Lu-Mi Baroque violin, viola, cello

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04/07/2011

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Lazar's Early Music

Bill Lazar

425 N. Whisman Rd., Ste. 200

Mountain View, CA 94043

(650) 938-5367

(866) 511-2981

LazarsEMS@gmail.com

 

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Violins, Violas, Cellos, Basses

Baroque Violins

Modern Violins--Closeout Sale

Lu-Mi Baroque Violin Family

Charlie Ogle Baroque Violin Family

Instrument Care

Lu-Mi Baroque Strings


The inspiration behind both the Lu-Mi viols and violin family instruments is Markku Luolajan-Mikkola, a Finnish gamba player with an international reputation. He studied viola da gamba with Wieland Kuijken and Baroque cello with Jaap ter Linden at the Royal Conservatory of The Hague, and received postgraduate diplomas in both instruments.

This range of Lu-Mi instruments is therefore performer-inspired and the degree to which Markku has taken both his research and the later development of the series is exemplary and humbling. He has trained established violin-makers in the art of gamba-making. He has provided prototypes and drawings and has worked alongside the craftsmen.  More importantly, he accepts nothing but excellence and is constantly striving for improvements in both sound, aesthetics and ergonomics. These are, above all, instruments designed by a player of considerable distinction for discerning and competent players. The results speak for themselves. They are head and shoulders above anything else commercially available and represent an extraordinarily good value for the money. It is not too bold an assertion to say that they are probably worth twice their asking price. We consider ourselves fortunate to have regular access to them.

Violins: 

Amati violins nowadays often are considered not loud enough for modern concert hall purposes, but the tone is especially fine and sweet for baroque music performances.  Excellent for chamber music and small orchestra repertoire.

Stainer violins used to be as highly or even more highly valued than the violins by Cremonese luthiers. However it doesn't necessarily play so well as a modern violin. The high arching of Stainer gives a lot of overtones and such it is ideal for baroque music. A bright instrument.

Stradivarius needs no introduction. This is the archetype of a violin. The tone is strong and silvery. Perhaps the best of all the models for chamber or orchestral sound--clear, good projection, rich and not breathy.

Guarnerius was looking to the future of violin playing and his instruments are considered often the best for modern purposes. They also play well as a Baroque instrument, if you are looking for a strong tone and especially rich sound of the g string. Good for solos.

Violas:  The small da Salo model is among the best small viola models ever made, and works well as a modern or Baroque version.

Cellos:

The Stradivarius model gives a bright sound and is narrower and easier to hold between legs. 

The Montagnana model gives darker sound and is wider and perhaps more difficult to hold for small players.

The Servais Stradivarius model is a very large cello often used in 17th Century repertoire. It is not as good for solos as the smaller models, since it is so large.  However, it is ideal for orchestras, basso continuo and low Bb flat tuning (a whole step lower).

 
The nature of Amati cello is to play solos, Bach's 5th, Bach's Cantatas, violin solos octave transposed, etc. The sonority is not solid enough for continuo bass lines, but the instrument is easy for amateurs to play.

 

February, 2013 Prices

Baroque Violin String Length (mm) Corpus length (mm) Corpus width

(upper/middle/lower)

(mm)

Image   Price
after            
Nicola Amati '1649 328 351.5 (13.8") 163.5/110.5/202.25 1,2,3

with hard case

$2550
Modern violin after Guarnerius "del Jesu" '1742 328 354 (13.9") 168/112.5/207 1,2,3,4 with hard case $2550
Jacobus Stainer '1679 325 351.5 (13.8") 162/110/200 1,2,3,4,5 with hard case $2550
Antonius Stradivarius '1715 328 356 (14") 168/110/208 1,2,3 with hard case $2550
Baroque violino piccolo "Nicola Amati" '1649 295 320 (12.6") 148.8/100.5/184   with hard case $2550
Antiqued violin       1,2 with hard case $2700
Student Baroque Violin         with soft case $2000
             
Baroque Viola            
after            
Gasparo da Salo '1580 325 385 (15") 195.5/131/243.3 1,2,3 with hard case $2775
Gasparo da Salo '1580 378 420 (16.5") 210/145/260 1,2,3 with hard case $2775
Antonius Stradivarius 373 406 (16") 190/130/243 1,2,3,4,5 with hard case $2775
420 mm (16.5")         with hard case $2775
 Tenor viola after G. da Salo 380 440 (17.3") 213/140/254.8   with hard case $2775
Antiqued viola       1,2,3 with hard case $2975
Student Baroque Viola         with soft case $2125
             
Baroque 'Cello            
after            
5-string cello after Amati 650 708 (27.9") 357/235/429 1,2,3 with hard case, added high e string $4850
             
5-string cello after Domenico Montagnana 690 741 (29.2") 361/261/445.5   with hard case, added high e string $4850
A. Stradivarius "Davidov" '1712 690 757 (29.8") 340/232/436 1,2,3,4 with hard case $4500
D. Montagnana "Sleeping Beauty" 1739 690 741 (29.2") 361/261/445.5 1,2,3,

4,5,6

with hard case $4500
Antiqued cello         with hard case $5150
Stradivarius "Servais" '1701*** 710 785 (30.9") 361/245/464   with soft case $5900
Antiqued Servais Strad         with soft case $6800
5-string Servais Strad         with soft case $6200
Student Baroque 'Cello         with soft case $3550
             
Baroque Bows         Chinese, Snakewood $450
***I finally received one of these large-bodied Servais Strads.  It has a wonderfully full, rich sound that just sings.  This cello would also work very well as a bass violin or strung with all gut.  If you can handle the large body (the lower bout is wider), you will have yourself a very fine instrument!

One customer's assessment:   This cello is awesome. Strong, even, full, rich ringing sound.


Charlie Ogle Chinese Baroque Stringed Instruments

These instruments are made in the Charlie Ogle Workshop in Beijing.  They are set up and adjusted by Charlie Ogle.  All instruments are set up and ready to play.  Padded cloth cases are included unless otherwise indicated.  All instruments have hand carved spruce tops.  Backs and sides are maple.

Instrument Pictures Description Price (regular/deluxe)
Baroque Violin 1,2,3,4,5 with hard case $1400/$1800
Baroque Viola   with hard case $1500/$1900
Baroque Cello   with padded cloth case $2950
Cello Piccolo   with padded cloth case $3200
Viola d'amore   with padded cloth case $2600
       
Baroque Violin Bow     $425

Lu-Mi Modern Strings--Closeout Sale

Modern Violin String Length (mm) Corpus length (mm) Corpus width

(upper/middle/lower)

(mm)

Image   Price
after            
Guarnerius "del Jesu" '1742 328 354 (13.9") 168/112.5/207 1,2,3,4 with hard case $2550 now $1550
Antonius Stradivarius '1715 328 356 (14") 168/110/208   with hard case $2550 now $1550
             
Modern Viola            
after            
Antonius Stradivarius 373 406 (16") 190/130/243 1,2,3,4,5 with hard case $2820 now $1750
             
Modern 'Cello            
after            
A. Stradivarius "Davidov" '1712 690 757 (29.8") 340/232/436 1,2,3,4 with soft bag $4500 now $2500
D. Montagnana "Sleeping Beauty" 1739 690 741 (29.2") 361/261/445.5 1,2,3,

4,5,6

with soft bag $4500 now $2500
 

Chris English Bows

Chris English is a Port Townsend, WA highly skilled bowmaker.  His bows are finely crafted using the highest quality materials, personally chosen from such places as Brazil, Spain and France.  His acquisition and study of materials to learn their characteristics, his interaction with musicians, and his study of bows in collections and museums are all integral factors in his personalized and successful approach to bow making.  His bows are highly regarded in the viola da gamba community.


Bows may be tried on approval.

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Pictures Model Decorative Options Price
  Blackwood Mastodon Ivory, Ebony Frog $1300
  Ironwood Mastodon Ivory, Ebony Frog $1300
  Figured Snakewood Mastodon Ivory, Ebony Frog $1400
1, 2 Highly Figured Snakewood Mastodon Ivory, Ebony Frog $1400

Approximate Specifications (Examples)

Size Weight Range Weight (grams) / Bow Length (cm) / Free Hair Length (cm)
    Example #1 Example #2 Example #3
Treble 50-55 53 / 71 / 58    
Tenor 58-65 59.5 / 70.5 / 57.7 62 / 71.1 / 58.2  
Bass 78-86 82 / 75.5 / 61.2 79.5 / 76 / 61.5 82.5 / 76.3 / 62

All sizes are the same price.  Other decorative options are available

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Instrument Stands

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K&M

17580-000-54

Picture Gamba/Cello/Guitar Stand A very unique guitar stand designed especially for acoustic guitars. Also suitable for headless guitars, 'cellos and french horns. 5-way width adjustment. Compact, folding design makes it easy to transport and store. Exclusive non-marring material to protect guitar finishes is molded onto stand during the manufacturing process. Available in 4 colors. Set includes 3 black, 1 blue, 1 red and 1 green stand. Blue $25.00
Wt: 1.0 kg, H: 340 mm.; fits body depth of about 5"
K&M

17580-000-55

Picture Gamba/Cello/Guitar Stand Same as above Black $25.00
K&M

17580-000-59

Picture Gamba/Cello/Guitar Stand Same as above Red $25.00
K&M

17580-000-60

Picture Gamba/Cello/Guitar Stand Same as above Green $25.00
Peak ST-10   6- or 7-string bass gamba stand  A little extra depth (~5-3/8") to fit many 7-string viols Black $25.00

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Instrument Care

Quick Care Summary

  • When you are not playing your instrument, keep it in its closed and latched case.
  • In the winter, use a humidifier.
  • Don’t cook it.
  • Don’t freeze it.
  • Keep it clean.
  • Don’t drop it; hold it by the neck only.
  • Use the shoulder rest properly.
  • Keep the bridge straight.
  • Lube the pegs.
  • Take care of the bow. Loosen the hair when you are not playing and have it rehaired once a year.
  • Only allow qualified technicians work on your instrument.

Best Care Practices

  1. When not in use the instrument should be kept in its closed and latched case—and this means during rehearsal breaks too! If small children have access to the case it should be locked; however no lock will keep a determined thief or vandal from opening your case. If the case cover has a zipper, remember to unzip it all the way—otherwise the zipper will fail prematurely.
  2. Extremes of temperature or humidity are not good for instruments. Rapid changes in humidity can cause open seams, cracks in the finish, and cracks in the wood itself. During dry humidity periods a tubular instrument humidifier should be used. Please refer to instructions for its use, at right. Excessive humidity is also a problem, but it is more difficult to controlkeep your instrument out of the basement in the summer.
  3. Never leave your instrument in a hot car or you will get a big surprise! The temperature inside a car directly in sunlight can exceed 150° F. This is also why you should never store any musical instrument in the attic. The varnish can be damaged and instruments assembled with improper glue can literally melt apart. Conversely, a cold violin can be problematic as well. If your instrument gets below 40° F, allow it to warm up gradually in its case before you remove it. If an instrument warms up too fast the result is similar to the above humidity problems.
  4. Always wipe the rosin off of your instrument after you have finished playing. Accumulated rosin can damage the finish. Use a soft 100% cotton cloth like an old non-terry dishtowel or part of an old sweatshirt. If rosin cannot be removed, take your instrument to a qualified repair person where the rosin will be chemically removed. I no longer will sell or give formulas for violin cleaner because cleaners that actually work can often cause problems in inexperienced hands. If your instrument looks dull or covered with fingerprints you may use a commercial violin polish; however, be aware that these products contain wax and many of them do not dry thoroughly. Always apply sparingly and remove as much polish as possible with a soft cotton cloth. If the finish prints easily, then there is still too much polish on the surface.
  5. Hold your instrument by the neck only. If you have a fine instrument the acids and oils in your perspiration can quickly wear away the varnish. Touch the top as little as possible. If you use a shoulder rest (most players use one today) be sure to attach it and remove it safely, placing the body of the violin against your torso and holding the neck in your left hand. Attach the rest with your right hand. That way no one can knock the violin out of your hand in the typical frenzy of a rehearsal. If the shoulder rest has latex covered feet, replace the latex when it becomes cracked and dry.
  6. Be sure to keep your bridge straight. The best bridge will warp if it is not maintained. Your teacher or repair person will show you how to do this.
  7. If your pegs stick during high humidity and you cannot move them do not force them or attack them with pliers! You could crack or break off the peg box. Take the instrument to your repair person, as he or she knows how to loosen them safely. Use lava soap or commercial peg dope to lubricate sticky pegs.
  8. Always loosen your bow hair when you are finished playing. Be aware that humidity has an effect on the length of the hair. Sometimes during the dry season you will not be able to loosen the hair all the way. If it is a little too tight do not worry, but if the hair is tight enough to play, take it to a repair person and have the bow rehaired. When not actually playing always hold your bow at the frog with the tip pointing up; do not use it as a pointer, a cane, or a sword; and certainly do not bang it on a music stand to applaud a soloist! Also, do not over rosin. If you had enough rosin on your bow yesterday when you finished practicing, there is no reason to add any today. Have your bow rehaired at least once a year.
  9. If you have a problem with your instrument, take it to a competent repair person. Be advised that the vast majority of music stores do not have a qualified repair person even though they advertise repairs. Before you entrust your instrument to anyone, be sure to inquire about his or her qualifications. Be sure to examine your instrument frequently for any problems—warped bridge, open seams, cracks, etc. Small problems do not become big ones unless they are neglected

Instructions for using humidifiers: Dampits and Humitrons

  1. The indoor relative humidity in Central New York often falls far below safe levels for string instruments during the winter months (Nov. to April) The use of a tubular humidifier greatly reduces the detrimental effects of dryness (open seams, cracks, low string height, etc.).
  2. Start with cold water. Place the humidifier in the stream and squeeze water through the holes into the sponge inside. Remove it from the stream and squeeze out the excess water. Dry off the outside. Water should not drip from the humidifier—it should feel like a piece of limp spaghetti. Over-filled Humitrons and Dampits can cause major water damage inside your instrument. Provided instructions seldom warn against this problem.
  3. Place the humidifier in the lower left f-hole. Be careful of the point on the f-hole when removing the humidifier. The instrument must be in its case for the humidifier to function.
  4. The humidifier should be filled every day, since you are not putting that much water in it in the first place.
  5. If tap water has a high mineral content you will need to replace the humidifier once a year. Use of distilled water will greatly increase its life.

From The Violin Shop of Santa Fe

Ordering Information                                                                                                                                                Top of PageSubcontrabass recorder in Bb, by Adriana Breukink

Email, call or write me to order or discuss your needs.  You can't order from my web site--I like to discuss your order with you first.

Many people have told me how much they enjoy my bringing my ‘store’ of instruments to workshops so that they can try many different ones over the course of a few days.  This makes their decision-making process much easier. 

Obviously, when ordering by mail, I can’t send you my whole ‘store’ of instruments to try, but I do try to come as close as is reasonably possible.  All instruments can be ordered on approval.  I am happy to send out two or more instruments for you to compare.  For instance, I could send out two or three rosewood altos, or rosewood, pearwood, grenadilla and  boxwood altos for you to sample.  Then you can play them (please, no more than 15 minutes per day, just as if you were starting the breaking-in process), let your friends try or listen to them, and let a teacher try them.  This gives you some feedback on your choice, and gives you more confidence in your decision. 

I want you to be satisfied with your instrument, and feel under no obligation to buy it if you don’t like it.  A normal time for deciding is approximately one week.  I, of course, expect any returned instruments to be in like-new condition (see below).  Whether you decide to buy an instrument or not, all I ask is that you pay for shipping costs both ways.

Once you have decided on a purchase, I will bill you. 

Email, call or write me to order or discuss your needs.  You can't order from my web site--I like to discuss your order with you first.

 

I had an instrument returned that smelled of cigarette smoke.  The customer did not smoke, but a visitor did.  I haven't yet succeeded in removing the smell.  I can't sell a smoky instrument, so I do not want to send instruments on approval to households where people are allowed to smoke.  If a smoky-smelling (or mildew-smelling) instrument is returned to me, I will not accept it, and you will have bought it, since it is no longer in like-new condition.  In my experience, hardly any recorder players smoke, so this should be a rare occurrence.  So please, no smoke, mildew or lipstick, and brush your teeth before playing--all things you should do if the instrument were yours.  I hope you understand this policy.

 

I don't give out customer contact information to other companies.

 

I accept personal checks, money orders or cashiers checks.  
I accept Visa, MasterCard, and Discover. VisaMasterCard  
CONTACT

 

425 N. Whisman Rd., Ste. 200

Mountain View, CA 94043

 (Map)  (Detail)

(866) 511-2981 toll free

(Pacific Time Zone)

(650) 938-5367 local/foreign/Skype

LazarsEMS@gmail.com

www.LazarsEarly Music.com

OPEN BY APPOINTMENT-Call--I'm here most of the time, 6-7 days a week

 

To order, email, phone or write me your request.

 

I don't give out customer contact information to other companies.



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