Klarinet Archive - Posting 000087.txt from 2009/10

From: Simon Aldrich <simonaldrich@-----.ca>
Subj: [kl] RE: Antique clarinet length determines diapason?
Date: Wed, 07 Oct 2009 23:22:29 -0400

Dear Keith

Thank-you very much for sharing your experience in Prague and for
answering my last round of questions a few days ago. Interesting and
fascinating.
I thought the "pieces de rechange" were for altering the key of the
instrument but you point out that they were for facilitating changes
from one diapason to another.
When you try antique clarinets you come across, do you do so on a
mouthpiece/reed that you take with you or do you attempt to use the
mouthpiece supplied with the instrument (if one is supplied and if it
is not too chipped)? I presume you take a tuner with you.
I have heard from people who play on replicas that in some cases the
pitch difficulties are replicated as well.
In your experience do replica-makers try to improve the pitch
problems, or does improving pitch somehow reduce the authenticity in
their eyes?
One last question, if you will indulge me. To be able to play with
other classical-era replica instruments, is A430 always the accepted
diapason of these instruments, even if, for example Mozart-era
diapason was not necessarily A430? If the answer is yes, I suppose one
could "cheat" by playing Mozart serenades on a 13-key A430 instrument
even though 13-key instruments did not exist in Mozart's time.

Looking through the antique clarinets at earlymusicalinstruments.com
(especially when the instruments are only $300 or $400) or
occasionally on ebay, I can sympathize with the guitar-player's
syndrome: GAS (guitar acquisition syndrome).

Thanks so much for sharing your experience and expertise.
------------------------------------------------------------
Simon Aldrich

Clarinet Faculty - McGill University
Principal Clarinet - Orchestre Metropolitain de Montreal
Principal Clarinet - Orchestre de l'Opera de Montreal
Artistic Director - Jeffery Summer Concerts
Clarinet - Nouvel Ensemble Moderne

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