Klarinet Archive - Posting 000208.txt from 1998/05

From: "Steven J Goldman, MD" <gpsc@-----.com>
Subj: Re: [kl] Wood 101
Date: Wed, 6 May 1998 00:42:24 -0400

My view is based on my work with old or reproductions of old instruments (18
and early 19 C. flutes for the most part). Craftsmen used many more
materials for old woodwinds, some for aesthetic value rather than quality of
playing. Flutes were made out of every imaginable exotic wood, solid ivory,
crystal, and even metal (these seem to have been despised even more then the
poor Bundy by players of the time). Grenadilla was prized because being very
dense it did not absorb moisture as easily, and thus stayed in tune (or
something close to it), and had less of a tendency to warp. However it was
harder to manufacture and care needed to be taken because the same qualities
made it easier to crack. European boxwood was the most common material for
most woodwinds, being relatively easy to work with. It had a very light
finish - not much beauty in the grain, but looks were improved through the
use of stains (such as nitric acid). Its problem was it was a quit soft
wood, absorbed moisture very easily, and tended to warp, ruining the
instrument. Rosewood fell somewhat between the others. Dark red with a very
nice grain, it was denser than boxwood but not nearly as dense as
Grenadilla. Much poppycock was written about the difference in the sound of
different woods, but like today's discussions these differences had more do
to the techniques of manufacture rather than the material. By the way, if
you think getting flamed on the net is bad, you should read what players and
manufacturers of the 18th century were saying about each other. Without some
technical change in the wood (impregnation with paraffin for example)
beautiful sounding and looking clarinets could be (and are) made, but they
would require much much more time in their general care, what with constant
oiling, SLOW breaking in, more careful warming of the instrument than we are
generally used to, and not overplaying (marching bands on bad days are out).
I have a gorgeous Rossi Rosewood 3 piece clarinet that is my pride and joy,
but I treat it with as much respect as my circa 1800 Milhouse 6 keyed
flute. Anyone wishing to see instruments made of these woods can go to a
museum with a good old instrument collection, a good web sight such as the
Victoria and Albert Museum http://www.vam.ac.uk/, or a specialty music store
that sells reproductions of old flutes, recorders clarinets, and the like.
Sorry if this was a little long winded. I just herniated a disk and can't do
much else then typing trivia into cyberspace.

Steve Goldman
sjgoldman@-----.com

-----Original Message-----
From: Kenneth Wolman <kwolman@-----.net>
Date: Sunday, May 03, 1998 6:48 AM
Subject: Re: [kl] Wood 101

>At 08:51 PM 5/2/98 EDT, you wrote:
>>Can anyone describe the difference between the appearance of grenadilla
and
>>rosewood? I have seen many grenadilla clarinets, and some have beautiful
>>reddish striations in the wood. I don't think I've seen a rosewood
clarinet,
>>though. Is it uniform in color? What about durability?
>>
>>Cindy
>
>Well, Patricola sent me their brochures, and there's a nice color
>illustration of the rosewood model. It's sort of a bright reddish-brown,
>really quite attractive. Makes you wonder why they call clarinets
>"blackwood":-). As to how it plays or holds up?....
>
>Ken

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