Details of the Catalogue of the Collection
The following are corrections, comments and opinions contributed by the Editor (AM), Robert Howe (RH), Melanie Piddocke (MAP), Albert Rice (ARR), and Edwina Smith (ES). p.2 (5422): The Amlingue piccolo carries an early stamp: "(fleur-de-lis)/AMLINGUE/A/PARIS"; the hallmark on the key can be dated between 1809 and around 1819. This suggests that the maker was probably Michel Amlingue (active 1778 to 1830) and the key may have been replaced by his son François-Michel. [See Denis Watel, "Michel et François Amlingue, facteurs d'instruments à Paris de 1780 à 1830," Larigot 15 (1994), 16-21; Michael D. Greenberg, "Musical Instruments in the Archives of the French Court: The Argenterie, Menus Plaisirs et Affaires de la Chambre, 1733-1792," Journal of the American Musical Instrument Society 32 (2006): 30-31.] - ARR 2008 p.5 (5437): the date of making of this piccolo is 1949-1980 (probably c 1980). - RH 2009 p.8 (5404) Specific literature references: HAYNES, B., 2002, A History of Performing Pitch: The Story of "A", Lanham, Maryland, and Oxford: The Scarecrow Press, Inc., p.436. - ES 2008 p.32 (5398) Moeck chalumeau: the word soprano should be added. - ARR 2008 p.32 (4942): The stamp of the high A clarinet could read "A. Malinovsky/in/Warschau"; Malinovsky may have been a Polish maker or dealer. Malinovsky is not listed as a 19th century Polish maker by Marek Schiller in Klarinet - Klarnecisci w Polsce do Polowy XIX Wieku, Gdansk: Wydawnictwo Akademia Muzyczna im. Stanislawa Moniuszki w Gdansku, 1993, 90-93. - ARR 2008 p.68 (4731): This is a very early and finely made Kusder D clarinet with an integral mouthpiece-barrel and integral stock-bell; the date should be earlier, 1762-1780. - ARR 2008 p.73 (5034) This Stiegler clarinet includes an early version of the B/F-sharp key mounted in wooden ferrules; later keys are mounted in metal saddles. This key was introduced to German makers by the oboist Simon Kern who had visited the Paris workshop of Guillaume Trièbert and sold the knowledge of the key to the Munich makers Max Stiegler and Wilhelm Hess in 1840.[3] Thus, this clarinet should be dated 1840-1850. [See Andreas Masel, "Der Münchener Holzblasinstrumentenmacher Benedikt Pentenrieder (1809-1849)," Master's thesis, Ludwig-Maximilians-Universität, München, 1986, 82-95; 251-258.] - ARR 2008 p.78 (4724): add "Specific literature references: Young 1993, No 14." - AM 2008 p.80 (5293): a matched pair with E-flat clarinet (5292) - AM 2008 p.81 (4939): The three short keys of the important Rottenburg clarinet have the spring against the body (SATB). - ARR 2008 p.90 (4857): Specific literature references: Young 1993, No 15. - AM 2008 p.91 (5111): The clarinet by M. Lewisch has large tone holes; keys with flat key heads and a pointed end to the touches; and a large flat rim on the bell. These characteristics suggest a date of about 1850. William Waterhouse also suggests a date of mid 19th century for this maker in The New Langwill Index: A Dictionary of Musical Wind-Instrument Makers and Inventors, London: T. Bingham, 1993, 235. - ARR 2008 p.98 (4716): Shackleton reproduced an image of this Hale clarinet with a second mouthpiece and separate barrel stamped "I HALE / LONDON / O" in his New Grove Dictionary articles. He showed that Hale offered both styles of mouthpieces (separated and not separated) and was the first English maker to construct a separate mouthpiece and barrel. [See particularly Nicholas Shackleton, "John Hale," FoMRHI Quarterly 48 (1987), 26.] - ARR 2008 p.110 (5050): The clarinet by Placht in Pest has the key characteristics, large finger holes, and large bell rim indicating a date of about 1840. - ARR 2008 p.114 (5547): This fascinating clarinet by Monzani uses screw-on discs to make the leather pads airtight, illustrated in Monzani's 1812 English patent (no. 3586). [See the patent illustration in Rice, The Clarinet in the Classical Period, 47.] The other patented improvements are a metal lined barrel of the upper section with an integral barrel, the thumb hole is moved to the front of the instrument by use of a key, two small wooden knobs glued to both sides of the ebony mouthpiece for easy removal, and the use of cork on chamfered tenons. Albert Rice refers to this clarinet in The Clarinet in the Classical Period, 220, n.42. - ARR 2008 p.125 (5491): photograph on p.261. - AM 2008 p.139 (5008): The maker's stamp "p/BUFFET/A PARIS/p" on a clarinet may indicate Jean-Louis Buffet before he took on the name of Buffet-Crampon in 1844. - ARR 2008 p.141 (4911): The maker's stamp on the barrel and bell of this Simiot clarinet is transcribed incorrectly and should be "INNOVEE / PAR / SIMIOT / A LYON / SIb". - ARR 2008 p.146 (4936): The brass mouthpiece with the clarinet by Eugène Albert of Brussels has a movable lay and integral ligature that appears to be modeled directly on Guillaume Trièbert's similar brass mouthpiece, patented in 1847. Guillaume Trièbert's metal mouthpiece with a movable lay and screw ligature (Bec-pompe avec table mobile et presse-anches) is illustrated as part of a French patent (no. 6937) for a combination C clarinet (clarinette multiphonique) that could be changed by means of metal slides and screws to a B-flat or an A clarinet. [See the description and engraving in Eberhard Jonák, Bericht über die Allgemeine Agricultur- und Industrie-Ausstellung zu Paris im Jahre 1855, Vienna: Aus der Kaiserlich-Königlichen Hof- und Staatsdruckerei, 1857-1858, 42; F. Geoffrey Rendall, The Clarinet, 3rd ed., London: Benn, 1971, 155; Oskar Kroll, The Clarinet, rev. ed., New York: Taplinger, 1968, 29-30, 38; Waterhouse, The New Langwill Index, 404; Günther Dullat, Klarinetten, Frankfurt am Main: Bochinsky, 2001, 33, 127.] - ARR 2008 p.149 (5010): photograph on p.325. - AM 2008 p.153 (4815): add "Serial number: 3975". - AM 2008 p.159 (5488, 5007, 5489): This set of three C, B-flat, and A Conn ebonite clarinets with brass barrels and bells seems to have been assembled with the ebonite finger hole joints. This model of clarinet does not appear in the Conn sales catalogs and other brass Conn clarinets are constructed entirely of brass. - ARR 2008 p.166 (5236) delete "Mouthpiece missing". - AM 2008 p.176 (5184): date should be "Circa 1958". - AM 2008 p.181 (5073): The French patent for improving the throat B-flat was taken out by André Thibouville on 18 December 1889 (no. 202683) for one of the Thibouville firms. Pierre in 1890 illustrates a full Boehm system Lefèvre clarinet with this mechanism exhibited in the 1889 Exhibition. Shackleton's clarinet is a plain Boehm clarinet by Lefèvre with Thibouville's mechanism. [See the description of Thibouville's patent and engraving of a Lefèvre clarinet with this patent mechanism in Constant Pierre, La Facture Instrumentale à l'Exposition Universelle de 1889: Notes d'un Musicien sur les Instruments à Souffle Humain Nouveaux & Perfectionnés, Paris: Librairie de l'Art Indépendant, 1890, 72-74. Albert Rice thanks Robert Adelson for obtaining and sending the patent.] - ARR 2008 pp.182-183 (2622): The odd looking Schaffner system clarinet differs from another example in the Brussels collection (B-Bruxelles, M6343) in having two speaker keys instead of one; unmarked rectangular plateau keys (the Brussels example includes notes on a music staff for each plateau head); and an additional round plateau key above key fourteen. [See the description and photo in Le Roseau et la Musique, [France]: ARCAM/ÉDISUD, 1988, 111.] - ARR 2008 p.187 (5167): The maker of this 3-key clarinet may be identified with a mid-18th century maker who used the initials IP. There are two extant 3-key clarinets d'amour (D-Nürnberg, MI 131; D-Hamburg, 1926, 406) stamped "IP" thought to be made in southern Germany or in the region of the Alps. [See Frank Bär, Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseums Nürnberg. Band 6, Liebesklarinetten, Bassetthörner, Bassklarinetten, Metallklarinetten: Beschreibender Katalog, Wilhelmshaven: F. Noetzel, 2006, 22-23; Hans Schröder, Verzeichnis der Sammlung alter Musikinstrumente, 80, abb. 19; for a larger photo, see Kroll, The Clarinet, fig. 16.] Both clarinets d'amour have a similar looking mouthpiece-barrel section with a concave profile to the outside of the mouthpiece, also found on a 3-key alto clarinet (D-München-DM, MU 292, c 1740) by Dotzell [see Wackernagel, Holzblasinstrumente. Bayerisches Nationalmuseum München, 264]. - ARR 2008 p.188 (5115): The mouthpiece-barrel section of this 5-key (originally 4-key) clarinet by Prudent differs in color from the finger hole sections but is identical in color to the stock-bell section. The shape and size of the window suggest an early mouthpiece and it appears original or of the period. - ARR 2008 p.197 (5275): This early Viennese clarinet by Hammig of Vienna uses a line over the last N in WIEN to indicate two Ns. Shackleton also believed that early clarinets by Merklein of Vienna used two Ns for WIENN in his stamp, as found on a clarinet in the Kunsthistorisches Museum (A-Wien, SAM 326). [See Martin Harlow, "Two Early Concertos for Iwan Müller's Thirteen-Keyed Clarinet," Galpin Society Journal 59 (2006), 31, 246, figs. 5-6.] - ARR 2008 p.212 (5132): The interesting 6-key clarinet by Hespe of Hannover includes characteristics that suggest a date of 1785-1790, i.e., wide ivory ferrules beveled and scored key heads for the register and A keys and an early looking stock-bell. - ARR 2008 p.221 (4730): The Hale clarinet appears to have come with a stalk with leaves, as shown in the photo, and may have been used for cleaning the instrument by passing it through the instrument. - ARR 2008 p.284 (4831): This clarinet by Buffet jeune (Louis Auguste Buffet) is marked "Bréveté" which very likely refers to Buffet's 1838 French patent (no. 9380) which includes needle key springs replacing the older flat key springs. [See Waterhouse, The New Langwill Index, 50.] - ARR 2008 p.295 (4859): The stamp on the Vinatieri clarinet should be transcribed as: "fleur-de-lis/VINATIERI/A TORINO/"/SIb". - ARR 2008 p.306 (5394): The place of manufacture of this fascinating anonymous 15-key clarinet should be Germany. - ARR 2008 p.308 (5117): This important Simiot boxwood clarinet shares many of the characteristics of the Simiot ebony clarinet (115) from the Rendall Collection. It includes a thumb plate and speaker key with a ring that passes the key head around the front onto a raised chimney; a tuning slide between the right hand joint and stock sections; and flexible levers slide through loops on the key heads of the F-sharp/C-sharp and E/B keys used when the tuning slide is pulled out. - ARR 2008 p.313 (5527): Additional photos of this unique Adolphe Sax clarinet are placed on p.315 but are not identified. - ARR 2008 p.447 (4912): The close-up photo of the Kolbe clarinet is printed upside down. - ARR 2008 p.448 (5151): the serial number should be "1898" (stamped upside down). - AM 2008 p.463 (4677): the clarinet was made in 1929 by Couesnon using a conflation of Charles and Frédéric Triéberts' names, to which Couesnon owned the rights. - RH 2009 p.503 (4861): cased by Shackleton with B-flat clarinet (4861), shown in picture on p.690, but of different provenance. - AM 2008 p.507 (5178): a pair with (5179). - AM 2008 p.529 (4868): The stamp on this Mahillon clarinet should be transcribed as "C MAHILLON . . .". - ARR 2008 p.565 (4837): The Cuvillier B-flat clarinet with corps de rechange for an A clarinet was stored in a two tier leather covered box. It is unlikely that this box was originally meant for these clarinets; when the Albert Rice saw it in 1998, it held a B-flat clarinet with A corps de rechange by Theodore (4899). The upper tier of this box was meant to hold a B-flat clarinet with corps for an A clarinet including two mouthpieces and two barrels. The lower tier has sections for two mouthpieces, barrel, the left and right hand sections, and a stock-bell of an alto clarinet. [See Rice, The Clarinet in the Classical Period, 32. This box was seen by Denis Watel before it was sold to Shackleton.] - ARR 2008 p.593 (5070): The Garret A clarinet has twelve keys. - ARR 2008 p.610 (5378): The illegible stamp on a 13-key A clarinet with two bees above and a star below very likely reads: "MARTIN FRES A PARIS". - ARR 2008 p.611 (5503): A second slightly longer barrel and left hand section came with the Adler A clarinet as mentioned by Fricke in the introduction (p. ix) but not in the text of this description or the description of the additional sections (p.747). - ARR 2008 p.624 (5365): spelling "D'ANGOULEME". - AM 2008 p.652 (4835): An A clarinet by Pfaff includes very unusual placement and design of keys for the G-sharp and A keys, the placement of the key heads for F-sharp/C-sharp and E/B on one rod, and the flat, wide design of most of the touches. [This instrument is mentioned but misidentified as a B-flat clarinet in Rice, The Clarinet in the Classical Period, 233, n. 247. This reference was mistakenly paired to an ordinary Pfaff B-flat clarinet in the catalogue, 304.] - ARR 2008 p.708 (4788) and (4992): "Lugano, Switzerland" - AM 2008 p.730 (4734): The stamp on this B-flat bass clarinet by Buffet jeune includes the word Brèveté which very likely refers to the 1843 French patent (no. 16,036) for movable rings since there are two rings for R1 and R2, and there are no known bass clarinet patents by Louis Auguste Buffet. - ARR 2008 pp.760-761 (5538): The description includes "scratches" to mean using a cord to bind a reed to a mouthpiece for these fourteen 19th century reeds. Perhaps the word grooves indicates the appearance of the outside of the reeds in a more accurate manner. Thirteen of these reeds are mentioned by the Albert Rice in The Clarinet in the Classical Period, 219, n. 35. - ARR 2008 p.748 (5567/13): (5567/14) see addendum for p.98 (4716) - ARR 2008 p.776 Adler: "p.12 (5448)" should be under "Adler [Paris]". - AM 2008 p.776 Amlingue: (5116) is on p.205 - MAP 2008 p.783: the entry for Mercklein should come before the entries for Merklein. - AM 2008 p.791 (4844): p.334. - AM 2008
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