Price list

PRICE LIST in US Dollars
(1st January – 31st December, 2017)

 

BAROQUE OBOES (392 Hz, 415 Hz, 440 Hz)

Thomas Stanesby Junior,
(392 Hz or 415 Hz or 440 Hz)
1692-1754, London,
a copy of instrument from c.1730.
(two keys)
sycamore wood $ 1,700
pear wood $ 1,900
cherry wood $ 1,950
peach wood $ 1,990
European boxwood $ 2,120
wild pear wood ** $ 2,300
** Genuine wild European pear wood, over 20 years seasoned. Heavy, close-grained wood. 6 years warranty.  
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Thomas Stanesby Junior,
(392 Hz or 415 Hz or 440 Hz) – a copy of  Stanesby’s simple model of oboe (made before 1754),
from Oxford collection.
(two keys)
sycamore wood $ 900
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Jakob Denner,
1681-1735, Nurenberg
(three keys)
 
pear wood $ 1,900
cherry wood $ 1,950
peach wood $ 1,990
plum wood $ 1,990
European boxwood $ 2,120
wild pear wood ** $ 2,300
** Genuine wild European pear wood, over 20 years seasoned. Heavy, close-grained wood. 6 years warranty.  
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P. Paulhahn, c.1720
(three keys)
pear wood $ 1,900
cherry wood $ 1,950
peach wood $ 1,990
plum wood $ 1,990
European boxwood $ 2,120
wild pear wood ** $ 2,300
** Genuine wild European pear wood, over 20 years seasoned. Heavy, close-grained wood. 6 years warranty.  
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Johann Poerschmann, first half of XVIIIc., Leipzig (OBOE D’AMORE in a), 415 or 440 Hz
(two keys)
sycamore wood $ 1,850
pear wood $ 1,950
cherry wood $ 1,950
peach wood $ 2,120
plum wood $ 2,120
European boxwood $ 2,250
wild pear wood ** $ 2,400
** Genuine wild European pear wood, over 20 years seasoned. Heavy, close-grained wood. 6 years warranty.  
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J. Fridrich, first half of XVIII c., Prag, 415 Hz or as original – 430 Hz ( TENORE OBOE in f )
(three keys)
maple wood $ 2,020
pear wood $ 2,200
cherry wood $ 2,200
peach wood $ 2,400
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J. I. Weigel, 1732, Wrocław  (BAROQUE ENGLISH HORN and OBOE  DA CACCIA ) ***
English horn version (short, bulbous bell without holes)
(three or two keys)
maple wood $ 2,500
cherry wood $ 2,700
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Additional wooden da caccia bell, cherry wood $ 650
Da caccia version (long, large wooden bell with two holes)
cherry wood $ 2,900
Additional english horn bell, cherry $ 450
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Stylish antique look as originals (brown stained leather,
brown stained wood
with shellack and patina,
brass keys with patina)
$ 200
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CLASSICAL  and  ROMANTICAL OBOES (430 Hz)

 Jakob Friedrich Grundmann (1727-1800), Dresden, a copy of instrument from 1784
(two keys)
pear wood $ 1,950
European boxwood $ 2,250
wild pear wood ** $ 2,400
** Genuine wild European pear wood, over 20 years seasoned. Heavy, close-grained wood. 6 years warranty.  
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Johann Friedrich Floth (1760-1807), Dresden, a copy of instrument from 1807
(eight keys)
pear wood $ 2,730
European boxwood $ 3,010
wild pear wood ** $ 3,160
** Genuine wild European pear wood, over 20 years seasoned. Heavy, close-grained wood. 6 years warranty.  
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SHAWM (440 Hz) – NOVELTY 2016!

Shawm, descant
(one key & fontanelle)
 
natural maple wood $ 1,050
stained maple wood $ 1,100
cherry wood $ 1,800
pear wood $ 1,900

 

I can make especially for you a copy of any original baroque or classical oboe which you wish!

For special request I can make Stanesby, Paulhahn, Grundmann and Floth oboes from Blackwood, Cocobolo wood or true Lignum vitae wood (guaiac)  and I can make engrave keys from brass, bronze, sterling silver or even 24K gold.
I make also very exclusive models with mammoth-ivory rings and / or mammoth-ivory keys. Mammoth ivory from Siberia is a very high quality material; is very similar in colour and structure to elephant ivory. It is legal material of course and moreover – absolutely humanitarian.

Every set of an oboe includes: one bocal (connecting pipe) , softcase , a wooden cleaning rod and fingering chart. Instruments with mammoth ivory rings or keys have a stylish, natural velvet softcase.

Many professional oboists and amateurs are playing my instruments. From many countries – Australia, Belgium, Brazil, Canada, China, England, France, Germany, Holland, Italy, Japan, Korea, New Zealand, Poland, Russia, Spain, USA.

Every instrument made in my studio I made entirely by hand, from rough working to precisely elaborated details, as it was done in the past centuries. To make my oboes I use the highest quality wood, dried in the natural way, seasoned for a period of a dozen years or more. Such a long period of seasoning is very favourable or even necessary to achieve the maximum of wood physical condition and , above all, the best quality of sound of the future instrument.
Every part of an oboe is made of same log of wood, what assures well balanced sound in all registers, physical stability and consistent, agreeable appearance of the instrument. Every oboe is impregnated exlusively with natural vegetal oils.
Some models are also stained, according to the ancient manner. I use only entirely natural, well-tried for centuries dyes of vegetal origin.
Then-from the length of the wood seasoning, through entirely hand work-out, to the choice of the materials used, the whole process is performed with special care for faithfull reconstruction of the baroque original, all in purpose that every instrument would meet requirements of today’s musician.

 

 

***  The instrument is a copy of one of two oldest known  originals of cor anglais, preserved in perfect condition together with inscription on the bell ” J.C. Klaembf. “ and, what is extremely important, the date – 1732.
This unusual set of two instruments with additional, exchangeable da caccia bell, fitting both instruments was discovered in Autumn 2010 by Katarzyna Pilipiuk  ( I measured the instruments, made full documentation of them, and then renovated it in January 2011)  and is in possession of Weaving Art of Lower Silesia in Kamienna Góra, Poland.
All prerequisites indicate that Weigel was inventor of this kind of oboe. The oldest scores known today, mentioning cor anglais by it’s correct name, come from places located not far from Wrocław (Breslau). The term „cor anglais” (English horn) in respect of so early instruments as these copies, should be rather substituted by term „angelic horn”, which name they most probably originally had. At that time German word ”englisch” had another, today forgotten meaning „angelic”. Thus, the original name was even not distorted but it’s primary meaning, being no longer in use, was just forgotten and lost in translations. The fact of giving these instruments such a name is not surpising, because their sound is extremely soft, silky and melodious. Considering the impression it must have made on listeners inside a church, where probably was most often used, this association is completely understandable.
Besides, baroque oboes, including cor anglais used to play together with horns, named in German “Wald horns” or briefly „ horns”. If we consider how a French horn player holds his instrument and and how the ancient oboist had to play his curved instrument, we can see that both instruments might have had a similar look, especially from a distance. The first was called „wald horn”, so the other one, sounding softer , was called „angelic horn” (englisch horn).

Filip  Frydrysiak