Klarinet Archive - Posting 000118.txt from 1997/10

From: "Dan Leeson: LEESON@-----.edu>
Subj: Re: Leblanc
Date: Sat, 4 Oct 1997 22:49:42 -0400

> From: MX%"klarinet@-----.95
> Subj: Re: Leblanc

Roger, I found that your note contained several things that I
did not understand. It would be helpful if you would expand
on some of these points.

> I have tried out the entire line of Leblanc, including the Opus and the
> Concerto, and I find both of those to be very good clarinets.

I certainly agree that the Opus and the Concerto are very good clarinets,
so let me begin by saying that we are in agreement here.

< While they
> retain the Leblanc "sound",

What is the Leblanc "sound" of which you speak? Can you give me
some of its characteristics? What do the manufacturers do to
the instrument that create this identifiable sound?

< they are very even in terms of scale and have
> the kind of resistance one often looks for in a clarinet.

What kind of resistance does one look for in a clarinet? Is it
possible that what you meant here is that the particular Leblanc
clarinets on which you played happened to have the kind of
resistance that YOU look for in a clarinet? And that is fine
with me. It is the leap that you infer about all Opus and Concerto
models having the "kind of resistance one often looks for" that
leaves me puzzled. I don't know what kind of resistance is
universally accepted as the sort that one looks for.

As for the note to which you were responding (from Andrew Goret),
that also puzzled me, but that has nothing to do with what you
wrote. You were trying to be responsive to his comments and
I congratulate you for having done so. However, what you wrote
left me unclear as to what I would do if I were Andrew. It's
a sort of vanilla answer.

And Andrew, what did you mean when you said that the Sonata is
a "good instrument for the basic school"? Your statement that
the Leblanc instruments run hot and cold (you said "inconsistent
intonation") is a perfectly valid criticism, but could it not
also be argued that all clarinets have this flaw? As fine an
instrument as many Buffets are, they also have inconsistencies in
intonation, as do Selmers, Wurlitzers, and Chinese bamboo clarinets.

It sounds to me (and I'm being very superficial here because all
I have is your statement) is that you own and enjoy playing
a Buffet and that has biased you against anything that is not
a Buffet. Did I misunderstand? On the other hand, if you
have objective evidence that suggests that Buffet is measureably
a better clarinet that any other, and for all performers, I for
one would enjoy seeing that evidence.

They are no
> more or less consistant (just based on the many I have tried....) than any
> other top of the line clarinets. I personally perform on Buffets, but
> there is no reason not to look for and purchase a good Opus or Concerto.
>
> There are many clarinets that play as well as the Sonata, and, unless you
> happen upon a very good price, you might want to investigate Buffet or
> Yamaha in this area.
>
> Roger Garrett
>
> On Sat, 4 Oct 1997, Anthony Goret wrote:
>
> > At 23:17 01/10/1997 -0400, you wrote:
> >
> > >Can anybody comment on the new Leblanc instruments? The only comments I
> > have heard about them have been either neutral (I don't know anything about
> > them) or bad (inconsistent intonation, etc.) However, look at the huge
> > number of wonderful musicians that play them (Eddie Daniels, Larry Combs,
> > etc.) so they probably are not ALL bad! Comments anyone?
> >
> > One of my students have a Sonata (study instrument) and it's a good
> > instrument for the basic school.
> >
> > I have try an Opus and it's a good clarinet but I play on Buffet Crampon
> > Festival and it's a clarinet for me :-)
> >
> >
> > Anthony Goret
> >
> > clarinetist/musicus
> >
> >
> > -----
> > E-Mail: Anthony.Goret@-----.be
> > http://www.creabel.com/anthony
> >
> >
> >
>
=======================================
Dan Leeson, Los Altos, California
Rosanne Leeson, Los Altos, California
leeson@-----.edu
=======================================