Scan 63
Musical Courier 1893-05-17: Vol 26 Iss 689, 1893
224 lines. Read by computer on 24 September 2026, twice; the two readings disagreed in places. Printed page 64. See the scan on archive.org.
1The Clarinet.
2Its History and Construction.
4WHEN the world was still young, seasons came and went, grass and rush and sedge sprang upward toward the sun and were ripened by his genial influence. In due season the fiery blast of a tropical cyclone or the raging hurricane of more frigid zones swept over land and seas, devastating the fair face of nature. Sedge and rush bowed heads before the mighty storm, as if to find protection from its fury in a closer proximity to their neighbors. After the subsidence of the storm some proudly reared their heads unharmed and nearly intact, but the many raised headless stems heavenward in piteous appeal, as if imploring sympathy for their misfortunes. Nature, returned to gentler mood, noted that appeal and, commiserating the loss of beauty of form, said, "Though by me your grace has been impaired, your crowning glory shorn, yet shall you exercise a useful function in this world. Your sorrow shall be turned to joy, your moans transformed to sounds of brightness, and you shall announce for beings yet uncreated one of my most important principles for the production of music, the laws of which were co-eval with the foundations of the universe, are immutable and eternal."
6With that a gentle zephyr came stealing over the headless things, and responding to its influence each rush and sedge, hitherto of piteous aspect, emitted a sweet musical sound, and as the wind increased in force, so did those sounds increase in volume until at length they fairly shrieked defiance at the recurring storm.
8In time man, endowed with emotions, senses and reasoning faculties, was created. He roamed the trackless plain, climbed the towering mountain height, and with his eyes everywhere noted beauty of form and color, with his ears harmony of sound. His senses were gratified with what he saw and heard. The world to him was a great storehouse from which to draw for the needs of his nature. As his intelligence expanded, so those needs increased, and have so kept increasing through myriads of ages, and still the great storehouse remains unexhausted. Among those needs, present in the mind of primitive man and developed in us, his successors, none after satisfaction of material wants were or are more urgent than the solacing, vivifying effects of harmonious sounds on the emotions and nervous forces of his nature.
10He extracted from the open book that lay around him lessons of deepest import to his existence. Among which he noted the principle above pointed out, that the wind blowing across the rough edge of a rush broken crosswise produced a musical sound. Observation taught him further that as the length and diameter of the remaining rush varied, so did the sounds in acuteness, gravity and quality of tone. From observations such as these sprang the well-known Pan's pipes, and the many forms of flutes used by the ancients, and in higher perfection by us moderns.
12In his explorations some antediluvian may accidentally have come across a headless rush that was further injured by a break crosswise in part of its circumference and slit longitudinally for some little distance on either side of that break and extending to one of the knots dividing, or, as it may be, uniting its sections in one composite whole. Putting such a rush to his lips and blowing into it, he was no doubt surprised to find the tonal result very different from that of other stems around him. He looked for and found the reason of the difference, and thereby discovered the principle of the single reed. Of course this is all speculation as to the method of discovery, but there is no speculation in the statement that small and sometimes trivial happenings are progenitors of mighty events. How near our speculation may be to the truth may be surmised by the following, from the eminent scientist, Professor Tyndall, when treating in one of his lectures on the single reed principle. He says: "Take a straw (or rush) closed at one end and open at the other. At about an inch from the knot, cut lightly with a penknife to the depth of about a quarter of the straw's diameter. Then turning the blade flat, pass it upward toward the knot, and so raise a strip of the straw nearly an inch long." The result of this operation would be about similar with that above pointed out, as the strip thus loosened becomes a kind of vibrating tongue or reed, if the straw be blown into with musical intent.
14But perhaps you will begin to wonder what all this has to do with the clarinet. Everything. It shows you the origin of the pipe and source of the reed, both of which unite in the clarinet, and contribute to the musical qualities it possesses, and are so much admired as well for beautiful tone as utility.
16The single reed principle has been known to mankind for very many centuries, far more than the groping mind of the antiquarian can fathom. Instruments constructed upon that principle are known to have been used among the remote Egyptians, as a representation on a tomb at Memphis shows, and such were employed by Grecian musicians in the celebration of the Pythian games, during which a fight between Apollo and the Python was represented.
18The reed used on such occasions was a very stiff one, the object of the musician being to produce a harsh, strident tone. An instrument possessing these characteristics, but of higher development, was known later on as the Shawm, Schalm, Schalmuse, or Chalumeau, from the Latin word calamus, a reed, and was in use up to about three centuries ago. At that period, 1690, there lived at Nuremberg, Saxony, an instrument maker, by name John Christopher Denner. This man experimented with the chalumeau, having in view the improvement of its tone and capabilities in other directions. From these experiments he educed the clarinet, and laid the foundation, so to speak, upon which subsequent makers and musicians experimented, until at length the instrument of the present day becomes a fact. It is an instrument beautiful in its quality of tone, and affords great facility to the performer by its mobility and compass. But yet, great as are its resources, it is imperfect as to intonation, and exhibits defects in other directions. These facts point to the need and possibility of still greater development, but patience for fleet footed rumor already whispers that progress toward a higher state of perfection is being made. Among the makers who in recent times have contributed most to the development of the clarinet may be mentioned Albert and Mahillon, of Brussels, Belgium; Sax and Buffet-Crampon, of Paris, France, and our American maker Bertling.
20Now having traced the origin of the clarinet back to the rush of the antediluvian world, let us for a moment dwell upon its construction as it appears to us of the nineteenth century. Not so many years ago clarinets were made from boxwood, varnished or oil finished, but otherwise of the color natural to that wood. The joints and bell were ornamentally mounted with rings of ivory, keys, such as there were, made usually of brass, sometimes of white metal and occasionally silver. The mouthpiece was made from ebony, but, instead of the metal band or ligature now used, the performer bound his reed on the mouthpiece by numerous laps of cord. The instrument had clumsy looking blocks on its exterior, bored with holes, where now graceful keys snugly fit. Altogether the clarinet answering to that description was lacking in the harmony of color and form, not to say anything of capacity, which at present distinguishes it. And yet there still exist clarinetists who sigh for the "good old days," when men became cross-eyed from long gazing down the exterior surface of a yellow tube, their fingers calloused by frequent winding of cord around the mouthpiece and their powers stunted by the limitations imposed by the technical imperfections of the instrument.
22Clarinets have been made from many different kinds of material, such as glass, gutta percha, various kinds of wood, a composition into which india rubber largely enters (termed vulcanite), ivory and even metal. At the present day clarinets made from wood, such as cocus and grenadilla, and vulcanite are most in demand; but one day metal will obtain attention from players. Boxwood as a material employed has become obsolete; not so ivory, specimens of which are still to be found here and there in the hands of the clarinetist. The number of keys have been largely added to, as many as twenty-one and more in the Boehm system being now employed. Thirteen and fifteen keyed clarinets are almost universal. Compare the facilities these keys afford the modern player as against the four, six and eight keyed instruments of some years ago, and for the decadence of which the "boxwood" gentlemen sigh. It will then be appreciated how great has been the progress in clarinet construction during the last half of the present century, and for how much both performer, composer and public have to be thankful to the laborers in the field of musical mechanics.—Arthur A. Clappé in "Dominant."
24A GENTLEMAN, skilled in all branches of reed organ manufacture, now head tuner in a flourishing factory, desires a position in the West. Address X. W., care of THE MUSICAL COURIER
26A Good Word for Stainer.
28OF that great quartet of violin makers, N. Amati, A. Stradivarius, A. J. Guarnerius del Jesu and Jacob Stainer, the first three have hitherto received the lion's share of attention. Their different styles of instruments—peculiarities of construction, shades of varnish and qualities of tone—have been so thoroughly aired and eulogized that little remains to be added.
30But of Jacob Stainer, in many respects their equal as an artist, little has been written, especially in the way of eulogy, most writers contenting themselves with pointing out his defects, ignoring his excellencies, and wondering why for a hundred years he held a higher place in the esteem of lovers of the violin than did the masters of Italy.
32When he died nearly all German, English and French makers began imitating what was supposed to be his model—a high, tubby swell, which, so far from being his, was such an exaggeration as to be nothing but a burlesque. This took its rise in Germany, and in many cases these instruments, as they reached other countries, were supposed to be genuine Stainers, and were copied from as such, especially in England.
34And here it may not be amiss to remark that German copies of Amati also were imitated, even so fine a maker as Perry, of Dublin, having evidently copied from one of these instead of an original. When the Cremona instruments came to the front these so-called imitations were pitted against them, and of course went to the wall. For, be it remembered, genuine Stainers, as they left the great maker's hands, were exceedingly rare, many of them having been thinned in their centres and rendered commonplace.
36It may safely be asserted that not one in a score of persons who think they have seen a real original ever saw or ever will see a genuine specimen of his work. There are but few such in Europe, there being only four or five in the great collections sold in London, 1870-80, and it is probable that at the present time there are not more than this number in the United States. It is also generally supposed that the tone of a Stainer is so much inferior to that of a Stradivarius or Guarnerius that it is but folly for a modern maker to copy his model; but hear what Otto wrote nearly a hundred years ago:
38"His violins are not inferior either in beauty or quality to those of Cremona. Their tone is like that of a flute, while that of the latter resembles a clarinet."
40Or Fleming, in "Fiddle Fanciers' Guide," 1892:
42"The tone is of a lovely character—full, round and resonant." Also Simontre in "An Advance in Violin Making," in which may be found measurements and graduations of a genuine instrument: "The genuine violins of Stainer, though they have a tone analogous to that of an Amati, have a clearer timbre, if such a term may be used to describe something appreciable only by the ear. It is a dream of crystalline purity."
44How many of our American makers ever tried their hands at a genuine Stainer model? We pause for a reply.—H. W. Palmer in "Violin World."
46Tables of Importance.
47(Compiled by The Musical Courier.)
49IMPORTS OF MUSICAL INSTRUMENTS.
51<table>
52 <tr>
53 <th></th>
54 <th colspan="2">Month ending March 31, 1892</th>
55 <th colspan="2">Nine months ending March 31, 1892</th>
56 <th colspan="2">Month ending March 31, 1893</th>
57 <th colspan="2">Nine months ending March 31, 1893</th>
58 </tr>
59 <tr>
60 <th></th>
61 <th>Organs.</th>
62 <th>Pianos.</th>
63 <th>Organs.</th>
64 <th>Pianos.</th>
65 <th>Organs.</th>
66 <th>Pianos.</th>
67 <th>Organs.</th>
68 <th>Pianos.</th>
69 </tr>
70 <tr>
71 <td></td>
72 <td>1,008</td>
73 <td>$64,330</td>
74 <td>39</td>
75 <td>$10,907</td>
76 <td>12,686</td>
77 <td>$87,923</td>
78 <td>1,090</td>
79 <td>75,165</td>
80 <td>147</td>
81 <td>51,587</td>
82 <td>14,135</td>
83 <td>140,887</td>
84 <td>9,966</td>
85 <td>638,012</td>
86 <td>585</td>
87 <td>152,049</td>
88 <td>112,860</td>
89 <td>902,321</td>
90 <td>10,064</td>
91 <td>769,220</td>
92 <td>1,828</td>
93 <td>687,572</td>
94 <td>117,197</td>
95 <td>1,357,989</td>
96 </tr>
97</table>
99EXPORTS OF MUSICAL INSTRUMENTS.
101<table>
102 <tr>
103 <th></th>
104 <th>Organs.</th>
105 <th>Pianos.</th>
106 <th>ALL OTHERS AND PARTS</th>
107 <th>TOTALS OF</th>
108(no line here) one of two readings
109 </tr> one of two readings
110 <tr> one of two readings
111 <th></th> one of two readings
112 <th>No.</th> one of two readings
113 <th>Value.</th>
114(no line here) one of two readings
115 <th>No.</th> one of two readings
116 <th>Value.</th>
117 <th>Value.</th>
118 <th>Value.</th>
119 </tr>
120 <tr>
121 <td>Month ending March 31, 1892</td>
122 <td>1,008</td>
123 <td>$64,330</td>
124 <td>39</td>
125 <td>$10,907</td>
126 <td>12,686</td>
127 <td>$87,923</td>
128 </tr>
129 <tr>
130 <td>Month ending March 31, 1893</td>
131 <td>1,090</td>
132 <td>75,165</td>
133 <td>147</td>
134 <td>51,587</td>
135 <td>14,135</td>
136 <td>140,887</td>
137 </tr>
138 <tr>
139 <td>Nine months ending March 31, 1892</td>
140 <td>9,966</td>
141 <td>638,012</td>
142 <td>585</td>
143 <td>152,049</td>
144 <td>112,860</td>
145 <td>902,321</td>
146 </tr>
147 <tr>
148 <td>Nine months ending March 31, 1893</td>
149 <td>10,064</td>
150 <td>769,220</td>
151 <td>1,828</td>
152 <td>687,572</td>
153 <td>117,197</td>
154 <td>1,357,989</td>
155 </tr>
156</table>
158PATENTS RECENTLY GRANTED.
160<table>
161 <tr>
162 <th>No.</th>
163 <th>Patent</th>
164 <th>Applicant</th>
165 <th>Location</th>
166 </tr>
167 <tr>
168 <td>495,759</td>
169 <td>Pedal zither</td>
170 <td>Gustave Schönig</td>
171 <td>Vienna, Austria</td>
172 </tr>
173 <tr>
174 <td>495,870</td>
175 <td>Music book or folio</td>
176 <td>Wm. H. Ayres</td>
177 <td>Sackett's Harbor, N. Y.</td>
178 </tr>
179 <tr>
180 <td>495,828</td>
181 <td>Banjo</td>
182 <td>Horace C. Middlebrooke</td>
183 <td>Rock Rapids, Ia.</td>
184 </tr>
185 <tr>
186 <td>495,539</td>
187 <td>Music leaf turner</td>
188 <td>John W. Paschall</td>
189 <td>Galveston, Ind.</td>
190 </tr>
191 <tr>
192 <td>495,745</td>
193 <td>Piano action</td>
194 <td>Gustav Lyon</td>
195 <td>Paris, France</td>
196 </tr>
197 <tr>
198 <td>495,865</td>
199 <td>Leaf holder for music</td>
200 <td>Jos. Wood and Walter Wilkinson</td>
201 <td>Philadelphia, Pa.</td>
202 </tr>
203 <tr>
204 <td>495,979</td>
205 <td>Repeating action for upright pianos</td>
206 <td>Frank W. Kuringel</td>
207 <td>Los Angeles, Cal.</td>
208 </tr>
209 <tr>
210 <td>496,171</td>
211 <td>Tone Regulator</td>
212 <td>Emil Sander</td>
213 <td>West Haven, Conn.</td>
214 </tr>
215 <tr>
216 <td>496,388</td>
217 <td>Musical instrument</td>
218 <td>Alfred P. Venner</td>
219 <td>Seattle, Wash.</td>
220 </tr>
221</table>
223—The Lawrence Organ Company, having decided to purchase the Walter property, at the corner of Perry and Warren streets, will erect a factory on the site. Their present quarters are much too small for their growing business. Mr. Rothrock was directed to prepare the plans for the building. The directors declared a semi-annual dividend of 4 per cent, payable on demand at their meeting Tuesday. The output of the factory must be increased, as the company is unable in their present factory on South Tenth street to fill their many orders.—Easton, Pa., "Free Press."
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