 The Clarinet BBoard
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Author: Bill
Date: 2000-08-14 18:08
I had the exciting experience yesterday of getting an instrument back from the repair shop and playing it essentially for the first time. It's a 1938 Buffet Bb clarinet. I've played it for only one sitting (about 45 min---didn't want to push it too much). The sound is nothing like what I expected from reading about these instruments in Gibson's book and in other places. My housemate describes it as having a "sad, melacholy" tone quality (I was playing Baermann studies, maybe that's why!) I do find the instrument to have a comparatively "small" sound, though very pleasing. It's mellow without being "dark." Overall, it will take some getting used to. It lacks a tonal "edge." Anyone else play these pre-Caree Buffets? --Bill.
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Author: Sherwood W. Franklin
Date: 2000-08-14 21:45
Happy to meet someone who plays a pre-Caree Buffet. I play an R-16 3/4 (full boehm) made in 1936-7 SN 22xxx. I have never thought it played with a "small sound". I have found the tonal quality more adaptable to the classics rather than jazz. I do agree with you that it has a very mellow sound. I am curious about the bore of your R-13. Do you know what it is? Incidently, I believe Lelia Loban has a pre-Caree Buffet that she likes very well. Good luck and enjoy your Buffet. I know that I do. I have a Selmer 10S that I also play when I want a bit "darker" sound and when I play swing tpye music.
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Author: mark weinstein
Date: 2000-08-14 23:13
What ws your setup ? I have a B45 laying around here that will give ANY HORN an edge ! :^) mw
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Author: Sherwood W. Franklin
Date: 2000-08-15 02:13
I use two mouthpieces on the Buffet. A B46 and an original Buffet mp from 1937 which is in excellent condition. On the Selmer, I use a 5JB and a Selmer HS**
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Author: Graham Elliott
Date: 2000-08-15 08:18
I play on Martels, which was a Paris based maker operating between 1900 and 1940. Although i cannot find out when my instruments were made, the date would be around 1910 - 1920. My guess is that they would be similar to a 1938 Buffet, i.e. a straight bore which is wider than the usual today. The bore dimension is 14.9 mm. The lower joint tone holes are heavily undercut.
This instrument does indeed produce a smaller sound than the modern clarinets (which after all have to be designed for power given the loudness of the modern orchestra). The sound is very clear, almost lacking body (in exchange for a kind of "hear through" quality). Very plangent and plaintive. The sound is bright (not dark) but has a covered quality which reduces stridency in all but the brightest reeds. Having said that, I would suggest trying out new brands of reeds for a clarinet of this period. I find Vandoren far too bright and aggressive. Zonda often seems to work, but then again mouthpiece choice is key to that decision.
Instruments of this period have a great deal to offer. Hear how amazing Benny Goodman was at this time. Did his sound improve later? No. But the instruments need to be worked at and experimented with (e.g. reeds and mouthpiece) in order to deliver. Oh, and listening to the players of the period is invaluable to finding out what can be got out of them.
My guess, Bill, is that very soon you'll wish you had always played this instrument.
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Author: Bill
Date: 2000-08-15 15:21
Graham,
Fascinating note!!!! Aren't Martels the clarinet Reginald Kell played? The only information I have are Nick Shackleton's and Gibson's obscure remarks that Kell played horns "stamped Hawks but understood to be made by Martel." What can that mean? A hybrid British/French horn?
You really hit the nail on the head in decribing my clarinet. The only difference I might have with what you wrote is that it's my understanding the earlier (pre-Toscanini, c. 1930s) orchestras did have a big sound (a la Furtwangler). I expected this clarinet to have a huge, very dark sound. No matter! Yes, I am growing more used to the sound. Very "creamy," a word often sued to describe the English (as well as Kell's) sound.
Ridenour has a wonderful article on some Web site somewhere to the effect that all instruments need to be brought back to "center," i.e., to mitigate dominating aspects of the sound and return the instrument to "middle ground" (or to the the player's ideal) tonally. I find a Vandoren B45 mouthpiece (also suggested by Mark) seems to give this clarinet the push it needs (as well as opening up the sound). With a close set-up I find the clarinet sounds like a muted trumpet, with brittle notes and a too-tight sound. --Bill.
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Author: Graham Elliott
Date: 2000-08-15 17:08
Bill,
I agree with everything in your note. Kell played Martels as did the majority of players of his period. They are indeed stamped Hawkes & Son (Excelsior Sonorous Class) because Martel Freres made them for Hawkes to pass off as English instruments. In an amazing piece of reverse psychology, Charles Draper (the leading British player of the age, and a Martel user) started a British maker called Louis, in order to convey the impression they were made in France and would therefore be as good as Martels! (but I digress).
In my 13 years of playing these clarinets the majority of that time has been on a B45 mouthpiece, which does exactly what you say, and worked very well for me. I tried an M13 (close lay) which sounded very pure and "pretty" but was too nice to convey what I wanted to convey. Currently I play on a replica of Charles Draper's mouthpiece, made from measurements by Edward Pillinger, a British mouthpiece maker. It's difficult to play, but I'm enjoying it. Do try listening to Draper recordings if you can (this is a hobby horse of mine).
Graham
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Author: John
Date: 2000-08-16 16:48
My daughter plays my 1900-1910 Buffet and recently earned a Superior rating on her performance of Mozart's Quintet at our State Music Festival. A repair technician tried to convince me to spend as little money as possible on the clarinet. After he tried it, he agreed it was worthy of the best treatment.
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