Klarinet Archive - Posting 000302.txt from 2001/12

From: "Doug Sears" <dsears@-----.net>
Subj: Re: [kl] NX clarinet, Fox/Benade model
Date: Thu, 13 Dec 2001 12:39:21 -0500

Virginia Benade wrote:
> The originals, especially the A, have shown some deterioration
> since Art's death in 1987

Just out of curiosity, what is the nature of the deterioration? Pads falling
apart, wood shrinking, cracking, or what?

I'm quoting the whole message from Virginia Benade Belveal below, because the
original was a MIME attachment, which isn't straightforward to read on many
mail programs.

--Doug
-----------------------------------
Doug Sears dsears@-----.net

-----Original Message-----
From: Virginia Benade <vwb@-----.edu>

Recent discussion on this list includes several references to the research
of my late husband, Arthur H. Benade and the experimental clarinet (the NX)
that he designed, built (as both a B-flat and an A), and used for his
nearly daily playing for the last five years of his active life. It is
this instrument that the Canadian clarinet-maker Stephen Fox has adapted
and offered for sale (note, his instrument is not a slavish copy of Art's
originals--changes were made by Steve for good reasons, and I suspect that
Art would agree that they represent a further development of his original
design). I would like to offer a few observations of my own.

I accompanied the brief piece with which Steve demonstrated the instrument
in his half-hour research presentation about the the NX. I also hovered
around Steve's booth, eager to hear the NX being played by Steve or those
who were trying it out the Fox/Benade instrument. I wanted to hear the NX
sound that delighted me while Art was alive. Art's original design is
obviously the source of the wider bore that Steve used in his first four
offerings of the NX (B-flat and A, in both the AB model and the 'simple'
model with less key machinery). These all require a mouthpiece of matching
bore. The Fox NX AB model in B-flat (the only one I heard at Norman, I
think) does indeed have the charms and something very close to the sound of
the original instrument. It is far more beautifully crafted, though Art's
had similarly meticulous crafting in the areas that affect tone
production. The originals, especially the A, have shown some deterioration
since Art's death in 1987, so for those who admire or are curious about the
NX, Steve has done a service to the history of the clarinet by making
examples of the NX design available.

I also had a somewhat more intense meeting with the Fox/Benade NX at the
Norman meeting. My second husband is also a serious amateur clarinetist.
Steve allowed him to borrow the instrument and its mouthpieces during a
time when the ICA booths were closed, and my husband played on it nonstop
for three hours, some of the time accompanied by me (we were travelling
with my electronic piano, heading for a music camp after the ICA). He
found it delightful--easy playing and having the swift and smooth
note-to-note transitions and note startups typical of Benade's NX pair.
Also, even on short acquaintance, the instrument was certainly very nicely
in tune.

I hope this bit from a non-clarinetist adds some to the story of the NX.
Incidentally, my presence at Norman was the fourth ICA meeting I have
attended. I guess that qualifies me as a genuine clarinet groupie! I have
been a member of this list off and on over quite a few years. I am too
busy these days (a happy state for a 76-year-old) to try to keep up with
it, and usually only check in when one or more of my 'spies' alert me there
is some discussion of Art and his work going on. I am always glad to find
the give and take active, even when (or maybe because ) it gets heated from
time to time. The discussion usually stays fairly civil, thank goodness.
Since I am usually off-list, anyone who wants to reach me with any
questions about Art or his papers and such can find my address (mail and
e-mail) at the Benade Archive site at Stanford-CCRMA.

Virginia Benade Belveal, Cleveland, OH

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