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RE: Selmer Series 10G

Author: Ken Shaw
Date: 1999-09-21 19:15

Mark Charette wrote:
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Brent wrote:
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I agree with Mark, the sound can be bright, but you can compensate for that with mouthpiece/reed and (most importantly) good embouchure.
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Not entirely. The bright characteristics come out no matter _who_ plays it (and I've had a few really good people play it).

Mark -

Gigliotti has always favored a bright sound, which he felt he needed in order to be heard over the famously luxuriant Philadelphia Orchestra strings. I think he was right, although it didn't record too well. He sounded much better in person.

At the Oberlin workshop several years ago, just before he retired, he did a good deal of playing in his master classes. He sounded quite bright, with incredible projection. He played the "nightingale" solo from the Pines of Rome at a vanishingly soft dynamic, yet it crackled with energy and could be heard clearly at the back of the infamously dead Oberlin concert hall.

In an interview in The Clarinet, he said that a standing joke in the Philadelphia Orchestra is that the winds have 3 dynamics: soft, loud and btsooi (blow the s**t out of it).

I've always thought the 10G was at its best in a large orchestra.

Ralph Morgan has some wonderful stories about the development of the 10G, and which serial number series has the good ones.

Best regards.

Ken Shaw

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