Klarinet Archive - Posting 000304.txt from 2003/12

From: "CLARK FOBES {USER_LASTNAME}" <reedman@-----.netcom.com>
Subj: [kl] Comparing Kaspar and Chedeville style mouthpieces (long)
Date: Fri, 12 Dec 2003 13:33:12 -0500

Kaspar and Chedeville mouthpieces have been associated anecdotally for many
years. The rumor is that the Franks Kaspar used Chedeville blanks
exclusively throughout their long carreers. I have seen no proof (sales
reciepts) that either Kaspars used Chedeville blanks, but it is a pretty
safe bet as Chedeville-Lelandais (Paris) was the predominant producer of
clarinet mouthpieces in the first part of the 20th century (Certainly out
distanced by Van Doren in the last half!!!)

In comparing Kaspar mouthpieces that I have seen and played they can be
separated into three categories:

CHICAGO
CICERO
ANN ARBOR

These categories are derived from the stamps used on the mouthpieces.Within
the CHICAGO series there are two subgroups, one with the logo stamped near
the tenon (oldest version) and the other with the logo stamped between the
ligature lines. Within the CICERO series I have noticed the use of two
slightly different bore shapes and I call these K1 and K2. This variance
cannot be ascertained from any markings on the mouthpiece. All of the ANN
ARBOR mouthpieces I have seen appear to be made from J.J. Babbitt blanks.

CHICAGO - oval logo stamped " FRANK KASPAR, CO - CHICAGO ILL" (Small oval
in center of logo).
The CHICAGO Kaspars have a deep chamber with a rather pronounced "Ski
slope" (Matson's term) or "S" shaped baffle. I have never played one that
has not been modified. I have also never seen one with the facing
indications of "11. 12. 13". etc. I think this may have been a system used
exclusively by the younger Kaspar after he moved to Cicero. (This appears to
be an arbitrary system that has no correlation to any useable measurement).
CHICAGO mouthpieces are characteristically very warm sounding due to the
deep baffle.

CICERO - oval logo stamped "FRANK KASPAR - CICERO, ILL" (Small oval in
center of logo) The CICERO Kaspars are the vintage that most American makers
prefer to emulate when offering "Kaspar Style" mouthpieces. I have seen a
variety of chamber/baffle shapes, but the predominant shape is slightly
concave from tip to bore with a rise or "roll" just behind the tip. The
signature design element of these mouthpieces is the coupling of a medium
sized chamber to a large bore with a rather steep taper. (The bore is narrow
at the top and large at the bottom as compared to a standard Chedeville. See
CHEDEVILLE-LELANDAIS) The narrow top bore gives a very focused sound, but
some of these mouthpices tend to play on the high side of the pitch -
particularly the K1 (my designation) which are smaller bored than the K2.
The facings of "11. 12. 13" etc are only seen on the CICERO mouthpieces and
appear to be relatively arbitrary. I have measured 13s that had the same
facing as 14s. I have also been told by someone who watched Kaspar work that
his system of measuring the tip opening employed a notched nail!

ANN ARBOR.- oval logo stamped "FRANK L. KASPAR - ANN ARBOR, MICH." (Small
six pointed star in center of logo) The elder Kaspar was also a very fine
repair technician. He "retired" to Ann Arbor ca. 1950 and developed a great
friendship and productive association with William Stubbins (Professor of
Clarinet at the University of Michigan, Ann Arbor). Stubbins' book "The Art
of Clarinetisty" is dedicated to Frank L. Kaspar. If you have ever wondered
about the "S-K" mechanism it stands for "Stubbins-Kaspar". The facing
markings on the ANN ARBOR mouthpieces are "1. 2. 3" etc. The ANN ARBOR
Kaspar mouthpieces vary in quality, but can be very powerful mouthpieces due
to a rather high baffle as compared to either the CICERO or CHICAGO
mouthpieces.

CHEDEVILLE-LELANDAIS. The legendary "Chedeville" mouthpieces were
manufactured by the Chedeville-Lelandais company in Paris throughout most of
the 20th century until about 1975. They can be stamped either "Ch.
Chedeville" or "Lelandais". I am not clear at this point in time if there
was a distinct design difference. There were apparently several chamber
shapes and several bore shapes available. I have seen Ch. Chedeville
mouthpieces that looked very much like Kaspars. Original facings were most
likely very short, close facings in the traditional French style. Most of
the Chedeville mouthpieces now in use by orchestral players have probably
been refaced to suit our contemporary taste in sound.

One of the nicest playing Chedeville mouthpieces I have seen is owned by
Andy Crisanti of the Ft Worth Symphony. This mouthpiece has a very large,
nearly parrallel bore with a small exit bore as compared to most Kaspars.
Iggy Gennussa allowed me to measure the bore of his famous Chedeville and it
had a similar bore. I have also measured and examined the Lelandais used by
Stanley Drucker and it also has a similar style bore. GENERALLY, The good
Chedeville mouthpieces I have seen have an almost straight baffle shape with
perhaps a subtle concavity from tip to bore. The bore is larger at the top
when compared to a standard Kaspar and tapers positively to a slightly
narrower exit than a Kaspar. With a proper facing these can be exquisite
sounding mouthpieces. A Lelandais mouthpiece was re-introduced ca. 1995? ,
but it bears little resemblance to the original. Glotin, who owns the
Lelandais name introduced a new " Ch.Chedeville" mouthpiece this summer
(2003) at the Clafest to mixed reviews.

Clark W Fobes, Dec, 2003

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