Klarinet Archive - Posting 001285.txt from 1999/01

From: Janet McNaught <mcnaught@-----.com>
Subj: [kl] An afternoon for clarinettists (long message)
Date: Mon, 25 Jan 1999 16:40:42 -0500

Yesterday afternoon I hosted an clarinet clinic at my business (a small
commercial art gallery). We had Stephen Fox with his set of clarinets, and
Guy Legere with reeds to try and buy. Stephen Pierre, the principal
clarinettist with the New Hamilton Orchestra and a clarinet instructor at
McMaster University and University of Toronto, also brought his instruments,
including the Basset clarinet that Steve Fox built last year. Steve Fox also
brought his box of repair tools, and did quick repairs on site. And to set
the mood, we had the radio on CBC - 2, for the live broadcast of the
Stoltzman family in concert from the Glenn Gould studio in Toronto.
Klarinet list member Larry Paikin was at the concert - and then came to the
clinic with handfuls of concert programs for us to envy.

First the clarinets: Steve brought his two sets of contemporary Bb and A
clarinets - one set with French bores, and one with German. They have
identical French fingering systems. It was very interesting to play test
these; and I was surprised at the difference in sound and response. Of
course this is difficult to describe, but I found that the German bore
clarinet was freer blowing, offering less resitance, and more uniform tone
over the range than the French bores. However, this could also be because
the German style clarinets are closer in playing quality to my own Selmer
series 9. For what it's worth, Stephen Fox prefers his own German bore
clarinets for performance.

In addition, he brought three period clarinet replicas - a five key basset
clarinet in A, and two different versions of 19th century boxwood
instruments. It was like trying a completely different instrument (not a
clarinet?) - and they are designed to play with a German style mouthpiece.
It was a real treat to have these to try.

Steve also brought his basset horn, and Steve Pierre's basset clarinet.
With the recent discussion about mechanism for the low notes, I took
particular note of Steve's design - the basset notes are "accessed" by a
panel of R.H. thumb keys, which seem really comfortable to use once you get
used to _not_ supporting the instrument with your thumb. The weight is
supported with a neck strap and a post attached to a "plate" which rests on
your stomach. Hard to describe, easy to play. Steve also brought a work in
progress - the lower joint for a Bb basset clarinet.

Now for the reeds. It was a real treat to have the opportunity to "play
test" as many as I wanted - with quarter strengths you have a pretty good
idea of what to order, and you are able to exchange for a different
strength, but it was much easier to just try a bunch. I usually use a V12 3
1/2 (and find some too hard, some too soft). I first tried the Legere 3 1/2,
and it played really easily, and consistently. For interest. I also tried
the 3 3/4, and ended up buying it.

Stephen Pierre had all of his students buy at least one Legere reed. (And he
had never met Guy Legere; just had a set of Legere reeds in various
strengths to try). He is very enthusiastic about these new reeds; simply for
their consistency. With the dramatic changes in weather here (Southern
Ontario), reeds can change day to day, and for rehearsal it is a real
advantage to have a reliable one with a consistent response to play on "bad
reed days". Guy also explained that many of his clients like these as
rehearsal reeds - they may have an excellent reed prepared for concert, and
don't want to use it up in rehearsal. So one very good recommendation is to
have a Legere reed for back-up.

I was surprised by the Legere reed. It plays very much like cane; but it
had a much smoother response and consistent tone over the dynamic range. I
could play extremely softly much more easily, and I also found stacatto
attacks better. I will be using my new Legere reed playing in concert band.
I think that the cane reed still offers potential tone flexibility to
explore - I'm still discovering what I can make the clarinet do, and I think
that the cane reed gives me more potential. But the cane reed also has a
lot more "garbage" in the tone, as Steve Pierre described it.

So my conclusion on the Legere reed is that I'm delighted to own one; and
will use it a lot, but it will not completely replace the wretched cane reeds.

That summarizes three hours in the afternoon; followed by dinner and the
report on the Stoltzman concert by Larry and Marnie Paikin. You'll have to
hear about that from Larry.

Janet.

-------------------------------------------------------------------------
Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
Subscribe to the Digest: klarinet-digest-subscribe@-----.org
Additional commands: klarinet-help@-----.org
Other problems: klarinet-owner@-----.org