Klarinet Archive - Posting 000263.txt from 2001/06

From: "Mark Charette" <charette@-----.org>
Subj: Re: [kl] B&H 1010s
Date: Tue, 5 Jun 2001 22:12:04 -0400

From: <GrabnerWG@-----.com>

> Mark Charette observes (concerning reputed intonation problems on large
bore clarinets).....
>
> Of course, the recorded evidence suggests that Gibson is wrong. Listen to
recordings prior to the R-13 by some of the artists of the time playing
big-bore clarinets. While it may have been more difficult to play large bore
clarinets in tune, it sure doesn't appear to have been impossible.
>
> Walter replies:
> 2. Great artists have always been able to transcend the limits of their
instruments (which we contine to have to do with the "modern" clarinet. I
imagine an artist like Reginald Kell would have found a way to play
beautifully and in tune on any clarinet you put in his hands.

Walter, if your reading was correct (I don't have Gibson's book handy - I'm
sorry), you said

"Gibson's conclusion is that large bore clarinets like these simply could
not be played in tune with themselves. Therefore, they became obsolete when
the Buffet R-13 appeared."

Therefore, looking at your example of Kell playing in tune (and on a
recording or two that I've heard he sure sounded to my ears to be well in
tune) there's at least one contrindication of the first statement. The
example of the Rossi large bore (15.2 mm) and other manufacturers is a
contraindication of the second.

> 3. Gibson also remembers seeing Kell's clarinet and says that the tone
holes were full of fingernail polish and tuning tape!!!!!

Which indicates that Kell worked on his clarinet to put it in tune, that's
all. Moennig worked on the R13 to put those in tune, too.

All of which only means that critical reading and evaluation is required, no
matter what the source.

Mark C.

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