 The Clarinet BBoard
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Author: Chris Ondaatje
Date: 2000-08-11 13:16
I have been a great fan of the English Clarinet player Anthony Pay. His recordings with the Nash Ensemble and of the Spohr Concertos No1+2 seemed to me the ideal Clarinet sound. With shock and some horror I recently discovered that he was playing on an English "modern" instrument(I am aware he has done many period instrument pieces as well). Does anyone know exactly what instrument he performs on? Are English Clarinets such as Howarths+Peter Easton making up for the sins of the infamous Boosey and Hawkes 10-10.
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Author: javier garcia
Date: 2000-08-11 14:05
What's the problem with Peter Eaton or Howarth or Boosey clarinets if he plays so marvelous whit them?
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Author: Bill
Date: 2000-08-11 15:48
Just ask him!
Tony@stsm.demon.co.uk
The later 1010 have "improvements" (an extra tone hole) by Peter Eaton. Gibson certainly complains about 1010s. I've read a lot about these instruments (I have one). A story goes that Reginald Kell was selling (?) them for a while, and someone posited to him about the instruments being difficult to play in tune. Kell said, "Anybody should be able to play in tune, etc." Something to that effect. I like mine (which I play with an appropriate mpc.). De Peyer and Brymer made their names with 1010s. Come to think of it, I did read that Tony Pay played a 1010 for a while. He upgraded from a 926. I think I remember too much of this stuff. i need to get out more. --Bill.
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Author: Mark Charette
Date: 2000-08-11 16:27
Write to Tony Pay and ask! Antony's (notice no "h" in there - he'll mention it to you if you put one in :^) email is currently tony_pay@hotmail.com . That one will go away soon I think.
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Author: Graham Elliott
Date: 2000-08-11 16:42
I believe the extra tone hole in the 1010 is the Acton vent key which removed the forked charatceristic of the B natural F sharp middle finger finguring. Eaton may have taken this over, but it appeared on Boosey 1010s from the 1960s onwards.
Pay is also a leading original instrument player. Fantastic sound from these early design clarinets. See his comments in Cambridge Clarinet Guide to the effect that polycylindrical bores are generically bad for tone.
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Author: Simone
Date: 2000-08-13 13:27
Do you know this site: <A HREF="http://www.gmn.com/artists/backstage.asp?venue=0&aid=1009&artist=Pay%2C+Antony">
www.gmn.com/artists/backstage.asp?venue=0&aid=1009&artist=Pay%2C+Antony</A> where you find video clips in which Pay talks about techers, conductors, recording, instruments and more? Really interesting!
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Author: Bill
Date: 2000-08-14 13:05
Graham,
You're right. I got the name of the mechanism wrong. However, I do associate Peter Eaton with B&H. I'd love to play one of his own-make instruments. Interesting remark about the polycylindrical bores. I just got my 1938 Buffet back from the shop last evening. A very different sound (from my 1985 Buffet). Just getting used to it. Very musical, but without a certain tonal edge and clarity I've grown used to.
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Author: Chris Ondaatje
Date: 2000-08-15 06:01
Thanks everyone for the informative response.I managed to contact Mr.Pay and he was kind enough give me the following information.
About instruments he says,
"I've played and recorded on a wide range of instruments in my time, including Boosey and Hawkes 1010, E.J.Albert Boehm system cocuswood, E.J.Albert Boehm system blackwood, Selmer 10S,Buffet RC,R13,and as you remark, Howarth. But recently I did a recording again on the 10S"
On Mouthpieces he has used,
"Portnoy,Hite,Vandoren,Mitchell Lurie,Selmer...."
On my description of the so called 'English School'being large-bored instruments played with some vibrato. He felt that this was a "myth", but did not elaborate.
He also said,
"I suppose it just goes to show the sound is'in the head':-)"
I though it was kind of him to take the time to talk.
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