Lazar's Early Music | Martin Wenner Recorders
Drop-Down MenusTop of Page
|All Recorders, by Size/Price||Contact||
|Upcoming Workshop Venues|
Lazar's Early Music
425 N. Whisman Rd., Ste. 200
Mountain View, CA 94043
(408) 705-1960 fax
Martin Wenner Recorders
Holkham, Norfolk, England
|Martin Wenner Recorders|
|J. M. Anciuti||This alto recorder is dated 1717 and plays at A=440, so we can reconstruct it in boxwood without any changes.||Alto
|Pierre Bressan||Pierre Jaillard
Bressan (1663-1731) moved from France to England in 1688 and
established himself in London, where he mainly made recorders.
His instruments tended to have thick ivory mounts which he fastened
onto his recorders after applying the golden ratio to cut them.
Preserved original Bressan recorders can be found in many English
museums, but also among the collection of Frans Bruggen, Amsterdam,
on which our copy is modeled. Bruggen used the original on
numerous recordings which are still a delight to hear today.
We make these recorders at a pitch of A=415. The pitch of the original is somewhat lower. We recommend woods such as the European boxwood, as well as grenadilla or ebony. The sound of our copy is warm, deep-toned and strong, making this flute outstandingly suited for French Baroque music.
A415 or A392
|Handel A415||Grenadilla or Ebony||$2629|
|Telemann A392||European boxwood||$2662|
|J. Chr. Denner||The Denner family was
one of Europe's most important and well-known woodwind instrument
makers of the 18th century. Originals of their famous recorders are
widely copied by many instrument makers. This tenor recorder
was made by Johann Christoph Denner at the beginning of the 18th
century. Its wide bore produces a warm and broad deep tone,
making this a recorder ideal as a voice flute when playing French
We make this voice flute in European boxwood as well as in the lighter Maracaibo boxwood, at a pitch of A415.
|Th. Stanesby Jr.||Thomas Stanesby,
called 'junior' (1692-1754), worked in London and achieved great
fame and standing in his day through the manufacturing of the finest
woodwind instrument. Many of his instruments are preserved in
museums and private collections all over the world. An
excellently preserved and wonderfully playable recorder is privately
owned in Switzerland. It was manufactured out of boxwood
around the year 1720.
We construct these recorders in European boxwood, just like the original, or also in Maracaibo boxwood. Both types combine a free sound and a high blowing resistance. Like the original, the wood is finished with violin varnish. Our copy is deep-toned and has warm, soft and supple high tones. The pitch is A415.
|J. Steenbergen||Jan Steenbergen
(1676-1752) worked in the first half of the 18th century in
Amsterdam as a manufacturer of woodwind instruments, especially
oboes and recorders, A very beautifully crafted and
well-preserved recorder can be found in the collection of F. Bruggen,
who also used it on his recordings.
Our handmade reproduction has been constructed at the modern pitch of A442, while preserving many sound and playing characteristics of the original. We build the Steenbergen recorder in Maracaibo or plum wood; we offer these woods as reasonably priced alternatives. In addition, we manufacture instruments in European boxwood as well as in grenadilla with ivory-colored mounts if specially requested.
Engelbert Terton (1676-1752) was one the most famous recorder makers of early 18th century Hollland who had his workshop in Amsterdam. The original is extremely beautiful and can be found in the collection of the The Hague’s Gemeentemuseum. It is made of stained boxwood and decorated with lovely engraved openwork silver rings. Its sound is still good.
Our version is normally a three-piece construction in European boxwood. On request, it can also be made in two parts (foot and middle joint as one). We can of course make this instrument with its silver decoration too.
Our Terton soprano recorder has a round and earthy sound. It is not “sharp” but elegant and soft in the high registers and its pitch is a=415 Hz.
|J. Ziegler||Copy of a csakan from a private
collection in Germany. 7 keys, silver rings.
J. Ziegler, Csakan, A flat
Contrary to popular belief that the recorder became „extinct“ in the mid-18th century, it was in fact “born again” at the start of the 19th century. The Csakan, Czakan or so-called “walking stick flute” from Hungary, was a musical fashion in Vienna between 1820 and 1850. Over 400 original compostions for the Csakan by A. Heberle, E. Krähmer, A. Diabelli among others are known to exist.
Johann Ziegler (Hungary 1795 – 1858, Vienna) started his workshop in Vienna in 1821. In addition to clarinets, he mainly made flutes which were soon in wide distribution. Ziegler was, along with Stefan Koch one of the most successful and innovative woodwind instrument makers of his time. It is therefore not surprising that the Hungarian-born Ziegler became actively involved in the construction and development of the Csakan. Some of his instruments still survive and are often in excellent playing condition, just like the one used as a model for our construction which is in a private collection. Like nearly all Csakans, it is made of black varnished boxwood with silver rings and keys. The keys were shell-shaped which was all the rage in early 19th century Vienna.
We make two types of Csakan:
The sound of our Csakans is
sweet. Both Csakans play at A-flat. The simple csakan’s
pitch is a=440 Hz while the complicated csakan can play at
a=440 Hz to a=430 Hz.
A440, 7 keys, silver rings & decoration walking stick and bell
A440, single key, walking stick and bell
Click on the pictures below to get full size views.
7 keys, silver rings, walking stick, bell and tuning slide, A440 to A430
for our recorders
When you play your new instrument, changes may occur in the wood due to the moisture of your breath and frequent changes between damp and dry conditions. The sound and the response of the instrument may also be affected by these changes. Therefore begin caring for your new instrument by playing it in slowly and continuously. For our recorders we recommend a maximum daily playing session as follows:
From the fourth week onwards you can play your recorder carefully for longer sessions.
Protect the wood of your recorder from changes caused by humidity by oiling it about every three to four months both inside and out (for varnished instruments, please only oil the bore). Oiling also improves the response of your instrument. Please use our special oil mixture*) or almond oil. Please do not use linseed oil since it hardens and gums up the bore and tone holes. When oiling, use a swab stick with a paper towel (discard it after use). You can use a cotton wool bud or Q-tip for the finger holes and the embouchure hole. Make sure that you use only enough oil to moisten the interior bore and the surface of your instrument. The block of a recorder as well as the key pads should not be moistened with oil. Therefore make sure you protect the key pads from getting oil on them. After an absorption period of approximately 8 hours, you can remove the surplus oil with a dry cloth. Make sure that your recorder is dry before oiling it. Do not play it for at least one day before you oil it.
The question, "How often should a recorder be oiled?" cannot be answered generally. This depends on many different factors such as the type of wood, frequency of playing, storage conditions, etc. Ifall the oil is absorbed by the wood after the 8-hour absorption period, then more frequent oiling is needed.
Care & storage
You should wipe your instrument dry after each playing session and before storage. After playing and wiping the instrument out, do not put it immediately into an air-tight case but just let it dry in the air first. If you use our supplied cloth bags, this is not necessary. Never store your recorder in a very dry environment (be careful with central heating in the winter!) or let it sit in a hot car in the summer. A draft is likewise poison for your instrument. If the air is too dry, the danger of cracking increases!
Our instruments are supplied with thread-covered rather than corked joints. We use thread because the oscillation transmission between the individual parts of the instrument is better with thread than with the strongly damping cork. In addition, threaded joints are easily maintained and adjusted by the player. Since wood changes dimensions under different conditions of temperature and humidity, the joints can become too tight or too loose. In this case you must add or remove thread in order to avoid damage by having a too loose or too tight joint. Please pay particular attention to the uppermost joint (connected to the head piece), since the biggest changes can occur there. This is particularly important with new instruments.
Adding thread: First tie a loop of thread around the tenon and then add windings. Then put the end of the wound thread under the loop, with the help of a needle, if needed, to prevent it from unwinding. For thread, we recommend polyester yarn, since it does not unravel like cotton or silk.
If you have taken care of your recorder and have played it in correctly but it does not play to your liking, we can readjust it. Please do not hesitate to contact us about difficulties with response, intonation or other problems.With proper care of the recorder--oiling inside around four/six times a year and taking care of the tenons (see above care instructions)--the recorder should remain stable and not need to be adjusted. As boxwood is a softwood, especially if it is wet, please don’t put too much thread around the tenons! Tenons that are too tight may crack.