Klarinet Archive - Posting 000367.txt from 2000/02

From: alevin@-----. Levin)
Subj: Re: [kl] A comment
Date: Tue, 8 Feb 2000 19:39:04 -0500

Tony:

I wasn't going to get into this one, because I've only test-played 2 B & H
Bb's and one A - all during the 60's. But all of them played well and
were, I recall, at least the equal of my Selmer Centered Tone*. I think
that B & H got a bad rap in this country because some catalogue vendors
imported the cheapest model for student distribution. At least in central
and western Pennsylvania the professional models were non-existent.

I recall seeing B & H instruments on Brymer and Kell record covers; but
that was no guarantee to me of anything but the American photographer's
preference. One photo was of either an Albert or Mueller system instrument.

I seem to recall that Benny Goodman also played one for many years.

Allen Levin

At 08:51 PM 2/7/00 GMT, you wrote:
>On Tue, 8 Feb 2000 02:38:14 -0500, webler@-----.net (quoting tidied up)
>said:
>
>> Nancy Buckman wrote:
>>
>> > Dixie wrote:
>>
>> > > I have found a Boozihah (sp) wood clarinet that is fairly new and
>> > > available for $600.00, maybe less. The name is what the music
>> > > store person called it, I am certainly not up on the names of
>> > > clarinets. He told me that it was more of a professional
>> > > clarinet. Have any of you heard of this, and if so what do you
>> > > think of them?
>> > > Dixie
>> >
>> > Dixie,
>> >
>> > Sounds like your "Boozihah" is really a Boosey and Hawkes model.
>> > Check and see and make certain that you know and understand exactly
>> > what it is that you are considering before you buy anything
>> > resembling a clarinet.
>> >
>> > Nancy
>>
>> I'm sorry, but after looking at this all day I can't resist it since
>> nobody else is going to make a comment about it.
>>
>> Is it possible that the name "Boozihah" is a Freudian slip.
>> Especially since I've not heard to many good things about the Boosey &
>> Hawkes.
>
>Well, I'll make a comment then.
>
>First, I applaud Nancy's contribution.
>
>And, if this instrument is a low-end of the market B&H, it almost
>certainly isn't worth considering. But if it were, say, an Imperial
>926, then I would actually be interested in buying it myself if it
>turned out to be a good one.
>
>If it is, and you're interested in it -- having had a look at it of
>course -- then see if you can get a professional to try it. But I do
>see that you may not want to bother.
>
>The thing is, and why I finally want to comment: Reginald Kell played on
>B&H instruments towards the end of his career; Jack Brymer always;
>Gervase de Peyer for most of his career, before switching to a B&H
>modified copy (Peter Eaton). I played on B&H clarinets myself for 12
>years, and on several recordings, as principal clarinet in the LSO, RPO,
>ECO and London Sinfonietta.
>
>So they can't be all *that* bad -- even if you don't think that any of
>these players belongs to your, "High Order of the marcelli";-)
>
>I want to say in passing -- not specially to do with this particular
>post -- that this list is sometimes what I would call very
>*technocentric*.
>
>Of course, giving personal opinions about the technical
>details of equipment can be helpful and encouraging, and being helpful
>and encouraging is quite important here. And if you can't judge for
>yourself, you should make sure that somebody experienced checks out the
>workability of what you're spending your money on.
>
>But beyond a certain level of workability, equipment is only a small
>part of playing -- unless, perhaps, you're talking about the very top of
>the profession. A much more important task is that of developing clear
>musical ideas to work towards, in the context of which the sort of
>change of equipment that may be required may become more evident.
>
>I have a professional clarinet-playing friend who used to say that he
>was convinced that somewhere out there was a clarinet that would make
>him play 30% better.
>
>I don't think that this particular belief was especially useful to him.
>
>And it's striking to me that quite the most expressive language I ever
>saw here about *anything* was from someone talking about the ineffable
>Zen of the master-mouthpiece-maker adding the final, intuitive,
>delicate, beyond-analysis personalising touch of genius to produce the
>perfect customised master-mouthpiece for his client.
>
>I don't believe it.
>
>Tony
>--
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE GMN family artist: www.gmn.com
> tel/fax 01865 553339
>
>
>
>
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