 The Clarinet BBoard
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Author: sinkdraiN
Date: 2004-05-04 21:26
I may get some heat for asking this because...."one should play the horn that works for oneself...etc" However, I am curious if everyone in major American symphonies are playing the R13 or if yamaha, leblanc, and selmer have equal territory. In the saxophone world many of the big name mark vi players are playing yamahas, keilwerths, and yanagisawas now.
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Author: RAMman
Date: 2004-05-04 22:24
I'm in the UK, but I should imagine the spread is similar.
I know orchestral players on clarinets by Leblanc (Opus), Rossi, Howarth, Peter Eaton (International), Selmer (recitals) and Buffets (DGs, R13s, RCs).
The range of choices is so huge, I don't think you can really say whether or not anything has a larger share of the market. If you pushed me, I think I could name a few more...
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Author: diz
Date: 2004-05-04 23:04
Who gives a tincker's cuss, frankly? So long as the sound that is being produced is beautiful ... I don't care. I happen to love the sound of the Met Orchestra's clarinet department ... as to the tools they use? Couldn't care less.
Without music, the world would be grey, very grey.
Post Edited (2004-05-04 23:04)
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Author: RAMman
Date: 2004-05-04 23:11
Get over it...
Someone asks, other people answer, clearly someone cares.
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Author: Sylvain
Date: 2004-05-04 23:23
The intrument of choice in most american pro and semi-pro orchestra is the Buffet R13 or R13 prestige for no other reason that it is the most popular instrument. The Chicago area has a strong Leblanc clan, probably due to Larry Combs choice. The Selmer Signature has found a few clients in the pro circle.
Yamaha seems to be less represented than the older maker at least in north america.
And then you have the odd hand made instrument (Chadash, Rossi are popular)
If you want to know who plays what, go the the different manufacturer's website and their artists sections...
In the end, I believe most pros decided on a brand/model when they were in high school or college and never really changed since. Of course, this is not always true but pros tend to stick to what they are used to.
-S
--
Sylvain Bouix <sbouix@gmail.com>
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Author: mw
Date: 2004-05-05 00:05
These days many people tend to IGNORE the ARTISTS' CHOICE as some are paid to promote while the balance receive compensation in the form of free instruments. No doubt that Larry Combs (mentioned as an example, I have no 1st-hand knowledge) will show up at a Leblanc-sponsored Master Class with an Opus II or Concerto II - but manufacturer-provided instruments may not always show up @ Symphony performances, University sponsored Master Classes, or in private lessons, etc.
Buffet Crampon certainly continues it's post-WW2 market dominance of the North American market - BC has a strong foothold. However, we must all remember that North America is a huge market - huge markets means there is room for many manufacturers.
Post Edited (2004-05-05 04:09)
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Author: DAVE
Date: 2004-05-05 05:23
When I studied with Larry Combs he always showed up with his Opus except when he played his Wurlitzers.
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Author: GBK
Date: 2004-05-05 06:19
Ricardo Morales switches clarinet brands like some people change their ...(well, you know the rest) ...GBK
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Author: Michael G
Date: 2004-05-05 13:11
From my knowledge in Australia, all the pros use Buffets, mainly festivals, RC, RC Prestige, Prestige or R13
In london, all the players I have encountered use Buffets except for the Principal of the LPO who uses Boosey and Hawkes 10/10's and still sounds as good as he did 30 years ago. This does not apply to auxilary instruments and the players that I haven't met!
Now, lets not argue about it all, lets just help someone who asked a question.
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Author: bkmorton
Date: 2004-05-05 13:16
I CARE
I think it was a valid and interesting question. Obviously it is how well you play but it is kind of like talking about cars for some of us. Who is using what and why they choose those things are interesting.
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Author: William
Date: 2004-05-05 14:37
One of our countries finest jazz clarinetists plays a LeBlanc Concerto simply because Vito P gave him a freebie. Before thatm he was a primarily a Selmer BT artist, but I have known him to pick up any clarinet laying around his repair shoppe and go play a gig--and he can make any clarinet sound absolutely great. So don't worry wo much about who is playing what, just try a lot of different clarinets and play the one that plays the best for You.
But, FYIO, I play LeBlanc Concertos (circa, 1992) and sound just like my co-player who recently purchased a wonderful set of new Buffets at IMS--"International" models, I think.
BTW, at last evenings rehearsal, she told me her new Bb developed a serious crack at the top of the upper joint which had to be repaired at Brannens--and she started playing them only a month ago. Has anyone else noticed any deterioration in the quality of the wood--grain, etc--that new clarinets are being carved from??
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Author: mw
Date: 2004-05-05 16:10
William, wood is funny. As youn know well - some cracks, some doesn't. There is an interesting thread on NAPBIRT right now entitled "So why does Wood Crack?". The answers vary as much as you would imagine.
Actually, Leblanc is reputed to have the largest (aged) wood supply (translated as they got more Billets than anybody!) as opposed to other manufacturers who were not as well heeled when an abundance of wood was available or simply didn't have a long range strategic plan which entailed squirrelling away a bunch of wood!
Quality wise many people have felt that the leblanc wood was superior to Buffet, a reason (in part) for higher Leblanc prices. I have always thought that Buffet Crampon used much more Dye in recent decades as compared to Leblanc, an unscientific observation based upon the horns that have passed my way or that I have seen at shows, etc. BUT, when you don't use (as much) Dye your laundry (wood imperfections) is left to hang out, so to speak.
[ What's much more interesting to me - is the likelihood of additional (stress?) cracks caused by repairs ]
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