Klarinet Archive - Posting 000088.txt from 2009/10
From: "Keith Bowen" <bowenk@-----.com>
Subj: RE: [kl] RE: Antique clarinet length determines diapason?
Date: Thu, 08 Oct 2009 02:58:08 -0400
Dear Simon,
You are right that the normal use of pieces de rechange was for altering key
- that is, the bits with fingerholes in them. But my understanding is that
ancillary bits - barrels and possibly the joint from F/C and below - were
used for altering diapason for clarinetists who travelled.
I wouldn't set myself up as an expert on historical regular clarinets - the
bass clarinet is my speciality - but one picks stuff up on the way, such as
the tuning and diapason issues. The real experts are Albert Rice on the
organology, people like Tony Pay, Colin Lawson and Leslie Schatzberger on
playing historic instruments (Colin Lawson book on the historical clarinet
is very interesting) and of course Steve Fox on making them and also
playing.
I don't seriously collect, nor play historical instruments regularly; I just
have a few, mostly in pieces, that I work on and learn about from time to
time. The instruments in Prague I just came across, so didn't have anything
with me. Fortunately they had decent mouthpieces, and a decent piano was in
the shop. But yes, doing it seriously one would take a mouthpiece and tuner.
Hoping the m/p would fit. It is rare for an old instrument to have its
original m/p intact. I think it is true that exact replicas would replicate
problems as well, so I think most makers pick a really good instrument to
copy, such as an Ottensteiner (for mid century). I don't know how much
replica makers improve things. I would, however, assert that intonation was
just as important then as now and players found ways to cope. I would talk
to Steve Fox about this.
Yes, modern standard classical pitch is 430, and modern standard baroque is
415. These are just modern conventions that avoids all the tuning issues
they battled with in the eighteenth and nineteenth centuries. Though we
travel more now, the best players then were always touring.
The thirteen key clarinet was introduced by Iwan Muller in 1825; so yes it
is too late for Mozart but would have more in common with Mozart-era
instruments than our modern French ones. German clarinets are probably
closer. A five-key takes you from Mozart to Beethoven, and in many places
persisted pretty much through the 19th century.
I also find myself having to resist CAS quite strongly!
Best, Keith Bowen
-----Original Message-----
From: Simon Aldrich [mailto:simonaldrich@-----.ca]
Sent: 08 October 2009 04:22
To: klarinet@-----.org
Subject: [kl] RE: Antique clarinet length determines diapason?
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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