Klarinet Archive - Posting 000091.txt from 2009/04
From: Richard D Bush <rbushidioglot@-----.net>
Subj: Re: [kl] Re:Contrabass Clarinet --a response from Don Gross
Date: Sat, 11 Apr 2009 14:15:14 -0400
I noticed that Don Gross contributed a lot to this discussion thanks
to Margaret Thornhill submitting it for Don. I realize this thread is
devoted to the BBb contrabass and not the Eb contra-alto, but would
like to say something about the Bundy Eb contra-alto, which they
always labeled as a contrabass in Eb.
This instrument is patterned after the French made, rosewood bodied
contra alto. The bore is basically the same and the Bb/register
venting is the same configuration as the Paris Selmer. Dollar for
dollar, the Bundy (now called the Selmer USA) is/or was the best bang
for the buck in a bottom end reed instrument. They are very sturdy too
and can take a lot of what gets dished out at the junior high level.
Unfortunately, most large harmony reeds get too little attention and
quite often receive less than what they need in the upkeep and repair
end of things. When well maintained and when played by players who
respect and take good care of them, they can last for decades and
decades and still be highly valued inventory to a good wind band
program.
The fellow who played Reed Book IV of Chorus Line on Broadway and was
recorded with the original cast recording of Chorus Line used a Bundy
contra alto for his more than fifteen year run of the musical. The
other instrument requirements for that book were bassoon, clarinet,
small amounts of flute and bari sax. The Bundy served him well and was
a good team player along side his Heckel bassoon.
I must apologize for not remembering this fine doubler's name.
Richard Bush
On Apr 10, 2009, at 4:35 PM, Margaret Thornhill wrote:
The following meditation on contra clarinets is a forward from LA
Clarinet Choir contrabass clarinet player, Don Gross, who asked me to
post this one for him.
mt
Dear Clarnibass,
Because the Klarinet list doesn't like my AOL connection, please allow
me to respond personally.
I play bass, contra alto, and contrabass clarinets with (1) the Los
Angeles Clarinet Choir, (2) the Claremont (California) Winds, (3) the
Orange County (California) Wind Symphony, and (4) the Orange County
Symphony (bass clarinet only).
My bass is a 1983 Buffet RC Prestige to low C with a Richard Hawkins
mpc, my contra alto is a vintage Selmer Bundy to low Eb with a Selmer C*
mpc, and my contrabass clarinet is a Leblanc "paperclip" to low C with a
Woodwind Company mpc that was refaced by Tom Ridenour before he left
Leblanc.
There are several questions to ask yourself before you start looking
seriously.
(1) how much are you willing to pay? The rosewood Selmer and the metal
Eppelsheim contrabass clarinets are well over $20,000 U.S. I do not
know the Ripamonte instruments as they are rare in the United States. I
would avoid the VITO like the plague. You also must carry a stool
around with you because they're very long one-piece instruments. In
addition, the VITOs being plastic also have a tendency to break in the
middle.
(2) What range do you need? The VITO instruments only descend to low Eb
which is totally unacceptable for virtually all the modern contrabass
clarinet literature -- especially wind ensemble and clarinet choir.
(3) Will you be playing multiple low clarinets? It is virtually
impossible to switch from playing a straight contrabass from sitting on
a stool to playing an instrument that can be played from a chair. The
Leblanc, Selmer, and Eppelsheim instruments can be played seated in a
chair.
I am intrigued by the Eppelsheim instrument and hopefully will get to
audition one owned by Vinny Golia who's on the faculty of Cal Arts in
Valencia, California about 25 miles up the Interstate from me.
I tried a low C rosewood Selmer at ClarinetFest in Vancouver when the
Los Angeles Clarinet Choir was performing and it was TERRIBLE. Using my
own mpc, I could get only one octave to sound from the throat G to the
low G. F and below were so horribly adjusted that they wouldn't speak
and NOTHING above the break was playable. I fault Selmer and their very
French technician for not properly adjusting the instrument in the first
place.
That said, Julia Heinen who's has the clarinet studio at Cal State
University Northridge, bought a low C rosewood Selmer for the university
and it is a magnificent instrument. However, it requires CONSTANT
adjustment because of the expansion and contraction of the less dense
rosewood. When it works it's wonderful, but you need a technician
sitting next to you at all times.
Bottom line: I absolutely LOVE my low C Leblanc paperclip. I paid
$2,000 for it 15 years ago fully overhauled from Charles Fail Music in
Atlanta, Georgia. Last year I spent $1,600 having the instrument
overhauled by Tom Yaeh at RDG Woodwinds in Los Angeles. Tom also
overhauled the paperclip owned by the LA Philharmonic and played by
David Howard and two other paperclips owned by Alan Savedoff who plays
contrabassoon with the Pacific Symphony (Orange County, California) and
Gary Bovier who plays with the Long Beach (California) Opera Orchestra.
My "paperclip" has never let me down and it is an absolute joy to play.
Granted, it has a distinctive sound that is not quite that of a bass
clarinet played one octave lower, but at those frequencies, it matters
little.
Please feel free to ask me any more questions you might have. Having
lived with my "paperclip" for 15 years, there are many "problems" I
haven't encountered.
Cheers,
Don Gross
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