 The Clarinet BBoard
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Author: mmatisoff
Date: 2016-08-25 21:38
I just read that Johann Cristoph Denner made the first clarinet shortly after Nicolo Amati (of violin fame) died, during the lifetimes of Antonio Stradivari and Bartolomeo Guarneri. I read somewhere that the clarinets were developed late in musical history)
I am fascinated by the historical context and provenance of musical instruments, particularly woodwinds. There is considerable debate (mostly among auction houses) about which luthier's instruments had the best sound quality. Some experts attribute it to the wood Stradivari and Guarneri used to make their instruments. Other experts say it has to do with varnish, climate, or some unknown factor.
I'm curious why violins, cellos, pianos, and other instruments pass through the ages virtually undamaged, while clarinets from the same period, virtually unknown and, I assume, unusable. Are clarinets less likely to survive because of the moist environment they are exposed to? Even then, an instrument doesn't have to be playable to be valuable. For example, the Strad Messiah is virtually unplayable yet sold for $20 M.
Thanks
Post Edited (2016-08-25 23:31)
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Author: dubrosa22
Date: 2016-08-26 02:06
Clarinets before around 1830 were usually made of Boxwood which while it was the hardest common European wood available at the time (and very pretty - especially after many years of use and/or acid staining) sadly it isn't very stable and thus warps greatly.
Unlike violins, clarinets are put under constant moisture attack when played so they don't survive time well.
So most clarinets (and flutes and other woodwinds) made before the middle of the 19th century are quite warped and too delicate to play (there are exceptions of course but they are rare). This is why exotic woods like Cocuswood and Grenadilla became popular - stability.
As for their value compared with Strads, I think it is just a trend that is truly exceptional. Really no other instrument is regarded so highly in value as a Stradivarius violin. However, an exceptional condition Denner, Mueller, Klose or early Buffet instrument would all command quite good prices no doubt, just not in the millions of dollars range!
Anthony Baines' "Woodwind Instruments & Their History" is a wonderful read and recommended for the history of all woodwinds and their developments.
V
Post Edited (2016-08-30 03:11)
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Author: Chris P
Date: 2016-08-26 02:56
One of my favourite Bb flutes is a Riviere and Hawkes from the mid to late 1800s. It's boxwood with brass rings and a brass Eb key. I made a new end cap for it as the original was broken and also made a modern style headjoint cork with brass disc and threaded stem which the end cap screws onto (as you'd find on a modern piccolo). While it plays very nicely and cuts through well in a large gym alongside a rope tension drum, it's very much banana-shaped.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Chris P
Date: 2016-08-26 05:39
I think Dover have reprinted it, so copies are relatively cheap.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Matt74
Date: 2016-08-27 20:55
I don't have the book, but as I recall Arnold Steinhardt of the Guarneri Quartet, in his biography "Violin Dreams" says that a classic violin he had greatly appreciated in value. He sold it, and in a few years tried to buy it back from the guy he sold it to, but it was impossible, because it was worth many times what he sold it for. He said that there had been some kind of violin craze making the price of instruments skyrocket. He gave the impression that it was a new phenomenon. I think this was in the 80s. Apparently they are still skyrocketing. This is the best I could find...
http://www.telegraph.co.uk/finance/personalfinance/investing/10372724/Soaring-violin-prices-force-professionals-to-borrow.html
- Matthew Simington
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Author: gwie
Date: 2016-08-27 21:17
The cost of antique stringed instruments is astronomical these days.
That being said, many folks play on instruments built by contemporary makers that are exceptionally made and are the equal of any instrument, old or new. The reality is that most people can't tell the difference between old and new instruments of exceptional quality in a performance setting. There are even a number of soloists who commissioned copies of their rare Strads and Guarneris from top makers in order to give their fragile antiques respite from punishing performance schedules, and audiences don't notice the difference. Personally, I have lots of colleagues who pursue full-time playing careers on violins in the $15,000-$35,000 range from living makers.
Of course, then there are the bows...another market that has seen huge leaps in value. In the short term, old French bows seem like a good investment.
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The Clarinet Pages
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