THE PREMIER COLLECTION
at Paul Perley Cellos

It has often been mentioned on this site that a cello with price and pedigree may have great sound, but just as often doesn’t. Stradivari and other famous makers built some fabulous-playing cellos but they also built many that were not, and there are some no-name instruments that can successfully compete with the best.

With that in mind, Melissa & I decided to launch a wide search for exceptional concert instruments. Some might have important pedigrees, some might have untraceable ancestry except for place and period. Our main criteria are

1. They must have outstanding, concert-quality sound and projection.

2. They must be in excellent playing condition, and

3. They must have good investment value.

For every cello in this collection many others that looked like excellent possibilities have been rejected.

If you are looking for a truly special cello, you may want to try one of the instruments from our Premier Collection.

Under $20,000:

Begun by Barbara Theobald, Massachusetts: Completed in the shop of Paul Perley Cellos, Berlin, Vermont, 2010 $15,000
Barbara Theobald's untimely death in 2005 deprived the world of a unique maker. Barbara was highly skilled (she taught violin-making at the Bennett Street School in Boston) and her instruments consistently produced amazing sound. She seemed to have a knowledge of wood and model which she combined to produce the best result for the player. Her last cello is no exception. When we acquired it shortly after her death, it was not far along: the ribs were glued into their mold and the top, back, and neck were only partially roughed out. Given the busyness of our shop, it has taken us 5 years to complete: but the last cello of Barbara Theobald is indeed a tribute to her, with true concert quality sound, projection and consistency. Barbara chose a Gofriller model for this cello and it is indeed the right choice. Part of Barbara's uniqueness was her wish to have her instruments affordable. In keeping with that, we are offering her last cello at only $15,000.

Laurence LaMay, Lexington, Kentucky, 1977 (signed by the maker) $15,000
Most of LaMay's work in both instruments and bows was in Madison Wisconsin, but it wasn't until he moved to Kentucky and started making more cellos that he started to attract attention. This late example of LaMay's (he passed away in 1978) is a jewel. It is beautifully made, robust and full with excellent focus and ease of play. A great investment as well as a performing tool. $15,000.

Over $20.000:

Made By C.G.Stewart, Los Angeles, California, 1932, No. 53 $25,000
This beautiful dark brown cello by the fine American maker has only a few scratches and no repairs. It's sound is very dark and rich, the kind associated with old Italian cellos. It is powerful and consistent throughout its range with no weaknesses. Stewart began his career as a cellist with the Los Angeles Philharmonic before he began studying making and subsequently opening his own shop. From several perspectives, Stewart knew cellos and how they were supposed to play, and cellos were the only instrument he made. In every way, this is a truly fine example of his work. It comes outfitted with excellent planetary pegs. Priced well below its market value at $25,000.

John Terry, fecit Florentae, fub, tituto, Sanctae Luciae, anno 1999. $30,000
John Terry (who passed away very recently) was a fine maker born in England but who worked primarily in Florence. His highly prized cellos have been played by many top professionals including the former principal cellist of the Chicago Symphony. This is a very special instrument, one a a set of “twins” whose back, ribs and scroll were carved from a 15th century cherry church pew. (Yo-Yo Ma has played on the other one, although this is considered the better of the two). It is a true concert instrument, with great depth and punch. Its sound carries over other instruments without ever becoming strident or losing its amazing richness. The cello is in beautiful condition.

Over $50,000

SOLD INSTRUMENTS:

Italian. Early 1800’s: label “Johannes Gagliano….”
Italian. Early 1800’s: label “Johannes Gagliano….” A truly beautiful cello, possibly made by a member of the Gagliano family, in excellent condition with classic, deep Italian varnish and a large, dark, focused sound suitable for concerto performance. A deceptively smallish instrument, it is one of the more powerful we’ve ever had in the shop: as rich & penetrating on the C as it is on the A. Easy, effortless response. Truly a solo performance instrument.

Thurmond Knight Glover, VT 2000 (Premier Collection Item)
Thurmond Knight, Glover, VT, 2000 Thurmond is a highly respected maker whom other makers seek out to study with in order to improve their skills. In 2000 he made this one-time model after a Swiss cello that was a particularly good concert instrument. The result is amazing. The back and ribs are made from a truly striking piece of maple and it is varnished in a lovely golden amber. Its C string redefines the word “chocolate” and it is a solo instrument clear through the length of the fingerboard on the A string. Well played-in (it was performed on by a fine soloist for 5 years), it is truly a professional-quality instrument.

English. Late 1700’s, label “Thomas Dodd…”
English. Late 1700’s, label “Thomas Dodd…” There’s a saying, (we have no idea where it originated), that “if you want Italian sound but don’t have in Italian budget, look for English”. While our personal experience is that the “Italian” sound is somewhat of a myth in that it is not limited to, or even common in Italian instruments, there is a rich, dark, focused tone that string players look for that is often described as Italian. This cello has exactly that: warm, rich, deep, but with an edge that allows it to be heard even against unfairly loud grand pianos and other difficult situations. Lovely dark varnish of wonderful depth, ribs and back made of birds-eye maple, and over 200 years of patina characterize this excellent instrument. An amazingly wonderful cello at an affordable price.

“Caitlin Pugh…Oregon, 2006”
“Caitlin Pugh…Oregon, 2006” (41,42,43) A number of years back Caitlin was a luthier in our shop: now life’s processes have taken her to the West Coast. Caitlin is a great luthier, with amazing patience, attention to detail, and obsession with sound. She learned to play the cello during her time in Vermont which helped guide her in experimenting with cello tone, and in 2006 entered this cello as part of a quartet of instruments in the Violin Society of America competition. The instrument won two tone awards and it is absolutely clear why. This is professional quality cello in all respects, and one of the very few new cellos that Melissa or I ever played that really doesn’t sound new at all. Huge rich focused, smooth sound. Beautiful wood and varnish. There simply isn’t a level of player too high to benefit from this instrument.