By Emilio Granado Rubio
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My Clarionett was bo’t for me by my music master D’Anglebert, a German professor at Bordeaux in 1794. It was made, years previously, by Amlingue of Paris. ) on account of its superior ex cellence. My music lessons were on every day — during one hour: about 18 mo. at three francs per lesson. It has now trav- eled with me six times, to various parts of Europe and Asia Minor. Twice to Brazils. ] Four times to China,— besides many trips shorter distances, Java, Manilla, etc. etc. etc. making over 200,000 miles.
During the nineteenth century, makers sought a substance for mouthpieces that would not warp from the moisture generated during playing. 27 Later, Streitwolf made adjustable metal mouthpieces, one of which was played by Johann Hermstedt at an 1832 concert in Leipzig. 30 general design and construction Mouthpiece caps made of wood (usually not boxwood) stained brown are commonly found on English eighteenth- and nineteenth-century clarinets. They protected the thin tip of the mouthpiece and the fragile reed tip.
24 The drawing is somewhat inaccurate — the 30 the clarinet in the classical period stock-bell is shortened in order to ﬁt it into the ﬁngering chart, and the Af/Ef key touch points to the right instead of the left. Nevertheless, Vanderhagen illustrates a four-piece instrument having a mouthpiece, no barrel, two ﬁnger hole sections, and an hourglass-shaped stock-bell. His instrument is similar to an unmounted boxwood ﬁvekey clarinet (ca. 25 Its S and A keys are mounted in square rings without scribe marks; its E/B key is mounted in a block.