I am thinking, rather tentatively at the moment due to finances, of getting a baroque cello (or rather a reproduction). I'm an adult restarter who's been having lessons three years now and took my grade 5 last year. I have to admit that I'm drawn to baroque, in part, because playing a decent basso continuo part does seem to be an acheivable ambition. Of course the baroque repertoire is also very important and satisfying for the cello. Cellists are in demand and there are opportunities to perform. I'm in my second year of playing in a specialist baroque group, however, the tutor is not a strings specialist, nor was my tutor in the group with which I played last year.

I have done a bit of internet search and seem to have established that baroque cellos come in two different sizes, big and small! The former were probably primarily for playing basso continuo parts and the latter solos. Whilst I have started to tackle some of the obvious solo parts (Vivaldi and Marcello sonatas and a concerto) realistically in the forseeable future I'm going to be playing basso continuo parts, particularly when I am playing with specialist ensembles, where others may be playing on period instruments. Also I suspect that the different sound qualities may be more important for the basso continuo parts compared with solos, which we are used to hearing on modern instruments. This seems to suggest that I should go for a 'big' basso continuo cello. Is this a reasonable first conclusion?

If it is I'm a bit worried about the implications of 'big' and the difficulty of managing the instrument, especially as last year I was having difficulties with pain in my left hand and after various conflicting pieces of advice I settled for thinning my finger board, which appears to have solved the problem (and improved my cello). Also perhaps the instrument is harder to hold without an end pin? Any advice?

Next, what about a five string instrument? When do you need one, apart from Bach's sixth suite (not there yet!) Given that this would be a second instrument are there significant benefits to trying to find a 5 string instrument?

Finally, where do you get one? The only source that I know of is 'The Early Music Shop'. Are they THE source? What are the merits of the different options? So far I've heard of 'Lu Mi' (modern chinese, presumably factory made), 'Ceske' (modern czech, also must be factory made). The prices seem to be similar, is the quality similar? Also there appear to be one or two (modern?) German makers - handmade? Any views? Would it be better to try to find a second hand one of these? (Or new?? but I think that this option is more than double the price of the first two.)

Any advice on bows?

I look forward to some advice from baroque cello players!

With thanks

I'm not really a baroque cellist, hence the shortness of this reply - I would really reccommend that you ask your teacher or a professional who can set you up with a baroque cello. The technique of holding the cello on your calves and the changes that go with it aren't too hard, but do need to be sorted from the start to prevent you getting into bad habits just like any other new instrument.

As for finding an instrument, I'm afraid I don't know - do you have a local string shop? They should be able to help. I would stick with a four-string - you really won't need a five-string, or at least very rarely. I wouldn't think it was worth it unless you're a professional baroque cellist!

I'm not even a cellist but a colleague's daughter is hoping to become a professional cellist. (She studied at the main Paris Conservatoire and is currently studying "modern" cello in Berlin and having baroque cello lessons somewhere in Italy with a well-known baroque cellist whose name I have forgotten). Apparently, when she first started having baroque cello lessons she simply restrung her ordinary cello each time she had a lesson. At the beginning of the school-year she was trying to talk her parents into buying her a baroque cello. I don't know where she was intending to get one and she was obviously interested in a high quality one but her mother was quite appalled by the price.

My wife plays baroque cello, but she hates computers, so please allow me to elaborate on her behalf!

We are biased, but the Lu Mi early strings are in a different league to the Ceské ones. You will know that setup is everything with these instruments, so it pays to get this right - whether it's done as part of the sale, or by a trusted local luthier. The strings make a big difference too.

It certainly is harder to hold without the spike, but familiarity will overcome any initial discomfort. My wife found Alexander Technique very valuable in coping with the playing position. The Lu Mi Montagnana is a little wider, but it's the shape of the sides that is the main difference compared to the Davidov model.

Your best bet is to get something 'on approval' as you will need several days to acclimatise. The Lu Mi instruments are available from a number of suppliers and if you want, I can put you in touch with the inspiration behind them, Markku Luolajan-Mikkola, who would be happy to advise further I'm sure.

I can say that it is a most satisfying instrument to play and you'll always be in demand. There's a great spread of music and chamber ensemble opportunities available - go for it!

If you need any specific advice on instruments please feel free to PM me.