 The Clarinet BBoard
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Author: amrcl
Date: 2015-01-30 20:42
Hi everyone. I'm trying to find out information about this school, because I'm working in a project for the university, and I wanted to ask you if you know any book that refers to the french school, or any article or website.
I have a book called "clarinet virtuosi of the past" by Pamela Weston, but there's no such information.
I need tons of information related with the french school, from the begining until now. Teachers, composers related to french school, study methods, education system..
So, if you can help me out, I will be very grateful.
Thank you in advance.
Best regards
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Author: Nessie1
Date: 2015-01-30 21:04
To throw a few ideas out there -
Hyacinthe Klose (wrote a method and also made alterations to the instrument)
Ulysse Delecluse
Paris Conservatiore - the whole range of solos de concours
The Garde Republicaine
The Paris Opera
If you have access the the Weston sequel More Clarinet Virtuosi of the Past this includes a lot of information of who played what and where.
Good Luck
Vanessa.
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Author: seabreeze
Date: 2015-01-30 22:27
Let's start with some clues that you can use as tags for deeper research.
It all begins with the professors at the Paris Conservatory (lists of these are available on Google.com continuing to the present day) and the development of the Buffet Boehm system by collaboration between Professor Hyacinth Klose and the Buffet company. French players have just about universally used Boehm clarinets and attached the reed with a metal ligature rather than the string that was once popular in Germany. Many (notably Cahuzac and Hamelin) but not all of the French players used the double lip embouchure.
Professor Cyril Rose taught many students at the Conservatory, and they in turn passed on a preference for the Boehm (usually but not always the Buffet) that persists even to this day. Louis Cahuzac, Gaston Hamelin, and August Perier are some of the big names in the French tradition (even though Hamelin played Selmer Boehms). Also, Daniel Bonade who moved to the US and became one of the great influences on American orchestral players and Paul Jeanjean, who wrote many etude books to familiarize players with the new demands of Impressionist music (Debussy and Ravel).
There are classic histories of the clarinet that you need to read. These include The Clarinet by Eric T. Hoeprich and older books by Anthony Baines (Woodwinds and Their History) and F. Geoffry Randall.
The Hoeprich book is very scholarly and well-documented. Back issues of the ICA publication The Clarinet are available in some libraries (see WORLDCAT.ORG to find one near you), These go back to the 1950s and contain ample coverage of the French school.
Post Edited (2015-02-01 19:52)
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Author: MichaelW
Date: 2015-01-30 23:12
Attachment: Angloher.jpg (62k)
Attachment: Berr.jpg (253k)
Hyacinthe Klose transferred Theobald Boehm's system from the flute to the clarinet and had it built by Buffet.
Fréderic Berr, clarinet virtuoso and composer (his father was a member of famous Mannheimm court orchestra), professor at Paris conservatoire, took part in this development. Among other things he is said to have advocated playing with reed downwards (sorry, don't know the English word for "Untersichblasen").
Dissertation St. Angloher, Univ. Munich 2007: "Das deutsche und französische Klarinettensystem..." (German vs. French clarinet system, 293 pages in German):
http://edoc.ub.uni-muenchen.de/7344/1/Angloher_Stephanie.pdf
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Author: Caroline Smale
Date: 2015-01-30 23:39
I think Boehm's involvement is a bit overstated.
Klose just took the principal of operating pads and keys mounted on hinged sleeves (versus on long levers) from the Boehm flute. In virtually all other aspects there is no real similarity between flute and clarinet mechanisms, it was all Klose and Buffet's work. Just unfortunately the name Boehm got stuck on it.
No disrespect to Boehm who's work on the flute was revolutionary.
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Author: clarinetguy ★2017
Date: 2015-01-31 05:47
I'm not an expert on the subject, but I'd like to share something from David Pino's The Clarinet and Clarinet Playing. According to Pino, there were two schools of French playing in the 20th century. He describes a style that was popular through the early 1950s, and another style that dominated in the second half of the century.
Pino includes players like Louis Cahuzac, one of his favorites, in the first group. He writes of "their beautiful clarity of sound." He is much less enthusiastic about the later 20th century players, such as Jacques Lancelot and Andre Boutard. According to Pino, in their playing there is an "intentional harshness and a penetrating stridency." [Pages 226-228] I really don't know if Pino is right or not.
On anther subject, there are French cut (or file cut) reeds and American cut (or un-file cut) reeds. Does anyone know if there is anything French about French cut reeds?
Post Edited (2015-01-31 05:49)
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Author: Caroline Smale
Date: 2015-02-01 02:35
American cut are supposed to favour the longer and closer lays that were (still are) more preferred in the USA whereas French cut are aimed more for the European Boehm players who typically use shorter and more open lays
Of course there are many players in Europe who also use longer lays and vice versa.
I don't think that filed vs unfiled has anything specific to either French or American cuts it can apply to both equally.
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