Thomas Stanesby snr. (1668-1734), was born in Moorly Lyme, Derbyshire. Although little is known about him, 20 of his instruments have survived, all made to a high standard. Eleven of them are recorders. His son, Thomas Stanesby jnr. (1692-1754) was also a fine wind instrument maker. A trade card of Stanesby jnr. dated 1728 reads

“Stanesby Jun. In the Temple Exchange Fleet Street, London Makes to the greatest Perfection, all sorts of musical instruments. In Ivory or fine wood; Plain after a very neat Manner or curiously Adorn’d with Gold, Silver, Ivory, etc. Necessary to preserve them; Approv’d and recommended by the best masters in Europe. Sold as above and no where else."

Stanesby jnr. continued his father's business and, as well as making recorders, he made bassoons for Handel. Stanesby recorders have a full, open sound and are free from the condensation problems associated with many continental instruments of the same period which tended to be much more tightly voiced. Over-tight voicing causes significant condensation problems particularly when playing in cold, damp surroundings or for extended periods.

At modern pitch the instruments have a full warm tone - the harder woods imparting a more reedy tone, while the softer woods contributing to a fuller flute-like timbre. We recommend the hardest wood, grenadilla, for solo work while the softer woods like pear and maple are really best reserved for ensemble work. Rosewood, satinwood and European boxwood are perfect combination woods, equally good for solo and ensemble work. At low pitch all models have a darker more mysterious tone colour, perfect for use with other low pitch instruments. The harder woods give greater projection while the softer woods engender a much warmer darker tone.

Stanesby Models (a=440 or 415 Hz)

Following the successful launch of the Millennium Great Bass, the Stanesby Great Bass recorder has been discontinued.

Bressan Model Recorders

Peter Bressan was born Pierre Jaillard (1685-1731) in Bourg en Bresse in France, but he worked mainly in London, where he made some of the most prized late 17th and early 18th century recorders and is regared by many as being the 'father' of English recorder making, a school that later included Stanesby father and son, Bradbury and Schuchart. Many of Bressan's recorders survived. Most of them are ornamented with ivory mounts. We retain the arched windways, the undercut tone holes and, if requested, the waxed thread lapping of the originals.

At modern pitch the instruments have a reedier tone than the Stanesby models - the harder woods imparting a more reedy tone, while the softer woods contribute to a fuller more flute-like timbre. We recommend the harder woods, grenadilla, coralwood, kingwood and tulipwood for solo work while the softer woods like pear and maple are really best reserved for ensemble work. Rosewood, satinwood and European boxwood are perfect combination woods, equally good for solo and ensemble work. At low pitch all models have a darker more mysterious tone colour, perfect for use with other low pitch instruments. Here the harder woods have a more projecting tone, the softer woods a much warmer darker tone.

Bressan Models (a=440 or 415 Hz)

descant in C
treble in F

For One Handed Players - The Gold key system can be fitted to descant or treble recorders at either modern or low pitch.

 
Older Dolmetsch Models - We can supply replacement sections for all current and older Dolmetsch recorders, whether made by Arnold Dolmetsch Ltd. under the direction of Dr. Carl Dolmetsch or made in the period 1978-1981 when the Dolmetsch family members had established a rival firm, J. & M Dolmetsch, or made by J & M Dolmetsch or Dolmetsch Musical Instruments, whatever the pattern originally used. Instruments that have become 'worn out' through decades of use can be 'revived' with the replacement of only the head section. Middle and bell sections can need replacement when there has been severe cracking, broken tenons or the unthinking attention of the family pet.

As a guide, section prices of instruments from our current production are approximately as follows:

head section : 50% of the price of a new instrument of equivalent type
middle section : 30% of the price of a new instrument of equivalent type
bell or foot section : 20% of the price of a new instrument of equivalent type

In the case of older models the cost is higher and where we cannot match the original wood we can offer replacement instruments of equivalent quality at a significant discount. Please contact us for details of this scheme. See our Recorder Servicing Page for more information.

Dating Your Recorder - To find when an Arnold Dolmetsch recorder was made go to the bottom of this page.

1. 

Dolmetsch set out in a semi-circle, containing the letters J & M, marked made in England have been made by J & M Dolmetsch or Dolmetsch Musical Instruments and will be marked with an unique serial number identifying that they are handmade and have been designed and voiced by Jeanne and Marguerite Dolmetsch.

2. 

Dolmetsch set out in a semi-circle, without any internal letters, sometimes, but not always, marked made in England or England alone, have been made either

3. 

Dolmetsch set out as a circle, sometimes including the words made in England have been made by Arnold Dolmetsch Ltd. and, in the majority of cases, have been voiced and tuned by Dr. Carl Dolmetsch or by other members of the Dolmetsch family. They will bear a unique serial number (see the table below to identify the probable year of manufacture).

4. 

Arnold Dolmetsch set out as a circle, sometimes including the words made in England have been made by Arnold Dolmetsch Ltd. and, in the majority of cases, have been voiced and tuned by Dr. Carl Dolmetsch or by other members of the Dolmetsch family. They will bear a unique serial number (see the table below to identify the probable year of manufacture).

5. 

the letters JMD set vertically as in a cartouche have been made by J & M Dolmetsch, will be marked with an unique serial number, identifying that they are handmade and designed and voiced by Jeanne and Marguerite Dolmetsch.