List of articles (all on this page) from the 1997/8 catalogue:-
A very busy year culminated with a visit to the factories around Chicago of the Leblanc Corporation courtesy of Arbiter Group who distribute these products in the UK. Having gone to the Leblanc factory in France some two years ago where I met Leon Leblanc, I was now able to meet Vito Pascucci and his son Leon who are the top players in the Leblanc Corporation worldwide. This covers not only Leblanc clarinets but the Vito range of student instruments, Holton horns and trombones, and Martin trumpets. My visit with Kay from our brass department left us totally convinced of the quality of craftmanship of the whole range of instruments from Leblanc Group. We also visited the spectacular factory of LA Sax, and met the proprietor, Pete La Placa, who has since visited us in Hitchin.
Serving on the council of the Music Industries Association has been a very satisfying labour of love. I am also on the Education Committee and the Trade and Retail Affairs Committee, and have just been elected chairman of the Band and Orchestral Instrumental Group Committee. We have recently lobbied the new Minister of Education, who was sympathetic to the idea of making all instruments used in education zero rated for VAT.
I became a trustee of the BASBWE Education Trust after the death of Wally Horwood, and have worked this year with Charles Hine to get funding from the National Lottery to support our future work. The result of our application is awaited with baited breath!
"Where can I get the music?" One of the penalties of recording unpublished pieces is the number of letters, often from the USA, from keen clarinettists who have combed the publishers in vain to get the printed parts. So far they have been disappointed, but Lazarus Edition should eventually alter that.
It is nearly twenty years since Oliver Devies and I started to research neglected nineteenth century clarinet music, and up to date we have recorded thirty four pieces, from operatic fantasias to Edwardian salon music. In addition we have just recorded a further nine for a new CD "The Victorian Clarinet Tradition" which will be released next year. Nearly all of the pieces on the older LPs are now available in the 2CD compilation "The Art of the Clarinettist" (CC0008), and last year saw a new recording, "The Bel Canto Clarinettist" (CC0014). Of all these pieces only 9 are, to my knowledge, in print.
Named after that giant among Victorian clarinettists, Henry Lazarus, the new edition will be devoted to those pieces which, in my opinion and that of the letter writers, deserve to be once again in the repertoire of clarinettists around the world. I shall personally be responsible for the editing and production, and the printing is in the hands of Halstan and Co., arguably the finest in the country. The operation will not be vast, but copies should be available from the usual big music shops and especially from the specialist clarinet suppliers, John Myatt being not the least! The first title, already produced, is 'Fantasia on Verdi's Un Ballo in Maschera ' by Lovreglio, one of the two hitherto lost fantasias by the composer of the well known La Traviata fantasia. Closely following will be Lorito by Gomez and two songs with clarinet obbligato by G.A. Macfarren.
Colin Bradbury
26th-28th September 1997, Canterbury
The BASBWE Conference is always one of the major events in our calendar, and we take a
large trade stand with John and Pete Myatt and 2 other members of the JMW team. This year
we are at the University of Kent from 26th to 28th September which promises to be a very
interesting move. At the conference you will hear 10 concerts by the finest bands from 3
continents; hear the world premiers of 5 new major compositions; be able to visit trade
stands from major suppliers, manufacturers and sheet music publishers; attend clinics on
conducting, score study, international repertoire, composition, making recordings and
many, many more; and most importantly you will be able to attend John Myatt's workshop on
effective doublingon woodwind instruments, meet John Myattt in person and buy him a drink!
Clinicians include Rodney Winther and Rite Wilder from USA, Clarke Rundell, James Watson,
Roxanna Pnufnik and Sean Gregory from the UK and Jan Magnus Dahle from Norway; featured
soloists include Stephen Mead (euphonium), Stephen Mauk (soprano saxophone) and Gordon
Stout & Evelyn Glennie (marimba). Altogether a fantastic full weekend for the wind
player.
BASBWE CONFERENCE
3rd-6th April 1998
Next year the conference is back at the newly extended Royal Northern College of Music, at
a different time of year to be combined with the Boosey and Hawkes National Band Festival.
Contact John Myatt for further information on either of these events.
Having been a vice-president of CASS for the last five years I have always supported their excellent work, and have attended every teacher's conference and annual conference during that time. My company has also advertised in every issue of CASS Magazine and I play alto clarinet in the British Clarinet Ensemble, closely associated with CASS.
There is now a new organisation Clarinetwise orientated towards young clarinettists. Jacqueline Browne is to be congratulated on setting up such a successful club for young players, and the events she has organised have been an exciting addition to the opportunities for young clarinettists in the UK.
Contact addresses for both organisations on our Specialist Societies page
Funds from the lottery have given an unexpected boost to bands all over the UK and we
are happy to provide competitive quotations for supply of instruments. Unfortunately you
may find that our quotations are not always the lowest , however, you will always find
that our service is the best! We do not compromise our standards for bulk supplies to
bands:
each instrument is tested and set up with the same care and expertise that individual
purchasers paying our full price receive. In our dealings with band musicians it has
become apparent that some retailers will send instruments out without even removing them
from the box the manufacturer supplies them in!!! This is not the Myatt way!!! For further
information speak to Pete Myatt or Clive Reeves.
When Val Cheesman asked me to write a short description of the Yamaha clarinet range for Myatts brochure I was delighted. Whilst most of the information is a personal account, I have checked all relevant technical details with the factory in Japan, to nip any inaccuracies in the bud so to speak!
I have played on Yamaha AE clarinets for about seven years having changed from my trusty Buffet R13s. First of all it might be worth explaining a little about the company name. Yamaha is an even bigger conglomerate than most people in Britain imagine. Most people associate the name with motor-bikes and electronic keyboards. In Japan, the company also encompasses such varied businesses as holidays and real estate. In the last twenty to thirty years they have made huge strides in the research, development and manufacture of a large range of musical instruments including such specialisms as the Harp and the Vienna Oboe. Whilst the stamp on a Yamaha clarinet says "established in 1887" - the company that is, they haven't made clarinets for anything like that long. So compared to the Buffet Crampon company which has made clarinets for more than 150 years, Yamaha have had to learn fast. Whereas even 15 years ago their clarinets were mere Buffet-clones, they now have a range of individual instruments tailored to different needs and playing styles.
People often ask what I find different about Yamaha instruments. In general having tested dozens of different instruments over the years, I have to say that Yamaha's quality control is second to none. Whether it's a student or professional model (or indeed the marvellous basset-clarinet they have recently made for me), the clarinet is well set up the first time you put it together. This is certainly not my experience with some other companies' clarinets.
To be honest I first bought a pair of Yamaha AEs as a spare pair though my R13s were beginning show signs of wear. In partnership with Mitsuo Ono, the chief technician at Yamaha in Japan, we set about developing the AE model into a really distinctive instrument. With the Hamamatsu factory producing new ideas for the instrument every six months or so, this took about four years to get right. I am now satisfied that the present AE clarinet is a serious contender for anyone who likes a bit of resistance in their set-up and who is looking for a slightly larger bore than the traditional 14.6mm French style bore. As a previous "10-10" player I always missed the darker character of the larger bore, whilst I wouldn't trade anything for the French instruments evenness of response and tuning. As a German trained player I was also looking for a more concentrated sound particularly in louder dynamics than my R13s could deliver. The AE seems to combine the darker elements of the "10-10" with the evenness of response of the R13. Personally I find it better in tune at A=440 and easier to maintain a focussed sound on the AE in louder dynamics than on the Buffet.
Yamaha Custom Series Clarinets:
AE, SE, CS, & CX.
The YCL AE Bb, Clarinet has a larger bore with a longer taper than for instance a Buffet
R13. With its relatively small tone holes and tone hole shaping, the AE model is more
resistant than the SE or CS models' but with the requisite air pressure, the AE's pure and
focussed sound will project powerfully. The sound character is well balanced throughout
the different registers. A long bell adds a distinctive darkness to the tonal blend. When
played as a pair the A clarinet provides an easy match for the Bb. For British players
with the old Boosey and Hawkes 10-10 sound in their ears, the AE model provides an ideal
mixture of the older instrument's dark "woodier" tone with the response and
focus of a more modern instrument.
The YCL SE Bb and A are free-blowing instruments with a bore size similar to the Buffet RC series. The lack of resistance is achieved with larger tone holes and larger overcut and undercut of the tone holes, coupled with a longer taper on the upperjoint. This model will particularly suit the player for whom ease of sound production is all important. For the orchestral or band player The YCL CS is the father of the Yamaha Clarinet family - the original "Custom" design. Modelled on the Buffet RI3, the CS has small tone holes with small overcut and larger undercut. This makes the instrument easy to blow with a sound that is both concentrated and clear with good projection. The instrument has been developed with the collaboration of the French player Claude Faucomprez (Principal Clarinet in Lille).
The YCL CX is similar to the YCL CS design but with a different bell-ring. Unlike the AE, SE and CS models (in which the tone hole chimneys are integral to the instrument) the CX has separate tone chimneys. This results in a sound brighter than the CS (which some players may prefer) but with all the CSs responsiveness.
The tone hole chimneys of all Yamaha custom clarinets (except the CX) are integral to the one piece body. The key posts have been specially designed to match the body weight. All silver plating is with pure silver. The bell ring is pressure fitted to the bell allowing the instrument greater freedom of vibration. The Custom models can be ordered with an additional LH Ab/Eb.
Yamaha Student and Entry level Clarinets
The YCL 64 provides a balance of the quality of the Custom Series with the value for money
of the student models. The tone character is similar to the SE making the 64 a free
blowing and responsive instrument. The 64 has an adjustable thumb rest.
YCL 34II and 34IIS are standard student models made of grenadilla wood and with the standard 17 key system. The 34II is nickel plated and the 34IIS silver plated. The tone holes of these instruments are straight with undercutting but no overcutting. This results in a greater ease of blowing for younger players.
YCL 26II UK is made of ABS resin with an adjustable thumb rest and comes with a more open 6C mouthpiece. This excellent entry level clarinet is only available in the UK
Yamaha Harmony and German System
In addition to the standard clarinets Yamaha also produce a range of harmony clarinets,
including a new Eb Clarinet and excellent new Bass Clarinet and Eb Alto Clarinet For those
interested in the German system, there is also a fine range of Oehler-system instruments
developed with Karl Leister and a reform Boehm model.
About the author:
Nicholas Cox read music at Cambridge and studied the clarinet with Hans Deinzer in
Hanover. A winner of the Royal Over-Seas League Competition in 1984 and 2nd prize-winner
at the Jeunesses Musicales Internationale Clarinet Competition established him as one of
the the country's leading players. Previously a guest principal for many of the London
orchestras, he has been Principal Clarinet of the Royal Liverpool Philharmonic since 1992
with whom he has played the concertos of Mozart, Weber, Copland and Nielsen. His two
recordings of Sonatas by Brahms and Reger, and the Bliss and Rawsthorne works for clarinet
and strings have received very favourable reviews. He now teaches at the Royal Northern
College of Music. He plays on Yamaha AE Clarinets, a Peter Eaton Mouthpiece and Pflaumer
reeds.
Tony Ward and Derek Winterbourn were employed in the woodwind shop at Boosey and Hawkes in Edgware from as long ago as 1944 where they mainly worked on the Symphony and Imperial clarinets and oboes. In 1971 they decided to set up their own company and took premises at Apex Corner where they produced their own oboes and some clarinets while still making woodwind instruments under sub-contract for Boosey and Hawkes. At Apex Corner their repairer was David Fingerhut who also ran their small retail outlet. From the beginning of the John Myatt Woodwind business we were a principal outlet for Ward and Winterbourn oboes and they remain an important contributor to our double reed department. Many changes have taken place since we first met, first with Boosey and Hawkes taking over Buffet and Schreiber and ceasing the manufacture of clarinets and oboes at Edgware, and then Tony Ward emigrating to Australia in 1983. Derek gave up the shop at Apex Corner and built a workshop at his home in Hendon. This is where the instruments are now made, still in the family business with Derek's nephew William assisting, and even his extended family in the Philippines doing some key making. An all-important part of the business is the JWX department, otherwise known as June Winterbourn Excellent cakes. There never was a better fruit cake made and at Christmas we are fortunate to get one every year!!!
I remember in the early days calling every Monday at Apex Corner and listening to Barry Davis from the LSO testing oboes and cors anglais for me to take away. Any customer who complained about tuning in those days was gently told that Barry had done the job and there seemed to be no problem for him! We have continued to work together with Laurence Frankel, who took over when Barry left for Australia.
Derek and I have both celebrated our official retirement as OAP's, but we carry on and I hope we can work together for many more years.
When we choose a mouthpiece for our clarinet we can modify its tone in a brighter or darker direction. Now we can do the same by choosing a new ligature from a wide and interesting range. A few decades ago only metal or string was used but nowadays not only are there different designs in metal and some even gold plated but also ligatures are made from synthetic fabric (which does eventually wear).
Bearing in mind my second sentence it is important to try the ligature before buying. I have been testing those described below and came to my own conclusions - but remember these are preferences which suit my set-up best: the Vandoren Fabric and the Eddie Daniels Rovner (brighter).
One disadvantage of all these except the Bonade is that none could be secured tightly enough when changing from Bb to A (and C) without the reed being disturbed. Some may feel however that the reed should not be tightened so much anyway. There is an implication that these new ligatures, particularly those made from synthetic fabric, replace the German string - but I know from experience that one can change mouthpieces set-up with string without fear of the reed shifting.
One can imagine using the various characteristics of the newly available range not only to complement or offset characteristics of one's instrument but also to do the same with the individuality of reeds which furthermore, as we know only too well, can change during their lifetime. Not just by the way we should remember that the flatness of the reed complements not only the lay but the ligature. Keep a check on this during the lifetime of a reed and use a file to flatten any warping.
Here are the choices that Val sent me with my comments.
Dark 1R - not as free as Eddie Daniels
C1R - double thickness contact with reed. Preferred this to 1R
L5 - this has a cut away window at the reed contact. Edgy for me - possibly good
for someone who uses a hard reed or a dull mouthpiece and wants to encourage more
brightness
Eddie Daniels - two thin metal plates hold the sides of the reed and thin plastic
slivers hold the Rovner material away from the mouthpiece
These new Rovners are now made with a less 'sticky', more manageable fabric.
L6 - Standard made from slightly more rigid material than the Rovner. This has vertical plastic strips at the reed contact point
Optimum - a metal Rovner and with three easily changed reed contact plates. Well
engineered with a very quick screw mechanism. This ligature kept slipping off my
mouthpiece, but the nickel could be roughened...
Masters - a metal Luyben. Two horizontal contact points
Flexible Fabric - similar to BG but with a window like Rovner L5. Four horizontal
rubber strips at reed contact point. Takes a long time to screw up though the screw is
less hard on the thumb than the Rovners and BG
a reverse, hard plastic version of the traditional metal. It grips at either end of the reed. The lightest In weight. One of the tightening screws kept slipping In its thread
Standard - a traditional metal ligature with two vertical metal strips at the reed
contact point
Inverted - these have been around for years. Unfortunately this and the Standard
were poorly made - the Reverse cut into my mouthpiece
I've spoken to a number of people about the new ligatures. It's a minority that are sceptical. A very keen amateur friend, Phyllis Champion, is quite sure that they make a difference. Like me she found the Rovner Eddie Daniels to be the best but also made the point of its insecurity when changing. I also liked the Vandoren fabric, the BG and the Rovner C1R.
Before you start trying the new ligatures a rough guide - the thicker, especially fabric ligatures, encourage mellowness/dullness while the thinner ones encourage brightness/shrillness. This could, of course, be checked on a 'scope. I've also noticed, as did Phyllis, that there can be a tendency towards greater eveness. One can find that certain notes have an edgy peak with the traditional metal ligature.
Alan Hacker
International Soloist