As a clarinetist myself, I realize that we each have different interests and requirements. The range of models I offer includes most of the instruments a historical clarinetist would need, but within that array there is room for further refinement. The originals I copy are snapshots of the history of the clarinet, and with some careful extrapolation copies can be built which look forward or back from their inspirations. Our hands are all different, and slight adjustments in the placement of finger holes and shape of keys can lead to a more comfortable clarinet. The process of deciding upon the right model and then crafting a unique instrument tailored to an individual musician is key to my work.

 

Chalumeaux

Soprano, Alto, Tenor and Bass

Available in European boxwood or palisander. Standard pitch is A = 415

Clarinets

Theodor Lotz (Vienna): A, B-flat and C; Five keys

Raymund Griesbacher (Vienna): A, B-flat and C; Five to twelve keys

Johann Baptiste Merklein (Vienna): Clarinet in C; Six to twelve keys

Kaspar Tauber (Vienna): A and B-flat; Five to nine keys

August Grenser (Dresden): A, B-flat and C; Four or five keys

Heinrich Grenser (Dresden): A, B-flat and C; Five to twelve keys

Griessling & Schlott (Berlin): A, B-flat and C: Five to twelve keys

Basset Horn in F after Theodor Lotz, eight or nine keys

All clarinets and basset horns are pitched at A = 430, but some models can be ordered at A = 440. Clarinets are made of European boxwood, with natural horn rings and brass keys. Basset horns are of boxwood and maple with natural horn and brass keys. All stains are done in the traditional manner with acid.