Klarinet Archive - Posting 000374.txt from 1999/03
From: Nancy Buckman <znjb@-----.net> Subj: Re: [kl] Vito Eb Clarinet Date: Fri, 5 Mar 1999 21:39:31 -0500
At 05:45 PM 3/5/99 -0500, you wrote:
>
>-----Original Message-----
>From: Buckman, Nancy <nebuckman@-----.us>
>To: 'klarinet@-----.org>
>Date: Friday, March 05, 1999 9:57 AM
>Subject: [kl] Vito Eb Clarinet
>
>>>>Nancy - How does the sound of a rosewood instrument differ from one of
>grenadilla? Does it require special care? Isn't rosewood less dense or more
>porous than blackwood or grenadilla?
>Thanks,
>Marty Marks
>
>
>Marty,
Initially, I was looking at clarinets to help overcome some physical
problems I have; severe asthma, carpal tunnel syndrome and major TM joint
problems. I have undergone many surgeries to correct the CTS and TMJ disorders.
When I was at ClarinetFest last summer, I made a point to try as many
different clarinets as possible. The ones that really impressed me were the
Fox, Hammerschmidt, Patricola, Buffet Prestige and Leblanc Opus clarinets.
I also fell in love with the rosewood clarinets because they were beautiful
to look at and so very sensual to the touch. They are also very light
weight. The Patricola line was considerably less expensive than the
others, too.
As far as sound goes, I am of the Dan Leeson school (what is the difference
between light and dark?). They sound the same as the grenadilla clarinets
to me. I play in an orchestra, concert band, jazz ensemble and do some
chamber music ocassionally. Because I do so much changing of instruments
within each group, I like my clarinets to feel and play as much alike as
possible. When I bought the E-fer I also bought an A and a Bb clarinet to
match. That way the keys are all shaped the same and they respond as much
alike as possible (IMHO). These clarinets have some extra keys and other
options that my set of R-13's don't have (extra barrels for each horn, for
instance). I'm not independently wealthy or anything, but I am fortunate
enough to be able to spend the money to be this picky.
The rosewood is less dense than the grenadilla, which makes them a lot nicer
to play for long periods (like in the orchestra pit when I am playing one or
two clarinets, a sax and a flute in the same show). It also is more porous
and probably more sensitive to temperature and humidity variations. Because
it is very dry in the winter where I live, I do keep Dampits in the case
with them. The only other special treatment I give them is to run the swab
through them to spread out the moisture inside them after playing and wipe
the keys off to help preserve the silver plating.
We are currently rehearsing "Slava!" by Leonard Bernstein in the orchestra.
It has some high licks which were giving me trouble on the R-13. They are
fine on the new Patricola. The most remarkable thing about them to me is
the ease with which they play over the break. Even the A plays easily and
doesn't have the stuffy sound or sluggishness that is so common to the
instrument. And, of course, they are absolutely ravishing sitting on their
pegs at rehearsal. Most everyone has commented on their good looks. I did
purchase new mouthpieces for the A and Bb, which has improved my projection
and staccato. They are cocobollo and came from Greg Smith. I played his
mouthpieces at ClarinetFest and liked them very much.
If I had my choice of any clarinet in the world, though, the Hammerschmidt's
win hands down. I thought their rosewood clarinets were superior to all the
others and the ones with the gold keys were real lookers.
If I can answer any other questions, just drop me a line. I am having such
fun with these new clarinets. They have made my music-making so much more
enjoyable.
Nancy
>
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Nancy E. Buckman
Pasadena, Maryland USA
znjb@-----.net
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