 The Clarinet BBoard
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Author: Rosewood ★2017
Date: 2017-04-18 07:32
Hi, I'm curious if anyone knows Frank Cohen's setup? It looks like he plays on a Rovner ligature, but I can't determine anything beyond that.
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Author: Ed Palanker
Date: 2017-04-19 21:18
Don't forget, using someones equipment does not mean you can sound anything like them.
ESP eddiesclarinet.com
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Author: TomS
Date: 2017-04-19 23:22
A million years ago, when I briefly studied with a nearby clarinet professor at a local university, and before we worried about transmitted diseases, we swapped complete setups for about 30 minutes ... that is, I had his horn, MP and reed and vice versa. In about 10 minutes, we each started sounding like we did before the switch. And for each of us, it was a radical departure in setups.
Most of the sound comes from behind your nose.
Tom
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Author: Arnoldstang
Date: 2017-04-20 00:17
This is no doubt true but it seems that thousands of people buy into the idea of having equipment to optimize their playing.
Freelance woodwind performer
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Author: TomS
Date: 2017-04-21 17:35
It's true ... you buy gear to effectuate your concept of sound. I wouldn't wanna use my teacher's setup ...
Tom
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Author: DAVE
Date: 2017-04-22 07:21
AFAIK, Frank Cohen has always played Buffet clarinets with Pyne mouthpieces.
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Author: Rambinho ★2017
Date: 2017-04-24 20:23
This post is primarily about Frank Cohen and his setup. In the summer of 1964, I attended the Interlochen Summer music camp. I now see clarinetists mentioned on this board —and elsewhere on the internet: Fred Ormand, Sidney Forrest, Herb Blayman and Jack Rateree were all instructors at the camp that summer. I remember Suzanne Stephens, a Sidney Forrest pupil I believe, was one of the best clarinetists there.
I did not know anything about setups back then, but I do remember that Frank, who had just graduated high school at the time, played on a crystal mouthpiece. I would have to assume that it was an O’Brien mouthpiece. My first memory of Frank’s playing was hearing him playing out in the hallway of one of the central buildings, perhaps the day I arrived. It was evening time and there were a lot of people milling around, and I am going to assume it was time to audition. My auditors were Sidney Forrest and Herbert Blayman.
Out in the hallway, down at the far end, Frank was seated playing the Mozart Concerto, 1st movement. Remarkable, dazzling playing. "Who is that?" I wondered aloud. Someone told me that it was Frank Cohen and that Frank had recently won a four-year scholarship to Julliard. His teacher had been Leon Russianoff, who, however would not be on the Julliard faculty for some years yet. At the end of the summer, Sidney Forrest recommended Russianoff to me as a teacher. I was coming from San Francisco, headed for New York to continue my clarinet studies.
When the audition results were announced for both band and orchestra, Frank Cohen placed second in the orchestra. As part of his scholarship to Interlochen he played Eb clarinet in the symphonic band, along with Suzanne Stephens. Awarded the principal chair that summer, in both orchestra and band, was young man who had also recently graduated from high school, Alan Lappin. Alan played some sort of well-used looking hard rubber mouthpiece, and I am going to guess that it was a Frank Kaspar mouthpiece.
In all of the orchestra challenges that happened each Thursday at the camp during the eight weeks, Alan Lappin beat out Frank Cohen each time, though in the competitions, I don’t think Frank ever made a mistake.
I remember talking to Frank late in the summer, and I told him I thought he was a fantastic player. He thanked me for the compliment. But, I told him, I thought Lappin was better. For one thing, Alan and a fuller sound. Frank was disappointed to hear this, but he accepted it. Frank was a calm person, very confident in his ability. He was sure he was a better clarinetist than Alan Lapin.
Then there was the concerto competition. I remember that same evening of the auditions; someone told me that Alan Lappin was going to play the Première Rhapsodie, a piece I had only heard of but did not know at the time. And Frank Cohen was going to play Mozart, first movement. Frank won the competition, and Alan Lappin did not compete, citing the fact that he had to practice so much to maintain his principal chairs in both orchestra and symphonic band. Frank only had to worry about the weekly orchestra challenges.
As it turned out, Alan Lappin had no intention of becoming a career clarinetist. He was about to enter the University of Illinois that fall, and would major in electrical engineering.
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Author: Zacharywest158
Date: 2017-04-25 21:58
He plays on his own handmade mouthpieces. He also performs on Gonzales reeds. He bounces between various Buffet clarinets, but always returns to his plain vanilla R13's.
Source: I am his student
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