 The Clarinet BBoard
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Author: Buster Brown
Date: 2004-07-13 11:43
Anyone ever tried or heard of a Gennusa mouthpiece? I've never seen it on this board. It was designed by Ignatius Gennusa (former princial clarinetist for Chicago). It's an "old Chedeville knockoff". When I bought my new Vintage (that's an oxy-moron, isn't it?), I wanted a new mouthpiece to replace my old Portnoy. I tried many mouthpieces, Bay, Forbes, AD, Selmer, Gigliotti, etc. Muncy suggested I try this one. It "spoke" fuller and "darker" than any of the others I tried. The amazing thing is the flexibility of reeds. Reeds that didn't play well for me on the Portnoy now play well on the Gennusa. The thing is growing on me more each day. Incidentally, it's a relatively low priced mouthpiece (like VD). I bought the open mouthpiece (G**).
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Author: Brandon
Date: 2004-07-13 13:39
Yes, I have heard of this mouthpiece. I also play on one. It is my primary.
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Author: bkmorton
Date: 2004-07-13 14:42
I played on a couple of Gennusa's thoughout the years. I loved the response and overall sound. Ben Redwine is now making the mouthpieces and he was really helpfull when I bought my newest mouthpiece from him. He measured my old mouthpiece and then let me try several that were close to that facing. It is a pretty reasonable price.
I use a Forbes mouthpiece as my main mouthpiece just because it was a diamond in the ruff but I have 2 Gennusa back ups.
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Author: David Spiegelthal ★2017
Date: 2004-07-13 14:42
Current Gennusa mouthpieces are mass-produced as far as I know, and although Mr. Gennusa passed away earlier this year, new mouthpieces are still available through Ben Redwine of RedwineJazz.
Although I know Ben and play in a group with him I am in no way associated with his company and am not endorsing the mouthpiece.
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Author: TMK
Date: 2004-07-14 06:45
Buster;
I play on a Gennusa Excellente GE* using a #3 reed. This set up is good for my Buffet E-11, but does not sound full or play well on my Selmer Odyssee, I think it offers too much resistance for the Selmer so I use the C85 105, and a #3 reed. Cheers
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Author: Ken Shaw ★2017
Date: 2004-07-14 13:55
Ignatius Gennusa ("Iggy" to anyone who knew him for more than 30 seconds) was a great player and a great character. He was principal in Chicago for about a year, but he was best known for his long tenure as principal in Baltimore. His sound was gorgeous, big and very "masculine." He used to give out a tape that included the big Fingal's Cave solo, and I've never heard better playing.
His mouthpieces were good, but rather inconsistent, and, frankly, none of them were as good as his own Chedeville -- but, then, what is? They're worth trying.
Best regards.
Ken Shaw
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Author: D Dow
Date: 2004-07-14 14:38
Like anything I think one has to go through a few pieces if one has the chance. Gennussa pieces also play a bit lower I find and for some students this is really very good..I also like the hold in the sound and the eveness of scale. Iggy was a great player and although I don't like the mouthpieces personal I suppose like anything quality control can become an issue once the head of the firm is gone.
As to tonal quality they tend to be a bit darker than the Chedeville facings and pretty close in tonal quality to the Kaspar pieces.
David Dow
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Author: redwine
Date: 2004-07-14 15:11
Hello,
I just heard that there were some questions about the Gennusa mouthpiece on this forum, so I signed up and would be glad to answer any that you would like to send my way.
In general, my wife, Leslie and I were friends with Iggy for many years. He taught me all about refacing mouthpieces and mouthpiece work. I have since taken several lessons with other masters to learn different aspects of the mouthpiece business. We bought the business from Iggy about 1 1/2 years ago and are producing them now.
When I first found the Gennusa mouthpiece (about 10 years ago) I did find them to be inconsistent from mouthpiece to mouthpiece, but after now producing them, I see why. Rubber is an organic material and in the drying process (actually vulcanization) slight changes can occur within the chamber of each mouthpiece. Add to that the different facings we are putting on the mouthpiece and you get great variance from mouthpiece to mouthpiece, so it is wise to test several mouthpieces at once and determine which one you like the best. After being on the other side of the business, I see that what one person likes, another doesn't, so this "inconsistency" is really a good thing. Everyone's oral cavity, wind pressure, preferred strength of reed, ligature, etc. contribute to one's own "feel" and sound. While I would love for everyone to play a Gennusa mouthpiece, I understand that this is not realistic. It would actually be a pretty boring musical scene if everyone sounded exactly like the next person.
I personally have never played a mouthpiece that I like better than my Gennusa, so it was a "no brainer" when Iggy offered the business to me. Leslie and I are personally testing each mouthpiece that we produce, and we have heard several comments since we took over the business that the consistency is much better than when Iggy had the business. All I can say about that is that Iggy did not play clarinet for about the last 5 years of his life, so he was selling everything based on measuring mouthpieces and I think that by actually playing each mouthpiece, we are getting better results. Iggy was a great player, teacher, and friend and I am just glad that we can carry on his "excellente" tradition.
I look forward to any further questions and thank you for trying the Gennusa mouthpiece! Please stop by the booth at the International Clarinet Convention in Washington, D.C. later this month, if you are attending. I hope you'll visit my website at www.redwinejazz.com, or give me a call--I love to talk clarinet.
Ben Redwine, DMA
owner, RJ Music Group
Assistant Professor, The Catholic University of America
Selmer Paris artist
www.rjmusicgroup.com
www.redwinejazz.com
www.reedwizard.com
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Author: Hank Lehrer
Date: 2004-07-14 19:20
BB,
Wait, stop, reconsider!!!!
I can't be the only one left on the BB that plays a Portnoy.
HRL
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Author: David Spiegelthal ★2017
Date: 2004-07-14 20:40
Sorry, Hank, but I'm afraid that, outside of Sri Lanka, you are the only person left in the entire universe who plays a Portnoy. You must learn to live with your isolation and loneliness. Iconoclasts such as yourself must accept that the price they pay for 'thinking outside the box', is living outside the box. We salute you (from a distance) and wish you well.
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Author: GBK
Date: 2004-07-14 20:47
Hank... I played a Portnoy BPO3 for about a year, but eventually sold it.
It was certainly a quality mouthpiece, on par or better than many which are the same price range, but for me I found it a bit too shrill with a hard edge to the sound.
I was never able to find a reed/ligature combination which could tame the upper partials ...GBK
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Author: Hank Lehrer
Date: 2004-07-15 02:21
DS and GBK,
I am prepared to suffer in silence and isolation as the last remaining Portnoy mouthpiece player on this BB. Fortunately, the guy sitting next to me in our coumminuty band also plays and swears by his original Portnoy.
Long live Bernie!!!
HRL
PS I also have two classic Portnoy ligatures; eat your hearts out.
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Author: D Dow
Date: 2004-07-15 05:06
Alas, an super player in England uses the Portnoy, Richard Hosford of the London Philharmonic...I believe he is with BBC now however, and man he sounds great!
David Dow
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Author: Ed
Date: 2004-07-15 12:12
A few years ago Ken Peplowski was playing a Portnoy. I don't know if this is his current set up.
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Author: Hank Lehrer
Date: 2004-07-15 17:38
GBK and DS,
See, there are a few others with the wisdom to play a Portnoy! I would consider Ed and D Dow to be credible sources.
HRL
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Author: David Spiegelthal ★2017
Date: 2004-07-15 18:30
Hank,
Just proves that even highly intelligent, otherwise knowledgeable, and reputable individuals can be misguided too....................
LOL
DS
"Any Portnoy in a storm"
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Author: Buster Brown
Date: 2004-07-16 12:08
I still have the Portnoy and an old Woodwind. The Gennusa is simply easier to play on. It's free-blowing and forgiving. To repeat, it's much more forgiving with reeds. Reeds that seemed too soft are now fine.
Try some other mouthpieces, perhaps, you'll put the Portnoy away.
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