitan Museum in New York).

She is the maker for international soloists and her flutes are played in numerous concerts and recordings (Les Talents Lyriques, L'orchestre des Champs Elysées, Les Musiciens du Louvre, Les Arts Florissants, Concerto Köln, Stradivaria etc).

Claire Soubeyran likes to work in close collaboration with  the flutists and she constantly improves the quality of her flutes in order to match their expectations

She received, in 1994 the Musicora award for the creation of student  traverso and, in 1998, the Musicora and craftmanship ministry award for her re creation of a conical boehm system wooden flute.”

Visit website for more information. (ed.)

Added on: Nov 24, 2011 | Hits: 278

“Making baroque flutes is for me both a living and research since 1975. The old surviving flutes, playable or not, are endless sources of information for me, the old technical books are also great. I try to understand as completely as possible the work and ideas of the old makers and reproduce it without personal alteration.

Alain Weemaels

I have the happiness to work with my father, to share his passion for the wooden flutes and for hand work.

Stéphanie Weemaels

We are woodwind makers specialized in one key woodwind flute also called transverse baroque flute or traverso. Each of our instruments is entirely handmade and unique.”

Visit website for more information. (ed.)

Added on: Nov 24, 2011 | Hits: 279