Klarinet Archive - Posting 000052.txt from 1994/11

From: Roel de Vrijer <rdv@-----.NL>
Subj: Re: Nat. schools, parts 1 and 2
Date: Thu, 3 Nov 1994 10:43:46 -0500

Quotes from Dan Leeson's reaction to Lorne Buick

> Lorne Buck put two notes on the list having to do with national character
> in clarinet playing. They were really terrific and well thought out.

I would like to second that.

> But one point it worth noting now. Lorne pointed out that German trade ads
> for clarinet players would often say "No Boehm Players" or something to
> that affect. ...

> So I wouldn't take "No Boehm Players" too seriously. It has as much logic
> as "No foreign workers" which is a current theme in German politics. Germany
> is just a very nationalistic country. They believe that they do things the
> best way (and maybe they do). ...

The Royal Concertgebouw Orchestra, here in Amsterdam, when they advertise
for a new clarinettist, they add the sentence "German system required".
Altough I am not sure, I believe the Rotterdam Philharmonic has the same
policy.
By the way, German is not the same as not Boehm. Nowadays, most German
instruments played in Holland are what is called "reform Boehm" systems
(always or nearly always made by one of the Wurlitzers).

I have never noticed in Holland a general opinion that Germans do things
the best way. The reason given by the CGO is that they want to maintain
their characteristic sound.

As a matter of fact in Holland there is ample opportunity to compare
the results of playing German or French equipment. The French dominate
the amateur market. Many, but by no means all, professionals play Wurlitzer
(including anyone aspiring a position in the CGO).

Many, but again by no means all, clarinettists here prefer the German sound.
I tend to prefer it myself as well.
Wurlitzers are expensive though, and hard to get.
What you sometimes see is a German mouthpiece on a French instrument.
I tried that once, but with little success. I am totally French now.

Roel de Vrijer
Amsterdam