 The Clarinet BBoard
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Author: bill28099
Date: 2018-04-29 00:07
Does anyone know or remember what brand or model of clarinets Mr. Serpentini used during his 42 years of playing second chair in the Philadelphia Orchestra (1920-1962)?
A great teacher gives you answers to questions
you don't even know you should ask.
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Author: Joseph Brenner, Jr.
Date: 2018-04-29 08:22
Though I cannot state as fact that he played only Buffet, the entire Philadelphia clarinet section was featured in the Buffet picture book, which proudly asserted that over 85% of the world's great artists play Buffet. In the early 60's the professional clarinet manufactured by Buffet was what we refer to today as the R13 (17 keys 6 rings), as well as sequentially larger numbers for 17 keys and 7 rings and so on through the configuration of the bull Boehm.
Post Edited (2018-04-29 08:28)
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Author: Mike Cyzewski
Date: 2018-05-02 02:35
I believe Mr. Serpentini played on a Buffet clarinet. You might be interested to know that he used Chedeville mouthpieces which he gave to his student, Don Montanaro who collaborated with Vandoren to use them as the basis for the M 13
series .
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Author: kdk
Date: 2018-05-02 18:38
Hi, Mike! I don't see you here very much. A welcome surprise!
Karl
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Author: Mike Cyzewski
Date: 2018-05-03 02:47
Hi Karl
When I check the board I always find your postings erudite and
make it a point to read them.
Mike
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Author: J. J.
Date: 2018-05-03 03:59
David, what do you mean? I remember seeing Vandoren articles around the time of the M15 introduction that were specifically about his involvement.
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Author: seabreeze
Date: 2018-05-03 04:05
I haven't seen a direct acknowledgement from Vandoren that the"M" series was designed by Montanaro. But Vandoren has stated "The M13 is the first mouthpiece to be produced in collaboration with Donald Montanaro" in an issue of their newsletter Vandoren Magazine published sometime around 1999. https://www.vandoren-en.com/file/142920/.
In an interview with Jean Marie Paul that was done for Vandoren, Montanaro says that he worked with Bernard Vandoren to create the "13 Series" mouthpieces that were deliberately modeled on Chedevilles and designed to play at at A = 440 pitch. This interview can be assessed by googling:
Don Montanaro Talks Mouthpiece, Schools of Playing, and Sound.
So Vandoren does acknowledge that Montanaro helped them design the 13 series of mouthpieces, not the M series (some of which are available in both series 13 and regular non-13 versions).
Post Edited (2018-05-03 09:38)
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Author: J. J.
Date: 2018-05-03 07:34
In fairness, David did say the "M series name," but yes, this was the article I was referring to.
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Author: bill28099
Date: 2018-05-03 21:08
The reason I asked my initial question is that I recently came into possession of an early 1950s Leblanc Dynamique that was owned by Serpentini. He sold it to a student after his retirement. The student played it for a few years and put it in storage around 1970. I was just curious if it could have been a horn played in the orchestra or if it is just one of many he likely owned. It's a nice playing horn but not as nice as the one I've been using the last few years.
A great teacher gives you answers to questions
you don't even know you should ask.
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Author: Mike Cyzewski
Date: 2018-05-04 02:10
You pose an interesting scenario with your follow up post.
I am confident to assume that Mr. Serpentini played a Buffet clarinet most of the years when playing with Mr, Gigliottii until 1962. After the Selmer series 10 came out after1967 I believe Mr. Gigliotti insisted that Mr. Querze match him with a Selmer series 10 or 10G also.He probably gave him one.
Since Mr. Serpentini played with so many different principals including Bonade, Portnoy, McLane, and McGinnis, just to name a few, it is entirely possible that he used something other than Buffet when he played with them. Mr. Gigliotti joined the Orchestra in 1949. I am sure he played Buffet from 1953 until he switched to Selmer after Mr. Serpetini retired .( Not sure what he played from 49-53) That means the 1950s Leblanc you mention could have been used in the orchestra for a few years until Mr. Gigliotti established himself and felt comfortable asking Mr, Serpentini to switch to Buffet. This is conjecture on my part.
Mr. Montanaro spoke highly of Mr. Serpentini so if he selected the instrument it might be a gem that Mark Jacobi or Mike Hammer could restore to excellence.
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