EarlyMusicNews.Org

“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. “

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Added on: Nov 24, 2011 | Hits: 154

“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.”

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Added on: Nov 24, 2011 | Hits: 182

“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.”

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Added on: Nov 24, 2011 | Hits: 203

"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: 206

“I study, make, and play historical transverse flutes, and write about the history of the flute and flute-playing.

After studying English at Magdalene College, Cambridge and baroque flute at the Royal Conservatory in The Hague, I was a co-founder of Folkers & Powell, Makers of Historical Flutes in 1984. I received my Ph.D. in music from Cambridge University in 2004.

My research interests involve applying recent work in the sociology of culture and of technology (especially that done in Science and Technology Studies and empirical sociology) to questions in music history, with a particular focus on musical performance, instruments, and taste. My specialization is the history of the flute and flute-playing, particularly in the baroque and classical periods, and I have published studies of the writings and instruments of J. G. Tromlitz (1725-1805), a writer on flute-playing and an innovative flute maker as well as a noted virtuoso and a composer.

My work has been supported by awards including a Fellowship for College Teachers and Independent Scholars from the National Endowment for the Humanities, and published in several books and a number of articles listed in detail on on another page.“

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Added on: Dec 06, 2009 | Hits: 236

“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.“

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Added on: May 27, 2011 | Hits: 244

Handmade flutes and headjoints in wood and precious metals.

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Added on: May 02, 2011 | Hits: 247

“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 “

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Added on: May 27, 2011 | Hits: 255

“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.”

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Added on: Nov 24, 2011 | Hits: 276

“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.”

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Added on: Nov 24, 2011 | Hits: 279

“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.“

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Added on: Oct 10, 2011 | Hits: 285

“Wooden flutes maker specializing in Irish flutes, pennywhistles, military fifes, baroque flutes, renaissance fifes, folk flutes, piccolos, wooden whistles and tabor pipes.

We have been making wooden instruments since 1974 and are widely recognized as giving excellent value for your investment.”

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Added on: Jan 28, 2011 | Hits: 287

“ .. . In the 1930s Carl Dolmetsch completed the upper end of the family with the sopranino as well as producing recorders at modern pitch - until then all production had been at low pitch. Production at low and modern pitch continues side by side to the present day. The company continued making many kinds of hand-made early musical instruments (viols, lutes, harps, rebecs, harpsichords, spinets, clavichords, recorders, pipes and tabors, tambourin, psalteries, and so on). A delightful, though not wholly uncritical, description of the Dolmetsch workshop (as it was in 1947) is given by Frank Hubbard who, in that year, joined the firm as an apprentice.

The first Dolmetsch plastic recorders were manufactured in 1947, establishing the name in the area of educational musical instrument manufacture. More recently the Company has formed manufacturing and design associations with other manufacturers (including Coolsma in Holland - owned by Aafab b.v.) to broaden the range of instruments bearing the Dolmetsch name. However, the family (Jeanne Dolmetsch, Marguerite Dolmetsch and Brian Blood) continues to this day to play a central role designing, promoting and making, setting the standard of craftsmanship and reliability for which the company is justifiably famous. ..“

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Added on: Jul 29, 2009 | Hits: 291

" ... At that time there was a great deal of interest in making more historically based instruments and I jumped directly onto the bandwagon of the authentic movement. I read all that was written about old recorders and visited as many museums and collections as I could, playing, measuring and photographing their originals. I had additional tuition from Eric Moulder and Graham Lyndon-Jones, who were both professional woodwind makers and part time lecturers at the college. I think it was quite early on that I realised I would have to travel if I were to make a business out of recorder making. The recorder scene in England was very large but extremely amateur and from a playing point of view, not nearly as wonderful as I had at first thought. So I travelled a lot in Europe, visiting both museums and music conservatories, learning about the original recorders at the same time as trying to develop contacts with players. This practice carried on long after I had finished my course at the LCF in 1982 and had established my first workshop in Reykjavik. My contacts with players were essential, to give me the necessary feedback on my work, which as a rotten player, I was unable to judge for myself. Even now, with twenty years experience, I still rely a great deal on the opinions of my customers, to help me develop my work. ... " Visit website for more information. (ed.)

Added on: Mar 23, 2008 | Hits: 313

“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.  …“

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Added on: May 28, 2011 | Hits: 322

“Leif Eriksson's combination of true workmanship and a steady sense for style and instrument building knowledge is unique. Leif is one of the Swedish folk instrument makers' veterans. The interest for the newborn Swedish bagpipe is largely due to Leif and would be unthinkable without his pioneering work.

Leif Eriksson also makes hurdy-gurdies, nyckelharpas and other instruments.

He has satisfied customers not only in the Nordic countries but also in the rest of Europe, the US and even in Japan...“

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Added on: Jul 29, 2009 | Hits: 335

Shawms, curtals, baroque and classical bassoons and large baroque oboes made by Robert H. Cronin.

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Added on: Apr 17, 2010 | Hits: 343

"Chris Wilkes is a painstaking flute maker whose objective in working is to constantly improve and try to combine good playing characteristics and superior tone with fine craftsmanship, aesthetic design and ergonomic keywork. He is self taught and has been making flutes for the last 20 years based on master instruments of the early to mid-nineteenth century. " Visit website for more information. (ed.)

Added on: May 04, 2008 | Hits: 361

" ... Graduated from high school in 1960 (or was it 61) went, no not to a conservatory, but to University to study Mathematics. I have been a math's teacher some years and then worked as a mathematician in research in Industry . In my thirties I started trying to play the Traverso. Some sixteen years ago I did the evening joiners education. Bought a lathe. And from one thing to another I found that flute making was a professional vocation for me. ... " Visit website for more information. (ed.)

Added on: May 04, 2008 | Hits: 378

“This is the website of Mark W Venn and is concerned principally with early music in various manifestations. Current sections of the site deal with:

• Handmade renaissance woodwind instruments. Principal instruments made are the crumhorn and the cornamuse.
• Handmade recorder stands / other instrument stands
• Maintenance and minor repair work of instruments.
• Cotswold Early Music Festival (formerly the Cirencester Early Music Festival),
• The "Mozart"™  music software for developing high quality music scores,
• "The Waites of Gloucester", a renaissance consort, that also performs as "Her Majestie's Pleasure" ..“

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Added on: Apr 17, 2010 | Hits: 386

"I promised in The Keyed Flute by Johann George Tromlitz (Oxford: Clarendon Press, 1996, p. 261) to make available the index of flute information I compiled for that study. You are welcome to make use of it, as long as you send me new material and correct any mistakes you find. Please note that I am not systematically updating or improving the database: it's presented here, for what it's worth, in form and content already 10 years out of date. If anyone would like to make an ongoing project of it, please contact me.

The database file contains listings for about 1800 instruments, with details of attribution, maker's mark, materials, keys, and reports in the literature. (My own copy also lists drawings made by other researchers, and materials (drawings, photos, mouldings) in the collection of Folkers & Powell.) " Visit website for more information. (ed.)

Added on: Mar 08, 2008 | Hits: 396

"Christopher Monk was amongst the first to make reconstructions of the cornett (or cornetto), the highly regarded virtuoso wind instrument whose top players commanded higher fees than any others in the early seventeenth century. He put cornetts in the hands of the late David Munrow and, largely through Munrow’s Early Music Consort of London, the cornetto began to regain its former popularity. It is now played at amateur and professional levels across the world from New Zealand to New York, heard with increasing frequency at major music festivals and enjoys excellent and increasing representation on recordings. " Visit website for more information. (ed.)

Added on: Mar 08, 2008 | Hits: 397

"Philippe Bolton graduated from Lille Conservatory in France in 1975 with a gold medal. He then established himself as a recorder maker, preferring to live from this type of activity rather than playing.

He has exhibited his instruments in many European countries (particularly Austria, Germany, Holland and the United Kingdom), in Australia, USA and Japan. He exports about half his production outside France. Over the years he has developed a several different types of recorders, of which some are "copies" and others entirely of his own design. In 1980 he became a "Maître Artisan" (Master Craftsmen) and the next year he won the "Grand Prix Régional des Métiers d'Art”) for the Provence region of France.

His production ranges from reconstructions of medieval recorders to pre-baroque and baroque instruments. He has also recently developed an electroacoustic recorder for widening the instrument’s repertoire towards jazz and contemporary music.

He has taught recorder making on various occasions in Australia, in Belgium and in France. " Well designed and informative site. Visit website for more information. (ed.)

Added on: Mar 30, 2008 | Hits: 402

"Offering fine antique & vintage flutes of the 19th and 20th centuries restored to playing condition, including traversi, flageolets, whistles, and other woodwinds and modern reproductions of historical instruments. " Visit website for more information. (ed.)

Added on: May 04, 2008 | Hits: 404

“.. My objective has always been to recreate the sound of the instruments as they were in their original state.

My instruments are available in Boxwood, Maple, Cormier  or Grenadille. Boxwood can be a bit capricious and requires a special stabilization process. Its particular tone color makes it a favorite of recorder players. Grenadille, also known as  Mozambique Ebony, is a very stable wood from the Dalbergia family and is considered top-notch among tropical woods.    Compared to Black Ebony from Africa, it is very resistant to cracks. Maple is an amazing wood because its sound is velvety and powerful but is light in terms of weight. In addition, recorders made of maple are very resistant to the problems of condensation. Cormier is a wood from the Alisier family, a precious wood from our area.  It resembles pear wood, though harder and a little bit more dense.  It is not porous, which make it very appealing. ..“

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Added on: Mar 18, 2010 | Hits: 408