Author: seabreeze
Date: 2022-10-10 18:01
Rebecca Rischin talks about Messiaen and the Perier mouthpiece in her book, For the End of Time: The Story of the Messiaen Quartet (Cornell University Press, 2003, rev. 2006). When Guy DePlus was recording the piece with Messiaen, the composer indicated that he wanted the sonority to be similar to what Akoka got on the Perier in the premiere performance.
Perier himself was a technical wizard who could get a snarky, "in your face" tone which, despite its impertinent brilliance would be perfect for the music of, say, Eric Satie and could be dramatically expressive in the Rabaud Solo de Concours. The Cousenon Perier mouthpieces have great clarity and focus and offer a tonal coloration that is a useful alternative to Vandoren and Alelandais.
Some old Martin Freres pieces are on beautifully designed blanks that have excellent baffles, tone chambers, and responsive, narrow rails.
Post Edited (2022-10-10 18:13)
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The Clarinet BBoard
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