Klarinet Archive - Posting 000404.txt from 1995/04

From: niethamer@-----.BITNET
Subj: Re: Older clarinets/faces on tv
Date: Sun, 23 Apr 1995 17:17:18 -0400

On Sun, 23 Apr 1995, Lee Callet wrote:

> The "Bennett" Dan refers to was, I believe, Harold Bennett, a New York
> woodwind repairman and maybe a teacher. This is the first I have ever heard
> of him homogonizing clarinets. I knew he did it to silver flutes, and for a
> while there had a number of the top flute players in NYC getting the process
> done. It lined up the ions or something. I think Bennett studied with P.T.
> Barnum.

Dan Leeson also wrote:

> There was even a repairperson in NY, Bennett by name and now deceased,
> who believed that the atoms or electrons or something of the wood became
> all mixed up over time and needed to be straightened out by a process
> that he called homogonization. Please do not ask me to explain that which
> I do not understand, but that was his theory. He differed from the
> run of the mill blower-outers because he maintained that the problem
> could be reversed through his homogonization process.

Harold Bennett was for many years the principal flutist at the
Metropolitan Opera, and was a student of William Kincaid. He grew up in
Washington (state of). He retired from the Met on a disability (related
to his vision, I believe), and for many years had an active teaching
studio in Queens (NY), including many students from Manhattan School of
Music.

My wife studied privately with Harold Bennett, so I have seen the
homogenizing process at first hand, and even had it done to my clarinets.
First of all let me say that Bennett was a fantastic teacher, and though
he was many years out of the Met when I heard him, a phenomenal player as
well. He had great ears, and allowed no errors to pass unnoticed. He
played quite a bit with his students, both duets and "follow the leader",
where he played the phrase, followed by the student. The change in the
students sound and energy level was immediately apparent, and quite dramatic.

I attended many of my wife's lessons, at first because the prospect of
her driving alone to Queens for a 9:30 or 10:30 p.m. lesson seemed
unsafe. Although it was perfectly safe, the lessons were so fascinating
to me that I continued to go.

Bennett was indeed a great repair person for flutists. Homogenization was
a form of vibrating the molecules into alignment, and the vibration took
several forms over the years, from a simple vibrator, to an ultrasonic
jewelers cleaning device. Details changed from time to time - instrument
apart, instrument assembled, playing while vibrating - always some new
wrinkle to the process. As you might gather from the tone, I'm not sure I
bought the premise, but the instrument *did* play differently for a few
days after "treatment".

I must have had my instruments with me and Bennett asked to homogenize
them when I got the first treatment. Thereafter I needed to bring them at
regular intervals out of respect to his wishes, with the negative effect
of cutting into my wife's lesson time. One of the most amusing times
involved Bennett's assumption that, for the homogenization to have the
greatest effect, the instrument needed to be played with all tone holes
closed, with the vibration unimpeded from the bell for the greatest
possible distance. This required me to play low E out his open front door
while the clarinet was vibrated. Needless to say, the neighbors were
quite puzzled!

I'm not sure what the effect of such a treatment might be in scientific
terms, if indeed there is any. But as I mentioned, the instrument did
play differently. I wonder if vibrating made the pads seat a bit better
for a time? Thoughts from the repair people?

David Niethamer