Klarinet Archive - Posting 000695.txt from 1997/03

From: "J. Lawrie Bloom" <l-bloom@-----.EDU>
Subj: Re: LeBlanc Bass Clarinets?
Date: Fri, 21 Mar 1997 09:02:32 -0500

>>Fred Sterns asked about professional-level bass clarinets:
>>
>>In response: I have played a Selmer (is it model 33?) low C instrument
>>for almost ten years in chamber music and in various orchestras
>>(including substitute work in the Indianapolis Sym. O.) and have been
>>very happy with it. The biggest problem with this horn is the wide
>>12ths between E and b' and F and c'. I have had cork added in several
>>of these tone holes to bring down the pitch of the higher note in each
>>pair but the lower fundamental is now too low. If anyone has another
>>(better!) solution for this intonation problem I'd like to learn about
>>it.
>>
>>Greg Barrett
>>Jacksonville State Univ.
>>Alabama
>
>
>Greg...thanks much...having had limited experience with the BCl, the
>opinions of experienced players like yourself are most welcome. The
>instrument has become "real competition" for my first love, the alto
>saxophone, and I find myself spending more time with it than anything else.
>
>
>[Re: your parenthetical question...if the numbers today are the same as
>before the model 33 is a low Eb horn and a model 37 is the low C.]

The "old" numbers were model 32 for low Eb and model 33 low C, which is now
replaced by model 37.
>
>The few professional BCl players I know, that is those into orchestral
>music, seem as you have to favor the Selmer. I can get an attractive price
>on a new LeBlanc, however, and that is one reason I inquired about it.

My experience is slightly different. For nearly 20 years of my career I
performed on a number of Selmer bass clarinets, model 32 or 33. All that
time I never tried a Buffet that was worth anything!

All that changed about 5 years ago when Buffet sent a bass to the Chatelet
in Paris, where we were performing, for me to try. I was so impressed that
I went to the factory the next day and tried all they had-6 additional
instruments. I picked one of these, had Rene Leseaux, the designer, do
some adjustments and intonation work, and played it that night on our
performance of Til. I have played this instrument ever since. Why?

The general sound is far superior, in my opinion, to my Selmers. Now
before everyone jumps down my throat, I had a GREAT Selmer. The
intonation, with some adjustments, is far superior as well, and the key
work is in another world. Anyone who has played Selmer basses for a time
knows that their octave mechanism can be tricky. I find the Buffet
fantastic in this respect. Many of my colleagues have commented over the
years about how much more they like the sound of this instrument. (I don't
know what that says about how I sounded before?!)

Now there is a new model coming into the country, which has addressed some
of the complaints Harry Spaarnay and I have made over the years. I suggest
you give it a toot, you may find you like it.

--
J. Lawrie Bloom
clarinet and bass clarinet Chicago Symphony Orchestra
Northwestern University l-bloom@-----.edu