 The Clarinet BBoard
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Author: Alphie
Date: 2014-04-01 23:51
After my visit with Benedict Eppelsheim in Munich I can honestly say that he has taken the CB-clarinet to a different level. The instrument is made of brass, 70% Cu/30% Zn, lackerad (black) on request. You can choose between 32mm bore or 36mm. To my capability the 32mm was the best. The smoothness of the mechanism, keywork and tone hole position is close to perfection. It has four register keys, three automatic and one manually executed for the altissimo. The price is €16000-17000 incl. 19% VAT, mouthpiece, light weight case, stand and accessoires.
I got the same revelation as when I for the first time tried the new Buffet bass clarinet some 15-20 years ago. Suddenly everything just falls into place. My only real professional experience until now has been the old LeBlanc paper clip model with a design from the 1930th. I've always had a feeling of "prototype" for a real contra. Now it's here!
Alphie
Post Edited (2014-04-01 20:09)
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Author: Ken Shaw ★2017
Date: 2014-04-02 07:40
Alphie -
The Leblanc metal contras also came with two bores, relatively small for the Eb and large for the BBb.
To me, the Eb bore plays like a big bass clarinet, with quick response, plenty of volume and a "clarinet" tone. Like a bassoon.
The BBb bore plays closer to a contrabassoon, with slow response, earthshaking volume and a "bass" tone.
Can you discuss the differences in playing qualities between the two Eppelsheim models? Why did you prefer the 32mm? What music would you use it for? What music would you use the 36mm model for?
Thanks.
Ken Shaw
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Author: clarnibass
Date: 2014-04-02 05:11
When I tried them, I found advantages and disadvantages with each.
The bigger bore model had a deeper and more "bassy" low range, especially from the lowest note until approx the left hand only notes. It was a little more difficult to control, especially long B and C and a few other notes in that area, which took more precise "voicing" and were difficult to play in some specific situations (e.g. depending on which note you came from, in legato). The smaller bore model had easier response and control for this range and also throughout the entire range slightly. It had a more "trebley" tone in general.
I preferred the smaller bore for playability. It was more similar to the Ripamonti contrabass, which was (before trying the smaller bore Eppelsheim) the easiest contrabass for me to play, but had a few very serious problems (ergonomics, top of the clarion and more). But overall I preferred the tone of the larger bore Eppelsheim.
I compared them with Selmer, Ripamonti and some Chinese contrabass clarinets. Mechanically there was no comparison, any of the others wasn't even in the same galaxy as the Eppelsheim. With the sound and response, it was a matter for preference.
To clarify, these are all Bb contrabass clarinets.
>> What music would you use it for? What music would you use the 36mm model for? <<
If I could simply pick up each when I wanted to, I would use the smaller bore model for anything that required the specific fingerings that made some notes a little more difficult on the other, and use the larger bore model for everything else.
Post Edited (2014-04-02 11:33)
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Author: Alphie
Date: 2014-04-02 11:06
I agree with clarnibass in pretty much everything. I use contra only in orchestra playing. We play much music by Swedish composer Anders Hillborg who always uses contra in his orchestral pieces, often technically fluid and with long phrases. This is why the 32mm suits my purposes the best. The 36mm was a bit heavy for me to play. I can imagine someone who plays bass and contra all the time might prefer this. I would use the 36mm for pure Bass lines or type "walking bass" figures. We often play Hillborg's clarinet concerto with Martin Fröst. The concerto has like "big-band" riffs, very quick figures that would be somewhat more difficult with a larger bore.
Alphie
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