Over ten years ago, when I was a graduate student at UT-Austin, I met the Boston Symphony cellist Luis Leguia, who had come to make a compact disc recording with our university symphony. He brought with him a prototype of a cello made from a very strong, very light kind of polymer reinforced with carbon fibers. He explained to his eager audience and our professor that he’d had the idea for the cello after noticing how light and durable carbon fiber boats were.
Together with Steve Clark, an expert in carbon fiber and boatbuilding, he’d invented this intriguing instrument. (This video shows how they make them.) He generously let all of us play it, while we oohed and aahed over its huge tone, quick response, and charmingly space-age appearance.
I must admit, I’d been pining on and off for a Luis & Clark cello ever since this encounter, but a number of things prevented me from buying one. The chief reason was that soon after my doctoral graduation, I co-founded the Tasman String Quartet, where we had the privilege of loaned instruments, so there was less need for me to buy a cello.
After I left the quartet in 2010 for my current position as a cello professor at the University of Idaho, it became obvious to me that my own cello, which I’d had since my undergraduate years, wasn’t going to be adequate for my needs. I tried to find instrument foundations and sponsors who might help me with acquiring a better instrument, but I appeared to be too old and too employed to receive priority consideration for any of them.
The Cello Problem, as I call it—the fact that any wood cello I like seems to cost a six-figure sum, which is an irresponsible level of debt to take on when you have a family—bothered me for some time until I remembered Mr. Leguia and his robotic-looking cello. I called Luis & Clark and spoke to Stephanie Leguia, his wife. She patiently answered my dozens of questions—could I request a custom order? (Yes, but she didn’t recommend it, because then you couldn’t return it.) Could a regular luthier make repairs to the bridge and soundpost? (Yes.) What kind of strings worked best on it? (Jargar Forte on the A, a medium-gauge Jargar on the D, Spirocore Tungsten on the lower two; don’t use Larsens because they make the wolf tone worse.) What kind of endpins did they use? (Incredibly sharp carbon fiber ones: don’t cut yourself!)—and I thought and procrastinated a while longer.
Then I called my friend Rachel Johnston, who’d had a Luis & Clark cello for years, and she raved about it. “The only problem with them,” she said, “was that you’ll never want to go back to playing a wood cello.” This woman, by the way, used to play on a Guadagnini.
Then my husband said “Look, this is just silly. I know you never make spontaneous decisions, but you’ve wanted one of these for a decade, and they cost barely more than seven thousand dollars, as opposed to a cello that costs as much as our house. Just get one already.”
So I called Mrs. Leguia and said I’d like one, and the next day (free next-day shipping!) it arrived in a coffin-shaped cardboard box.
Once I’d freed it from its bonds, I found that the cello was perfectly in tune, even after its 2,800 mile journey from Boston to Idaho. I played one note, using the kind of arm weight I’d normally use for pianissimo on a wood cello, and this giant resonance sang out of it like a…like a…like a nightingale. I have barely put it down since.
I’d initially thought I’d reserve my virtually indestructible carbon fiber cello for playing new music, since my wood cello really can’t take some of the extended techniques I want to inflict upon it. But when I started playing all my repertoire on it, I realized it actually worked brilliantly for solo Bach and continuo playing, two of my top activities as co-artistic director of the Idaho Bach Festival. The Luis & Clark cello has a kind of hollowness to the resonance that can sound almost like a viola da gamba when you play it with a Baroque bow and minimal vibrato, and this can blend beautifully with a harpsichord.
At the same time, it can also stand up to a concert grand piano. I experimented with a pianist friend last week, and found that she could play with an unreservedly huge sound without drowning me out, even in densely chordal repertoire. The balance problems that plague cellists in the big Romantic sonatas–Brahms, Franck, Rachmaninoff and so on–are more or less non-existent when you use a Luis & Clark cello.
I have long arms and, after many years of experimenting with logical ways to play the cello, don’t experience pain when playing, so I can’t comment on Mr. Leguia’s claim that the smaller size and ergonomic shape of his creation can prevent injury. But I can say that it’s much less of an effort to make a projecting tone. It’s true that I’ve had to adjust my technique in several ways to accommodate the different resonance of the instrument, and one thing I haven’t quite figured out yet is how to get the kind of soft-edged Impressionistic pianissimo you need for, say, the Debussy sonata. I’m working on it, however.
Two weeks in, I’m completely converted, and so are my college students, who beg me to let them play it. The more I think about this, the more I feel quite strongly that these instruments are the way of the future for any young cellist who isn’t from a financially privileged family. The market for fine wooden instruments is, in many ways, a complete racket, with the top Italian instruments becoming so expensive only millionaires can afford them–and musicians themselves only getting to play them on sufferance, since the millionaires would rather lock their investments up in vaults. I often read the memoirs of musicians from the mid-twentieth century, when it was still possible to buy a wonderful old instrument for a reasonable sum. Those days are gone. Cellists are now winning international competitions on carbon fiber instruments. It seems like everyone’s got one.
Is the Luis & Clark cello better than a $2,000,000 Stradivarius? Of course not. But you’re also not going to mortgage your family’s future buying one, and they’re one heck of a substitute for one of those $100,000 wood instruments I used to long for. Their enormous, powerfully beautiful tone fills up a concert hall. You can safely check them in the hold of an aircraft without fear that the airline will pulverize them. They don’t go bananas when the weather is hot or dry or damp. You don’t have to worry about scratching them.
I still have questions, such as whether their value decreases the minute you get them out of the case, the way a car’s does when you drive it out of the dealership. What will happen to the resale value if the technology, materials, or manufacturing methods change? What happens if a larger company buys the business one day?
This is all academic for me right now, because I see my Luis & Clark cello as a tool of my trade more than as an investment. I don’t intend to sell it at any point in the foreseeable future. Why? Because you’d have to pry this thing out of my cold, dead hands.
14 thoughts on “The way of the future? A review of my new Luis & Clark cello”
Terrific!!!!!!! I’m so pleased it is working so well. What a thrill for you to have something so responsive. And how well you’ve written about it. Wish I could hear it!!!!!! Xxxoooxxx Mum
Love your ramble on the the L&C! I have one! Check out my blog:www.allthingscello.blogspot.com
I have an LC violin. I feel that other players look down on it, which is sort of funny. I heard one cellist say “those things are sooo easy to play!” I guess Instead of buying the carbon fiber, I should have shelled out $100K to impress her instead. 😉
I kind of wish LC instruments were “the today” rather than the future. But by what magic could one hope to make any instrument today that would convince traditionalists of its superiority? I have carbon fiber in my bicycle and golf clubs, but my piano remains wooden. When can I buy a carbon Steinway or Strad?
What Kind of bows would you recommend with a Luis and Clark? and does it fit into a normal hard case. I attend school in NY and was wondering if the harsh cold climates would be problematic since i plan to be traveling with this cello
Any bow you like should be fine. I bought a Coda bow for international travel, but I still prefer a nineteenth-century wood bow for both my cellos. Yes, the L&C cello fits into a hard case. It’s slightly smaller than most wood cellos, so that shouldn’t be problematic. So far, my L&C hasn’t had any problems with climate variations of any kind.
Thanks for your review.
I think the wooden instruments will retain their function as part of the theater of live classical performance. We’re going to hear historic music and we want to see historic instruments on stage playing it. Or at least imagine we are.
It’s like how most people expect to see Shakespeare performed in period dress instead of hoodies and sagging jeans.
I’m just now starting to learn a real instrument at 32, so a lot of this is beyond by knowledge. I don’t plan on doing any celloing on a professional level by any means, but I would like to get to the point where it becomes therapeutic fun instead of a frustrating (yet highly rewarding) gruel. The CF cello seems to fit what I want to do eventually, which is essentially metal. I was a classically trained 😉 metal drummer in a former musical life, and I want the two instruments to merge. I know it’s possible. Also, carbon fiber. That’s metal. \m/ Thanks for the write up! I’ll certainly consider one when I look to purchase a cello.
Hello Miranda!, amazing review of the L&C.
What will you recommend to make the cello sound more “woody”, warmer and with richer harmonics?. Are you satisfied with the string recomendations, or have you tried something else?. I also have a Coda bow that I like, but, do you think that a wooden bow will make the sound warmer and richer?.
Thank you, greetings from Mexico.
Hi Jose, thank you for your kind words. Yes, I think the string recommendations are appropriate. I did experiment with putting Larsen strings on the A and D instead of Jargar since I loved Larsen on my wood cello and I hadn’t used Jargar since I was a child. But I found that the delicacy of Larsen strings was overpowered by the robustness of the instrument, so I switched back to Jargars. (It’s nice that they’re also much cheaper!)
I don’t worry too much about trying to make the L&C cello sound “woody” because I rather like its own very characteristic sound. I think with some experimentation you can make it do most of the things a decent wood cello would do. The one thing that I still haven’t quite mastered is how to make a really effective pianissimo on it.
I like my Coda bow too, but it’s not my favourite bow. I play most of the time with an anonymous 19th-century British wood bow that I really love, and keep the Coda bow for international travel. I recently tried a more high-end carbon fiber bow by Arcus (http://www.arcus-muesing.de/homepage.html) that I thought was more responsive and sensitive to nuance than the Coda GX, but at the price (up to US$9,000) you might as well buy a decent pernambuco bow–there are so many bow makers who make them at reasonable prices.
I hope this is helpful!
I think is difficult to describe more articulately than the prior customer… but the instruments are spectacular in tone and quality; the company owners are knowledgeable and share information and advice easily; the prices are more than fair and the overall experience makes buying an act of joy and not a chore. Thank you Leguia family!
I am not sure if this thread is open but your review helped me with my decision to get a L&C. Thanks! My experience is that switching from the supplied Belgian to a French bridge and to Jargar premium C and G from the supplied Larsens can warm up the sound but retain that carbon fiber resonance. A carbon fiber bow makes the sound too brittle for me, a pernambuco bow warms it up. My backstory: I purchased a 5-string with a low F. Idea was to stop doubling on cello and electric bass at gigs (playing classical, jazz standards, pop). But, L&C just fit the five strings onto a standard Belgian bridge and I knew this would be a problem, but I have an adventurous luthier. He found a wider modern gamba-style bridge he cut with 1mm more arc than usual to make it quite playable. String spacing at bridge now is per a 4-string set-up. At the nut it is still narrow of course but I adapted to it, more curve in the fingers in lower positions. The bridge is a bit husky which helped warm up the sound and tamed the out-of-the-box excess resonance that buried the fundamentals (the low F really makes this cello nicely more resonant imo). Very happy now, can double on cello and bass on one fiddle.