 The Clarinet BBoard
|
Author: Terry Horlick
Date: 2002-11-22 04:49
<Img src="http://pages.sbcglobal.net/thorlick/images/rollers.jpg" border="6">
I just saw this on an auction and thought it interesting. Like the Conn below, it was a full Boehm Wurlitzer. The owner seems to have tried to "speed it up" by putting rollers on the F#/D# and F/C keys. Then for good measure he pulled off the Eb/Bb key and threw it away. He also threw away that pesky bell! How's that for Improving it? He improved it so much it is now a new system, here's what he says:
"...rare Bohemian System German hand made clarinet that combines great powerful German sound with fast french fingering. This is the kind of a clarinet Sabina Meyer and Karl Leister play on. Few American soloists play on those clarinets. I beleive Larry Combs in Chiacago plays on Wurlitzer..."
Ain't life grand? Thanks for a good laugh guy!
|
|
Reply To Message
|
|
Author: Kenold
Date: 2002-11-22 05:45
I think it has a bell unless the tenion ring is on the lower joint
|
|
Reply To Message
|
|
Author: Bob
Date: 2002-11-22 11:24
The seller certainly has a good sense of humour , if not honesty
|
|
Reply To Message
|
|
Author: Hans de Nijs
Date: 2002-11-22 12:07
I can not see clearly the signum on the photo but it looks like a Fritz Wurlitzer Full Boehm system with a german bore.
The photo shows a shape modification on the F#/D# and F/C keys which is for sure not made in the Wurlitzer workshop.
This model (boehm keywork with german bore) was not very successfull and Fritz has made in the past a very limited amount only for export, also for bass clarinet.
To prevent misunderstandings: The Wurlitzer reform-boehm model is another design (bore, holes and keywork) and was and is still very succesfull in some countries (e.g. The Netherlands).
The story about the bell is of course pure nonsense....
By the way Sabine and Karl Leister are playing the standard Oehlersystem model from Herbert Wurlitzer
Hans
|
|
Reply To Message
|
|
Author: Terry Horlick
Date: 2002-11-22 13:47
The copy says the bell is missing and later that the barrel is gone. I suspect it is the barrel, but my bohemian nature and mirth do not motivate me to further research.
|
|
Reply To Message
|
|
Author: Ken Shaw
Date: 2002-11-22 14:31
Are you sure it's a Fritz/Herbert Wurlitzer? There are other Wurlitzer instruments that are very inferior. Hans -- does this look like the "real" Wurlitzer trademark?
I played an instrument that looked like this about a year ago, and it was dreadful.
On the other hand, 20 years ago I tried a Herbert Wurlitzer (non-Reform) Boehm instrument that had the same style of rollers as this one. It's hard to remember, but I don't think it had the squared off key shape. The workmanship was fabulous, and the response was much faster than my R-13, but with my French-style mouthpiece the sound lacked depth, and the intonation was off. These instruments were reviewed several times in the Clarinet magazine, and there was general agreement that they were a failure.
Best regards.
Ken Shaw
|
|
Reply To Message
|
|
Author: JMcAulay
Date: 2002-11-22 14:34
Aha. In the item description, it is of the "rare Bohemian System," despite its earlier identification as being a "French System" instrument. Somehow, my knowledge must have a gaping hole in it, as I have hitherto been totally lacking in exposure to the "rare Bohemian System," especially as played by "Sabina Meyer and Karl Leister...." And while it is true that Larry Combs occasionally plays a Wurlitzer, his instrument bears little resemblance to this one.
From a real operational standpoint, however, it appears to be (unusual for an A Clarinet) a Full-Boehm instrument (*not* a "Reform-Boehm," à la Ernst Schmidt, which is quite different -- and, as Hans advises, quite popular in The Netherlands). If the bore is German-style, essentially cylindrical right down to the lowest tone hole, so be it. I do appreciate the rollers between the F/C and G#/D# keys, even though it appears to have an L4 G#/D# key.
Whether the bell is there or not is likely a "who cares." The low Eb on a full-Boehm is useful on a Bb-pitch instrument used in transposing from A Clarinet music. However, its real utility on an A-pitch instrument is scant, and removal of the key and pad would be an interesting way to avoid its use. Curiously, in doing so, concurrent removal of the bell is not at all unwarranted. This will make the instrument lighter, and the low E can be played with very good intonation anyway. This is especially true with "German-bore" instruments.
In fact, this instrument is so neat, I will consider bidding on it. There, now. Having considered that, I will now go prepare myself some porridge for breakfast.
Regards,
John
|
|
Reply To Message
|
|
Author: Don Berger
Date: 2002-11-22 15:22
Good analyses above, what a shame to have treated an F B this way. I had, and gave to Bill Viseur, Tulsa cl teacher, an FB Penzel Mueller which predates my 1920's P-M, and an old A cl, both of which have rollers on the Ab/Eb and F/C for easier sliding, an "Albert" holdover?? Interesting, Don
|
|
Reply To Message
|
|
Author: Don Berger
Date: 2002-11-22 16:05
This can be EBAY-accessed via "Bohemian Clarinet" IF the "Titles & Description" block is CHECKED [now $152]. Yes, Wurlitzer [US?] appears to be correct. The roller keys look [to me] as being stolen from a sax, and the "actuating extension" for the low Eb/Bb touch is visible below the the E/B touch! Also it looks like the alt. Ab/Eb lever touch is still in place. Don
|
|
Reply To Message
|
|
Author: t
Date: 2002-11-22 16:24
Absolute NOT the clarinet Sabine Meyer plays. I met
her backstage, and she plays Oehler system wurlitzer.
|
|
Reply To Message
|
|
Author: JMcAulay
Date: 2002-11-23 00:35
All other thoughts aside, someone may get a rather nice A clarinet at a good price by going after this thing. Y'never know.
Regards,
John
|
|
Reply To Message
|
|
Author: nzdonald
Date: 2002-11-23 12:13
having the extra length of the full Boehm does have an advantage (even if you never need to play a low E flat on the A clarinet)..... it means that your middle line B will have a much better tone due to the "end effect" from the extra tubing.
Actually, another reason to have the low E flat is that you would have the low C (concert pitch) that is the lowest note on the Viola- useful for transcriptions (ie- the Arpeggione Sonata on A clarinet.... in C minor.... would now be easier with fewer octave transpositions), it's actually great fun playing Viola parts in a quartet.
donald
|
|
Reply To Message
|
|
Author: Don Berger
Date: 2002-11-24 18:38
Well put, NZDon, I've noticed both effects, IF the low Eb pad rises sufficiently for adequate venting and minimizing any added resistance, as on my 3 Full B's. Don
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
