Klarinet Archive - Posting 000701.txt from 1999/05

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: [kl]Hans Moennig's solution the Dark Clarinet Tone
Date: Sat, 15 May 1999 18:01:13 -0400

On Sat, 15 May 1999, Bill Hausmann wrote:
> >David, Very well said. The fact that these players along with Ralph McLane,
> >Bob McGennis, and Bonade all had autographed photos holding Buffet-Moennig
> >clarinets, speaks very highly of the R-13's playing potential. Such Photos
> >lined the walls of the Moennig shop starting in 1926 to 1988.
> >
> But, you see? Moennig had to be contacted to finish the job Buffet
> started! Who does the work on Selmers, Leblancs, and Yamahas to make them
> play correctly on a professional level?

I guess it depends on their point of view. Many fine players did not have
their Buffet clarinets worked on by Moennig - mine never was - and it
plays fine.

The same people work on Leblancs, Yamahs and Selmers to get them to play
at peak as well - peak being defined as for the individual. Brannen has
worked on many of my students' Selmers and Leblancs. There are also lots
of instruments being played on that have never been touched by a
technician and play just great.

I'm still trying to see the problem. If the players mentioned above
wanted their instruments worked on for specific reasons, that's fine.
That doesn't mean the instrument was inferior to begin with. Perhaps
that's where the rub is for you - that you conclude that if a person pays
more to have work done, that they must have felt their instrument was
inferior, problematic, second rate, or perhpas even inappropriate for
professional use. That seems to me to be a fairly large jump in terms of
conclusions.
Roger Garrett
Professor of Clarinet
Director - Concert Band, Symphonic Winds & Titan Band
Advisor - Recording Studio
Illinois Wesleyan University

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