Guntram Wolf Baroque bassoon, dulcian, curtal, shawm, Baroque oboe, chalumeaux, Baroque clarinets, contrabassoon, contraforte

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New Scherer Baroque Bassoon



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Rennaissance dulcians | Baroque bassoons | Bassoons of the classic/early romantic
Bassoons of the late romantic | Contrabassoons |
Ensemble music of the 18th century

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These are tuned to a=440. Bass and quart dulcians can also be built to a = 465.

Our production includes the entire gamut.













In the bass dulcian, we offer a direct-sounding, early instrument as
well as a softer-sounding, later model.


Dulcian sound samples from Hans Mons website:


Bass dulcian in the lowest voice.

Tenor dulcian in the lowest voice and an f-alto dulcian in one of the middle voices.

G-alto dulcian playing in its upper range in the highest voice.

Soprano dulcian in the highest voice.


Baroque Bassoons


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A copy of an a=415 after "HKICW" is our outstanding bassoon from 1700. We also make a copy after Eisenmenger a = 415 from a somewhat later baroque period. For a=392, we make a copy of a bassoon from "HAKA" which originates from 1682 (it is perhaps the earliest surviving bassoon).

Our newest model is a copy of a Scherer (1730s) in our collection at A=415.  This is in stock. The normal wait is approximately 6-9 months. I waited 10 months to get this one.  Get it now with no wait for $6500.

Fingering Chart


HKICW sound samples from Robert Ronnes website:

Antonin Jiranek: Bassoon Concerto no 3 in F major


Bassoons of the classic/early romantic

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There are two models from which to choose:

  • a nine key bassoon after Grenser with a clear sound and a fascinating quality; a = 430.

  • a copy after Tauber, Vienna, a = 440. The original came into our collection recently and it seems to be an unusually good instrument.

Bassoons of the late romantic

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There are three models from which to choose:

  • from Grenser/Wiesner with 14 or 15 keys

  • from Ziegler, Wien with 15 keys

  • from Schemmel, Wien (without picture) & with various keys


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In this we are the specialists. We have original instruments in our collection.
There are five models from which to choose:

  • baroque contra after A. Eichentopf a = 415

  • an anonymous high romantic Viennese contra with unique qualities a = 430 - 440

Ensemble music of the 18th century

At this time there were many types of bassoon in place. We make various sizes and pitches, to be used in works which do not specify a particular instrument as well as those which do.

  • octave bassoons from Denner, Scherer and Schuster

  • quint bassoon from Kuteruf

  • quart bassoons from Kraus and Magvini

Shawms | German shawms | Baroque oboes
Oboes of the classical period and 1st half of the 19th century |
Late romantic oboes

Renaissance shawms

Oboes were present in the past in great diversity. The Renaissance ensemble got a clear double reed contour through the use of a set of shawms. Shawms were used whether as solo voices, or as color; especially in combination with trombones (sackbutts), where they were essential to the sound of Renaissance music. Like the dulcians, they are indispensable for music of this period. The historical precedents are in relatively poor condition, sometimes very good, but often crude, unattractive instruments.

We make shawms which play comfortably over two octaves and which do not have intonation problems.

Pitch is a = 440 or 465 and so far we make:

  • discant in c

  • alto in F

  • tenor in C

The bodies of all shawms are made of maple.

German shawms (a = 440 Hz / 465 Hz)

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Developed from the courtly shawms, the German shawm became desired at the beginning of the 18th century due to its mobility and adaptability. Its best use was in German military music, but it is also indispensable in Harmonie music of the second half of the 17th century. We make the following German shawms in pitch 440 or 465:

  • discant in c1, no keys (2 pieces with fontanelle)

  • discant in c1, C-key (2 pieces with fontanelle)

  • alto in f, f-key (3 pieces with fontanelle)

  • tenor in c, c-key (3 pieces with fontanelle)

The bodies are made of maple.

In combination with a bass dulcian the German shawms are an ideal double reed ensemble.

Baroque oboes

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Our top model is a French instrument with 3 keys, (a = 415). This oboe, in our possession, is from about 1700; the signature is barely visible. We have no idea how famous the maker possibly was, but he made an outstanding instrument, therefore we chose it for our copies.

We also make a baroque oboe after Scherer in a = 440.

The model of an oboe d'amore was an instrument from

The bodies are made from boxwood.

Oboes of the classical period and 1st half of the 19th century

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A typical model of the classical oboe is a copy after Grundmann with two keys (a = 430). As an a = 440 instrument, we chose an oboe from Lempp, Vienna. For the early romantic, we copied a Schuster with a dark, round sound a = 430. We can also make other copies on special order.

Late romantic oboes

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The Golde oboe wth 11 - 14 keys (a = 440) is an ideal instrument for the late romantic orchestra or ensembles.

For music of the late 19th century, oboists are more and more frequently choosing Viennese oboes, as the sound of these corresponds to much music of the period.

We make these instruments with the Viennese fingering system, but we also make them with a French ring system, so that modern oboists can change without a problem. These instruments are ideal for chamber music.


Care of these instruments

Historical instruments have no bore lining. They must be re-bored after some period, which can be from several months to two years. When the intonation and especially the response change, it is time to do this.

The bore should be oiled once or twice a year. For this purpose, you should use only a drying oil, for example, cold-pressed linseed oil, thistle oil or hempseed oil. Chinese tung oil is also a drying oil but should never be used, for health reasons. These oils can be thinned with gum turpentine, but it is not necessary.

Be extremely careful not to get any oil on the pads. Do not use any other oil, such as almond oil; they can substantially damage the instrument. Do not leave the instrument where there is no ventilation, mildew can grow rapidly and damage the wood.

Rub the outside of the instrument with a rag, with just a drop of oil; with time, the instrument will take on a beautiful sheen.



Our woods are an important basic requirement of the foundation of our firm.


We do not seek the cheapest woods nor the most expensive, only the best! We seek out the most appropriate trees and supervise the cutting into planks. The further cutting into blocks we do ourselves. And, old-fashioned as it sounds, we determine the best application of the wood, by tapping on it. Systematic acoustic wood research permits us to know the best wood for each instrument.


In addition, the knowledge of the handling of woods in past epochs, as well as the manufacture of modern instruments allows us to ensure the best treatment of each instrument.


Tradition and passion

The Guntram Wolf firm is located in the city of Kronach, a city over 1000 years old and the birthplace of Lucas Cranach. Kronach is in the dynamic center of the forests of Franconia, in a wonderful landscape, with a picturesque, historic City center, and with the Rosenberg fortress (which has never been conquered) overlooking it. 

Through the personal involvement and the experience of Guntram Wolf, also due to his hands-on experience of woodwind instruments, the name of the north Bavarian city of Kronach is linked to the name Guntram Wolf by musicians worldwide. 

No other factory has, in the past few years, brought such a fresh approach to the manufacture of woodwind instruments which is usually "set in tradition".

  • New acoustic knowledge has been and will be continued to be brought to the development and improvement of modern woodwind instruments.

  • Historical instruments are made with renewed techniques, in order that the sound world of the musical periods from the Renaissance to the High Romantic can be recreated without falsification.

  • Wolf has developed a complete set of smaller orchestral instruments; oboe, clarinet and bassoon so that children from the impressionable ages of 5-10 can begin to take a solid place in the musical environment.

From a small, experimental workshop, in which Guntram Wolf worked alone, a considerable factory has developed, the continuation of which is assured by the entry of his son, Peter into the enterprise. His daughter, Claudia, also works there, installing computer technology for the construction of both the wooden parts and the keywork. The other workers come from the area around Kronach, and learn the various techniques of instrument manufacture at the factory itself.