 The Clarinet BBoard
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Author: seabreeze
Date: 2017-07-30 21:21
Just a small personal commentary about a few things I liked.
I tried out most of the clarinet brands and many of the models available. Sorry to see that no SE Artist models were on the Yamaha tables, but the CSVR and SEVR models were in abundance, and they are superb! The keywork and finishing on both were identical; only the SEVR is a little larger in the bore. They sealed, the keywork was tight and even, the tuning and consistency among the best on the market. At a selling price of around $3,000, both the CSVR and SEVR were unmatched by anything else I tried. No other clarinet for under $6,000 even came close.
They both play effortlessly. No embouchure compensation is necessary to preserve consistency in pitch and tone throughout the range. I was drawn a bit more to the SEVR because I like a very wide dynamic range in a clarinet, something that might assert itself in the Nielsen Fifth Symphony, for instance, or the sustained crescendos of the Abyss of Birds solo in Messiaen. Both models will do that, but the SEVR does it a bit more.
The SEVR and CSVR both seem preferable to the R13s I tried. But don't count Buffet out! Two vendors known for selecting Buffets and setting them up had killer Buffet R13 Prestige clarinets on the table. These cost twice as much as the SEVR and CSVR. I would not say that the Prestiges played "better" than the Yamahas, but they did have more of that classic French sound associated with the Buffet name and they seemed to me to "slot" just a little more easily in the altissimo than the certainly more than adequate Yamaha's did. For example, I found it easier to play rapidly from the altissimo E to the A a forth higher and back again on the Prestige.
All three of these clarinet models, as they appeared at the Fest, seem to be to be truly excellent, and only personal taste and individual needs would recommend one above the other. The other clarinet brands and models available for testing ranged from very good to not so good (and I'm not going to be more specific than that) in tone, tuning, consistency, ergonomics, etc. So, for me at least, Bravo Yamaha and bravo Buffet (at least for that model set up that way)! Outside of the small European workshops (maybe) these Boehm clarinets are about as good as it gets.
As a postscript on the clarinets at the ICA, let me add that the Selmer Seles Presence clarinet also played very well and would be another good pro instrument--at an affordable price--worth trying. Good depth, resonance, and balance to the sound.
A note on just two of the many outstanding performances. Julian Bliss played a letter perfect rendition of the Nielsen Concerto, making even the most difficult passages sound like child's play. Smooth, confident, reliable throughout. I happened to be seated in the audience nearly in front of the famous Italian bass clarinetist, Parisi, and I heard him express admiration for Bliss's performance.
Stanley Drucker, now somewhere close to 90(?), blazed through Nicholas Roussakis' 1957 composition "Two Dances for Solo Clarinetist," with a rhythmic drive and strong, ringing tone that easily reached the last row of the large audience in the Gulf Coast Room. He deftly negotiated some rapid wide-interval passages that would have challenged even the best flute players and brought the audience to its feet in applause. I left with a renewed appreciation of Drucker's remarkable abilities.
Post Edited (2017-08-13 22:35)
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Author: tucker ★2017
Date: 2017-07-30 23:35
Thanks for the report, Seabreeze. Hope other's give their opinions as well.... I'd love to hear what you guys though of the other brands/models/etc etc.
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Author: TrueTone
Date: 2017-07-31 00:07
I'll use my first post to talk about my first time here, rather than lurking constantly and reading all the posts here, then...
As I said, this was my first clarinetfest, so it was a bit overwhelming for me to suddenly get to be around this many knowledgeable people and good players.
Trying a lot of mouthpieces and hearing a metric ton of good players was nice, additionally.
The Yamaha booth was rather empty when I went there, contrary to what I'd expect, although as Seabreeze said, they all played nicely.
All of the evening concerts were phenomenal.
(Plus playing bass in the collegiate choir was nice.)
These are the views of someone who's about to go into college who's never been at CF before and hasn't had enough sleep, so I apologize if this post seems a bit garbled.
Post Edited (2017-07-31 00:08)
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Author: RLSchwebel
Date: 2017-07-31 00:32
Thanks Seabreeze!
I'm curious...was Uebel at CF? Did you try their "Superior" horn?
~robt
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Author: seabreeze
Date: 2017-07-31 00:52
RL,
Uebel was there. Rather than offer detailed evaluations of other instruments at the show, and naming names, etc, I'm just going to let my conclusion stand that the Yamahas and the well-set-up Buffet R13 Prestiges stole the show for me. I will add that the latest Yamaha CSG is also well-made but blows wider for me than I am comfortable with (though perfect for some other players) and that I would put the Buffet Tradition in the good category (which may be another way of saying that all roads led back to Yamaha and Buffet). Finally, all I can say is whatever you're thinking about buying, first try those Yamahas and a well set up Prestige for comparison. You will reach your own conclusions.
Post Edited (2017-07-31 01:01)
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Author: ClarinetRobt
Date: 2017-07-31 02:35
(I just realized my I work computer had me signed in with an old account, RLSchwebel)
I appreciate your thoughts comparing the various instruments. I've mentioned in past post I play on a Prestige Buffet. It's a lovely instrument...about 20 years old. It was hand picked...yada, yada, yada...it get the job done...very well.
I played on a CSVR a couple of months and I'll admit I'm infatuated. It's just a beautiful playing instrument. The best I ever played and we've discussed this ad nauseam these past few months about the CSVR. However, it lacks the LH Eb which I've come to enjoy the three times a year I can use it. Supposedly I can special order one with this feature. Certainly not a deal breaker if I purchase. I love the thought of having a matching set of horns.
When you mention 'blowing wider', that's how I always felt about some of the Selmers. Great horns, but I just liked Buffet's compactness of sound better. I could easily say the same about Ridenour's Libertas...compact with a nice resistance.
If you don't mind, I'll email you for your impressions on the Uebel if you care to discuss.
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
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Author: Ed
Date: 2017-07-31 04:07
Regarding your comments on Drucker- I always feel that while I would not necessarily choose to play some things in the same way that he does, I am always impressed by him and amazed by the enthusiasm and passion that he brings to every performance. He never seems as if he phones it in and always seems to be having the time of his life. His sound is big and ringing and has amazing projection.
No matter if he is your taste or not, you can always learn something from hearing him.
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Author: seabreeze
Date: 2017-07-31 04:41
Yes, I've never seen him look bored or give the impression "ho-hum, I guess I've got that passage down." His playing always seems like more of an adventure: "let's see what happens next." Sometimes it works, sometimes not, but it certainly is never dull or lifeless. I find it hard to believe, but I think his sound is more balanced and even livelier today than it used to be when he was younger. The boom in the lower register is gone and he keeps the timbre focused though all the intensity. In rhythmic drive and sheer presence of sound, I don't believe he was equaled by any of the other (all very talented and certainly younger) players at the fest that I heard perform. I actually felt grateful that I could be there to hear him--not your everyday clarinetist.
Mitch Estrin's book on Stanley Drucker's life is coming out soon. Should be a must read for clarinetists.
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Author: Ed
Date: 2017-07-31 19:05
In the orchestra where I play Drucker came in a few times as a soloist over the years. I remember that listening to him over the rehearsals and concerts, including at the rear of the auditorium was enlightening and yet frustrating to me. While it was a somewhat small hall (around 800 seats), I remember that his sound, while remaining focussed, was huge and resonant and really filled the space. When I would then go back to my seat in the orchestra and pick up my instrument I would be frustrated trying to get anything even close in size.
Post Edited (2017-08-01 16:11)
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Author: seabreeze
Date: 2017-08-01 19:20
Hi Michelle!
Great mellifluous performance by you of the Martinu Sonatina last Wednesday in the Seminole room! The Oehler clarinet needs more representation at festival events. I sometimes dream of an "Oehler Day" at one of the Fests in the US, featuring you, Sabine Meyer, Andreas Ottensamer, Wenzel Fuchs, Andy Miles (yes, jazz on the Oehler!), Sebastian Manz, Rick, Dmitry Rasul Kareyev (who switched from Boehm just a few years ago), and other Oehler players.
Post Edited (2017-11-05 04:50)
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