® magazine 6

BERNARD VAN DOREN, 40 YEARS OF PASSION - THE FLOW PACK - THE ENVIRONMENT AND VANDOREN STAYING IN TOUCH AT 56 RUE LEPIC - ENCOURAGING NEWS - PORTRAITS - POSTCARDS - VANDO JAMS - WEB Flow Pack New Vandoren reed packaging magazine 6 Delivered factory fresh to you EDITORIAL wherever you are.

am proud to offer you this edition for two reasons. Not only does it Icelebrate my forty years in the firm, it also confirms a new era in terms of packaging: the “Flow Pack” era. Since 1967, you will recall, we have been modernizing all the time. Productive output (machinery and innovative advances), personnel management (acqui- ring greater social benefits for our staff) and the long-term development of quality products (efficiency and reliability tied to a respect for the environment) have been my constant concerns. Reeds being very sensitive to external factors, our first task was to stabilize hygrometric conditions within the factory. Then we could begin work on the “Flow Pack”, airtight pac- kaging that now enables reeds to be kept for as long as possible in the same perfect condition as when they come out of the atelier. I see this “factory fresh” concept as a major advance for musi- cians. Moreover, we developed the concept to the full by going for individual packaging. Now each reed reaches the final customer in a state of remarkable freshness. I wanted to free musicians from any material and secondary constraints, any hindrance to their own creativity and freedom of expres- sion.

Bernard VAN DOREN Bernard Van Doren, S 40 years of passion ...... 4 R Registration of copyright: November 2007 The Flow Pack ...... 7 Director of publication: Bernard Van Doren E Environment ...... 9

Chief editor: Anne-Sophie Van Doren, with the collaboration of Jean-Marie Paul. T Staying in touch ...... 10 Creation and realization: Christophe Hauser / La Maison. Tel: 01 44 90 02 20 / [email protected] P Encouraging news ...... 13

English translation: Jeffrey Grice A Portraits ...... 14 Cover design : Nadine Marchal - Photos : Vandoren. Postcards ...... 18 Vandoren – 56, rue Lepic, 75018 Paris. H Tél. : 01 53 41 83 00 – Fax : 01 53 41 83 01. Vandojams...... 21 Email : [email protected]. Web site : www.vandoren.fr C Web sites...... 22

www.vandoren.com 3 40 YEARS OF PASSION B ERNARD V AN D OREN, MANAGING D IRECTOR

What major changes have see, the secret of a good and 5 reeds on either side. fication, have required occurred since 1967? reed lies in the cut. Then This was the first modifi- recruiting twice as many I came into the business we started using tungsten cation. The advantage was staff. What’s more, if we on April 7th, 1967. At the carbide which only had to that this box was exactly wanted to package all time, the firm had a staff be changed every 1000 the same size as the card- these reeds, we also had to of 45, manufacturing 800 reeds. board boxes. protect them. That’s when reeds a day. Recruiting Since 1967, moderniza- Jacques Llorente developed personnel was tough back tion has never stopped. the protector. In this way, then: most people wanted Monsieur Franck helped “The secret without anyone touching to work in a bank. We had design new machines. All reeds, they could be pack- to hire laborers from those new prototypes had of Vandoren aged like in a packet of Yugoslavia who turned out to be constantly ameliora- cigarettes. This led to the to be excellent. At the ted for us to attain the reeds is that blue box. Annoyed by the time, specialized work was exceptional precision and yellow and violet box, too an honorable profession, regularity of today thanks “retro”, I designed a blue skilled labor implying a to our mastery of the most they are very one with two strips recal- certain know-how. But we advanced technologies. ling the mark’s original had to modernize because fine on the yellow and violet. I also it was hard to transmit Has packaging changed too? created our logo represent- knowledge: there would be In terms of packaging, at outer rim with ing, as well as a V, a styli- disparities from one to the the time we used to lay zed reed and mouthpiece. other, especially in terms reeds flat in a little card- a solid vertebral But now boxes were twice of selection. Anything able board box which could as large, which posed to be mechanized simply lead to deterioration. The column inside.” other problems. Manufac- had to be. Every 200 secret of Vandoren reeds is turers were saying: “you’re “ We form a reeds, we would reset the that they are very fine on taking risks in changing machine, but inevitably in the outer rim with a solid something that works a different way. We were vertebral column inside. When did you develop the well”. In the beginning the using steel from Sheffield This was when I thought of protector? protector was violet in that we hardened with the plastic box with a Increased reed manufactu- color but since you great Bunsen burners. For, you separation in the middle ring would, without modi- couldn’t see the reed family” Bernard Van Doren, celebrating 40 years as managing director of the business, talks in an interview with his daughter Anne-Sophie, about the process that led him to develop the Flow Pack in 2007.

4 5 the FLOW PACK solutions: using some to came out of the factory. maintain factory tempera- This was the “factory ture through floor heating, fresh” concept. A Vandoren and the rest as compost breakthrough we for the cane-fields. As the pushed even firm developed, we had to further by have find automatic systems packing to listen to Flow Pack that left workers free for each reed people. Ulysse Delécluse, other tasks. Every manual individually. a friend of my father, said “This year the operation was mechani- In this way, each reed about the B45: “but you’re zed, but might I add that reached the final customer not going to let that Revolution new model no-one was laid off as a in a remarkable state of mouthpiece come out!”. consequence. Then we freshness. Because it was radically is even finally installed constant different. You should never “ What in your opinion Between these interviews, considerable technological advances occurred with regard to hygrometry in the factory do things by halves. The these very factors, and Vandoren, with the collaboration of scientists and musicians, is more are the factors that most proud to have contributed. so that the reeds were “As the firm Optimum mouthpieces affect the reaction of a reed?” ergonomic, always in good shape. But (AL3-AL4) for alto are very Temperature, season, and Thanks to a hundred years of know-how in the fields of agriculture and technology, clarinetists and saxopho- developed, different from the A27 and Vandoren developed its own machines, capable of exceptional precision (tolerances of less above all, differences than 1/100th of a millimeter). Methods for selecting reed strengths were constantly being with a nists buying them two to the A28; it serves a range in humidity. refined with the help of electronics. The last stage was coming to terms with the fact that six months later in over- we had to find of musicians who do not both cane and reed continue evolving in themselves, in an atmosphere that also varies from rounder form.” play our mouthpieces. one day to the next. This is why Vandoren, since the beginning of the 21st century, began heated shops were some- automatic Marcel Mule, times unsatisfied. We Especially since in the to stabilize the degree of humidity in its factory and warehouses, night and day, 7 days a Honorary professor week, with an optimal humidity ratio of 45 to 70%, which is what we advise our musicians through it, we made it began putting reeds in systems that saxophone world, lots of of saxophone at the to do (something they can now control with our hygrometric kit, “Hygrocase”). colorless. This year the new airtight Tupperware®-type gurus touch up mouth- Paris Conservatoire model is even more ergono- boxes, with effective left workers pieces, there’s absolutely (Vandoren interview at Minutely controlled in this way, the whole reed manufacturing process can contribute to the beginning of the 90s) the regularity of the final product and reach a new degree of quality excellence. Which has mic, with a rounder form. results. And from this no regularity in the mate- Published in 1999 in been confirmed by musicians testing production samples. free for the Vandoren magazine n° 1 developed the idea of the rial. I ask musicians to try Available on www.vandoren.fr Tell us about innovations “56 rue Lepic” box and other tasks.” out mouthpieces: it’s like But there remained one obstacle to assuring the transmission of this fabulous tool to musi- linked to the cane itself. in the fashion industry, cians all over the world: a guarantee that transport or storage conditions would not damage a then the “Flow Pack”, quality so painstakingly obtained, from the initial packaging and departure from the factory We have only ever used airtight packaging designed you work in an atelier and “ For me, this Flow Pack reed to the moment of reaching the final customer. For, despite taking precautions, you can never highest quality cane for to maintain reeds as then you have a showing. be completely sure of either transport (by sea or air notably) or storage conditions. our reeds. So discarded perfectly and as long as For final touches, I listen is terrific. No matter where I am in the world, it’s as if So Vandoren thought of developing a hermetic packaging. The “56 rue Lepic” box was cane was a problem for possible in the same What about mouthpieces? either to the musicians already an innovation with its sealed protective cover. which we found simple condition as when they In the beginning, product- who visit our Parisian show- I were in the Vandoren factory ion was fairly limited room or to our travelling in Bormes-les-Mimosas, Then tests revealed that the best solution was the Flow Pack: (about 300 a month). artistic advisors. It’s a with a reed that vibrates, - With individual packaging, reeds are guaranteed an unparalleled hygrometric stabi- There was the 5RV, an whole alchemy of exchange unaffected by any hygrometric lity at every stage of the whole process from the Vandoren factory to the musician. extraordinary mouthpiece. and communication. change. Once I fit it onto Then I made the B45. We form a great family! - When he opens a Vandoren Flow Pack, the instrumentalist has a “factory fresh” my mouthpiece, I can go reed, as if he had chosen it in the factory. First we kept to the clari- stress-free into net, where I see three - Packaging in the Flow Pack sachet is perfectly neutral and has no other effect on the rehearsal room ” reeds other than assuring optimal conservation. major mouthpieces: the “If you serve 5RV, the B45 and the 5JB. Claude Delangle, Vandoren is pleased to announce that the Flow Pack procedure has now been applied to The others are all only first the market, Saxophone professor their entire range of and saxophone reeds. cousins or little brothers. at the Paris Conservatoire the market Interview 2007 WITH INDIVIDUAL PACKAGING (video extract What instigates the creation on www.vandoren.fr) REEDS ARE GUARANTEED of a new product? will serve AN UNPARALLELED There’s an old saying: “if HYGROMETRIC STABILITY you serve the market, the you” AT EVERY STAGE market will serve you”. You FROM THE VANDOREN FACTORY TO THE MUSICIAN.

6 7 ENVIRONMENT EXPERT ADVICE

aging. At that point, after a tence for over twenty lot of research, we came to years. It had to be up- the conclusion that wrap- dated a little. Reconsi- ping reeds in a flow pack dering formats allowed us was an interesting solu- to envisage an evolution of The environment tion. That was the first the graphic layout. step. But once reeds had been wrapped in the flow

pack, formats were no “0ne thing EATVANDOREN HAVE RECEIVED MANY QUESTIONS RECENTLY CONCERNING ECOLOGY AND THE NEW longer compatible with WPACKAGING. WE ARE VERY SERIOUS ABOUT PRESERVING OUR NATURAL RESOURCES FOR FUTURE existing boxes. So we had is sure: GENERATIONS AND WOULD LIKE TO SHARE WITH YOU THE STEPS WE HAVE TAKEN TOWARD THIS GOAL. to create new formats. We consumers set out from what we had THE CANE USED TO MANUFACTURE REEDS IS A 100% NATURAL PLANT. WE USE NO FERTILIZER OR PESTICIDE learnt from the initial stu- want individual DURING ITS GROWTH AND NO CHEMICAL COMPONENTS DURING ITS TRANSFORMATION INTO REEDS. THE SHINY dies to research the pre- PART OF THE REED, IT SHOULD BE MENTIONED, IS NOT VARNISH BUT THE BARK OF THE CANE. ANY LEFTOVER CANE RESULTING FROM sentation of new formats. wrapping. REED MANUFACTURING IS COMPLETELY REUSED AS EITHER COMPOST IN OUR PLANTATIONS OR FUEL FOR THE BOILER THAT HEATS OUR It took a long time to deve- That was how FACTORY. NO OTHER ENERGY SOURCE IS THEREFORE NECESSARY IN TERMS OF HEATING. OUR HIGH PERFORMANCE BOILER, INSTALLED lop because we had to IN 2006, GIVES OFF ONLY WATER VAPOR AND CO2 INTO THE ATMOSPHERE. IT IS IMPORTANT TO NOTE THAT THIS CO2 EXHAUST IS work to re-adjust if we the Flow Pack OF PLANT, NOT FOSSIL ORIGIN AND THAT ITS ATMOSPHERIC EVACUATION CONTRIBUTES IN NO WAY TO THE GREENHOUSE EFFECT. THE wanted to re-adapt graphic QUANTITY EVACUATED DURING COMBUSTION IS, IN FACT, COMPLETELY COMPENSATED FOR BY THE QUANTITY OF ATMOSPHERIC CO2 layouts without losing any- was born.” ABSORBED BY THE PLANT DURING ITS TWO-YEAR GROWTH. FINALLY, ONE LAST POINT: THE LOGO ON THE BACK OF THE REED IS thing. We went back to the PRINTED IN EDIBLE INK, OF NO DANGER TO THE ENVIRONMENT. drawing board quite a lot: Did you take into considera- THE REED PROTECTOR IS MADE FROM 100% RECYCLABLE POLYPROPYLENE (BEARING THE TRIANGULAR PP5 MARK). we would create prototypes, tion the evolution of other test them out and either products and packagings on THE FILMS. THE CHOICE OF OUR SUPPLIER WAS DETERMINED NOT ONLY BY THEIR ABILITY MEET OUR TECHNICAL DEMANDS LINKED TO continue or not until we the market? FLOW PACK PERFORMANCE IN PROTECTING THE REED, BUT ALSO WITH A REGARD FOR ECOLOGICAL CONSIDERATIONS (THE SUPPLIER OF reached the final decision. Yes definitely, as far as the THE FILM IS AN ISO 14001 CERTIFIED COMPANY CONCERNED WITH ENVIRONMENTAL MANAGEMENT). OUR CELLOPHANE ON THE OUT- principle of airtight pack- SIDE OF THE BOX IS OF A VERY COMMON TYPE MADE FROM POLYPROPYLENE. MOREOVER, WE ARE CURRENTLY PURSUING RESEARCH ON Were you largely instru- aging for the reeds goes. THE USE OF BIODEGRADABLE OR COMPOSTABLE FILM. WE SHOULD POINT OUT HERE THAT THE THICKNESS OF THE FILM WE USE EFFEC- Jacques Llorente : mental in re-developing the We considered everything TIVELY LIMITS WASTE VOLUME IN COMPARISON WITH OTHER PACKAGING SOLUTIONS LIKE AIRTIGHT BOXES, TUBS OR OTHER PROCEDURES strips of the initial boxes? that had already been invent- FOR MAINTAINING HYGROMETRY. Definitely. The whole point ed. The first breakthrough “ 20 years on...” lay in maintaining the was putting reeds in a box CONCERNING BOXES AND CARDBOARD PACKAGING, AND IN THE NEAR FUTURE ALL OUR PRINTED MATTER, WE HAVE DECIDED TO CHARGE THEIR Vandoren image, in moder- we created for the “56 rue MANUFACTURING TO A COMPANY STRONGLY COMMITTED TO ECOLOGICAL CONCERNS. THIS GROUP, ISO 9001 CERTIFIED SINCE 2004, nizing without destabili- Lepic” reed. For products HAS OBTAINED THE IMPRIM’VERT LABEL AND WAS ONE OF THE FIRST FRENCH BUSINESSES TO SIGN THE WORLD BUSINESS PACT INSTIGATED BY THE UN IN JULY 2000 ON THE INITIATIVE OF MR. KOFI ANNAN. CONCRETELY, THIS YEAR, A FIRST OBJECTIVE HAS acques Llorente has categories. The next stage zing the final customer. on today’s market, any- been collaborating came twenty years later The strips were originally thing in the food line, ther- BEEN ACHIEVED BY USING PAPER CERTIFIED BY THE PEFC (PROGRAM FOR THE ENDORSEMENT OF FOREST CERTIFICATION) AND THE Jwith Vandoren for when I was asked to think of a certain width, practi- mal compression moulding FSC (FOREST STEWARDSHIP COUNCIL). THIS MEANS THAT THE PAPER COMES FROM TREES PLANTED EXPRESSLY FOR PAPER PRODUCTION AND over 20 years, helping about designing a fresh cally separating the box in is extremely common in DOES NOT CONTRIBUTE TO DEFORESTATION. MOREOVER, TREES ARE SYSTEMATICALLY REPLANTED IN EACH SECTION AS THEY ARE FELLED. to develop wrappers look for the packaging and two (a little instrument practice. But one thing THIS PROCEDURE HAS ALSO BEEN APPLIED TO INKS, FIXATIVES, DEVELOPERS AND SOLVENTS, WHERE TOXIC PRODUCTS ARE REPLACED and packaging. Dressing ameliorating some of the and a signature below). is sure: consumers want BY OTHERS LESS POLLUTING IN NATURE (FOR EXAMPLE, THE USE OF OFFSET INKS INSTEAD OF HABITUAL UV INKS). in every size… ergonomics of the protector. Reducing the width of the individual wrapping. That There was the added pro- strips allowed us to make a was how the Flow Pack VANDOREN’S COMMITMENT TO THE ENVIRONMENT GOES MUCH FURTHER THAN SIMPLY OUR PRODUCTS AND THEIR PACKAGING. How has Vandoren packa- blem of protecting the much larger signature and was born. WE SHOULD LIKE TO MENTION THAT ELECTRIC VEHICLES ARE USED TO GET AROUND OUR PRODUCTION SITE IN BORMES LES MIMOSAS ging developed, both visual- reeds themselves. They a more visible instrument. AND THAT MR. VAN DOREN, THE INITIATOR OF THIS PROCEDURE, DRIVES A HYBRID CAR. ly and technically, since you risked deteriorating from Do you have other projects? invented the protector? any extreme hygrometric For you, what was the over- Let’s say that for the There were several stages. change. After a trip to the all driving factor behind moment we still have to When I created the pro- USA, Bernard Van Doren redesigning packaging? digest all this, but yes, of tector, we were initially asked me to consider the There really was a need course we are working on putting reeds into boxes of concept of protecting because the original pack- new projects. The story 5 or 10, depending on the reeds in airtight pack- aging had been in exis- continues… and Vandoren

8 9 STAYING IN TOUCH Stayingintouch at56 rueLepic t Vandoren’s, each day is another occasion for our advisory staff to meet clarinetists or Asaxophonists from different countries, per- forming different types of music and playing diffe- rent makes of instrument. The store also fosters unexpected encounters between musicians. Come to try a mouthpiece or look for scores, instrumentalists are keen to discuss the reasons for their visit. Often this dialogue goes much further: sharing impres- sions about a way of playing, a repertoire, a country, leads to genuinely vibrant cultural exchange. Vandoren wished to also stimulate this interaction by organizing meetings with artists. For example, composer Nicolas Bacri came to explain his works, bringing Julien Hervé to illustrate with live musical extracts, and clarinetist Pascal Moraguès came for an event organized for the re-edition of the CDs of his Quintet. Novel encounters, occa- sional reunions, we wanted to share some of these special moments with you.

11 STAYING IN TOUCH ENCOURAGING NEWS PORTRAIT Orchestras in schools

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BORN IN KANAGAWA (JAPAN) IN 1970, HE BEGAN STU- more than DYING PIANO AT THE AGE OF 3 AND SAXOPHONE AT THE AGE a hundred OF 12. IN 1992, HE GRADUATED FROM THE TOKYO NATIONAL UNIVERSITY OF FINE ARTS AND MUSIC WHERE orchestras HE NOW TEACHES. HE ALSO GIVES A CLASS IN IMPROVISA- of this type TION AT THE SENZOKU COLLEGE OF MUSIC. ADMITTED TO in existence ” THE PARIS CNSM IN 1995, HE OBTAINED PREMIERS in France, PRIX IN SAXOPHONE (1997), (1998) projects are AND IMPROVISATION (1999). A LAUREATE OF THE being developed, WOODWIND, PERCUSSION COMPETITION IN JAPAN (1990) AND OF THE J.M. LONDEIX INTERNATIONAL COMPETITION this is only IN BORDEAUX IN 1996, HIS ECLECTICISM AND ORIGINAL the beginning… APPROACH TO MUSIC HAVE AWAKENED GREAT INTEREST IN EUROPE AND JAPAN. IN 2006, HE TAUGHT AT THE Masataka HIRANO ACADÉMIE HABANERA IN POITIERS. n many countries, schools ceship, playing in an orchestra who collaborate in these school for innovative educational In the beginning, choosing the saxophone was actually a fluke…my college band had openings for saxophone or for have orchestras at junior, from the beginning of learning schemes are either full - or part- methods from the teaching tuba. But I took to the sax immediately, I bought loads of recordings, so I could listen to the pieces we would be hxjj-Imiddle and upper school an instrument, and usually in a time teachers. But they can also board). Their performance was

playing at college the next day. I began on tenor, baritone and then alto just before going to university. I didn’t do levels. France is somewhat of an school context. Sometimes be independent musicians. also televised. A source of great things in a conventional way… Now I play classical, contemporary, improvise with jazzmen and compose. I’m look- exception. “For the first time, groups form of students of the Sometimes two musicians, per- gratification to these young ing for music every day, because I’m curious and impatient. Music dwells in both time and space, and is unres- certain OAE* projects are cur- same grade, sometimes of kids formers of several instruments, musicians and an encourage- tricted by any national boundaries. For a written piece, I work like a student. But in concert, I begin to express myself, as if it were rently uniting public and private who have volunteered, feel moti- will share work with the children, ment to others to create similar an improvisation; from start to finish, I look for an interpretation that is truly alive. You can love (and serve) the composer, while school teachers, music teachers vated, or have been chosen though in some projects, each ensembles. More than a hundred still being different from him. Take a red flower; it’s the same thing for everyone, but each person has their own particular story and directors of music schools, within the school, there are no instrumental desk may have its orchestras of this type are alrea-

to tell. When I was living in France, you wouldn’t see that kind of flower as often as you do in Japan, but I reconstructed it in my representatives of the private set rules. While the first orches- own teacher. The CSFI will have dy in existence in France, other memory. To study at the Paris Conservatoire with Claude Delangle was to learn everything about the instrument with one of the business sector, and parents of tras were brass bands, soon vio- their own stand on display at the projects are being developed, gods of saxophone. But it was also to live in Paris, a historic town with a rich past, an art of living and moreover, since Adolphe students under the watchful eye lin ensembles developed and next Salon des Maires de France this is only the beginning… of the Ministry of Education” **. now, more “mixed” formations. in November 2007, for it is Sax, the city of the saxophone, the city of the manufacturers, the composers. That really inspired me. French and Japanese cul- The CSFI (Chambre Syndicale Music performs miracles. Plus, important that local representa- * OAE = Orchestres à l’école tures are both very rich and I integrated them in my own way. In concert, I forget the medium, the saxophone is a prolongation of (Orchestras in schools) “ de la Facture Instrumentale – it’s a field where the exception tives be made aware of the social myself. It was a long time after the end of the piece that I realized there was an audience, that I was playing an instrument cal- The instrument-maker’s guild) proves to be the rule. Children and pedagogical value of music ** An extract from “Profession led the saxophone. But when I try to analyze how I go about choosing my material and what I’m doing with it, I guess I could say has been regrouping manufactu- have taken up all sorts of instru- in schools, beyond simply Musique N°6, 2006, this: with a Vandoren mouthpiece, you can use air, breath, like the bow of a violin. What I’m trying to achieve are almost unlimited rers of instruments and accesso- ments, even ones like the oboe playing an instrument. Madame the magazine of the CSFI. nuances. For me, a reed has a personality of its own. It’s like in a marriage, a daily readjustment with oneself, we have our habits, ries (like Vandoren), importers, or the trombone that they didn’t Albanel, Minister of Culture, our funny little ways. An anecdote: one day I found a reed that I immediately adored, I can’t explain why. It was perfect for the editors, retailers… This organi- know; they have also enthusias- came to inaugurate this year’s Hindemith Sonata for alto. I kept playing my concerts with other reeds, but I always took this reed for that piece which I must sation was behind the setting tically embraced a repertoire of “Fête de la Musique” in Paris, in have played about ten times, even though the reed was weakening a little. There are special sound colors which, once you’ve found up of the first classes, in co-ope- light classical or jazzy pieces. the rue de Rome, in the presen- them, you love recreating. I wrote a classical concerto in 2004 called “7 Tableaux”, inspired by the works of a painter, a bit like khfration with the association Often school results have impro- ce of the Orchestra of the Cergy Mussorgsky. It was a commission for television, so I didn’t want to do something too modern, too complex. The saxophone is an DRAPOS (Développement, Rayon- ved, often aggressiveness has School (see photo). In 2004, CSFI instrument that’s very free; it has so many angles, you can go towards classical, jazz, contemporary… and it’s a young instrument, nement des Pratiques Orches- been transformed into collective this class from the Collège des trales Scolaires – Development music-making energy. Some stu- Explorateurs du Z.E.P. in Cergy, 62, rue Blanche, without too much tradition, not too set in its ways. That’s also a bonus! and promotion of orchestral dents, keen to continue to a was awarded the Prix de 75009 PARIS MATERIAL USED : playing in schools). The basic higher level, go on to enrol in a l’Innovation Educative de la www.csfimusique.com A28 AND T20 MOUTHPIECES, principle is collective apprenti- music school. The musicians Ligue de l’Enseignement (Prize email:[email protected] TRADITIONAL REEDS N° 3, AND S15 MOUTHPIECE 3,5 REEDS.

12 13 PORTRAITS

the way you play. When the experienced that. Today, a spectrum as wide open as amalgamation of an ins- from same musician doesn’t get reed doesn’t work so well, possible. At the time, trument that’s well bro- the same result from the the following day, it’s bet- some people used to say ken in, with a mouthpiece same mouthpiece, the ter… Three days later, Cahuzac’s sound was big. I and a reed suited to each same reed… maybe that’s we’re saying: “But it’s myself loved that… and particular place, each yesterday… because he’s in a different great”. Because now Cahuzac used to swear by particular time… it’s real- frame of mind. you’re accustomed to it. Vandoren. ly quite subtle. You have to take into DIONET, MANASSE, CHARPENTIER, THREE SIDES TO Do you have any suggestions account the way you feel, What kinds of external fac- “ for handling new reeds? how tired you are…etc. tors can influence a reed? THE MUSICIAN’S PASSION FOR MATERIALS If a new reed sounds good, There are so many factors Cane itself is a piece of consistent and fitting to involved. wood, alive and therefore your taste, play it for a few Cahuzac’s sound had sensitive to its environ- minutes and let it rest. If roundness, but not without ment: heat, cold, humidi- you keep playing it for fine timbre. Exaggerating ty, dryness… Add to that Henri Dionet ages, chances are you’ll certain things can lead, the physical ups and tire it. Subsequently, you see, to dullness of downs of the instrumen- cutting the reed to make sound. Sound will not pro- talist, and even a very of Robert Van Doren. Your tone that I like. Only when enri Dionet passed it more dynamic, doesn’t ject without timbre. And good reed can appear to public doesn’t know who you marry your mouth- away on October 27, always give the desired watch out for trends. When be poor. Which is not your reed manufacturer is. piece to your reed do you H2006. He was born result. I was at the Conservatoire, necessarily the case. get maximum comfort, in 1911. After studying at the you had to have a clear Students used to say to Which mouthpiece did you allowing you to play a soft Lille Conservatoire with used to joke sound… Now clarity is me: “You always have Ferdinand Capelle, he play? high C# as easily as an that reeds should be treated fine. But sound should good reeds” to which I graduated in 1930 with a I tried other mouthpieces, open G. That’s what I have “with contempt”… never become “transpa- would reply: “Yes, the Premier Prix from the Paris but I always came back to always looked for and tried Which is true when you rent”, or lose body. You same as yours.” Good Conservatoire where he had Vandoren. Before the war, to encourage my students think about it. We’ve all have to keep the harmonic results depend on the studied with Auguste Périer. an estimated 90% of clari- to obtain. Principal clarinetist at the netists were playing the I had colleagues on the from 1945 to 5RV.There has to be a rea- look-out for reeds and 1973, he taught at the Versailles Conservatoire from son for that. Manufac- mouthpieces all their lives. 1951 to 1982. The following turers made other mouth- Fair enough, you can text comes from an interview pieces using concert always do better, but you he gave to Roland Pierry at artists to try out their have to remember that Vandoren in the early 90s. production innovations. going for something “bet- The complete interview can be Vandoren also evolved, ter” can be your own worst found in the magazine “The proposing other models enemy. It’s a vicious circle. Clarinet”, vol. 34, n° 3, June like the 11.1, the B44, or 2007. (back issues can be the B45 which I also What’s the ideal solution? ordered at www.clarinet.org) played. One thing never to If you have several reeds, forget is: choose reeds to you can rotate them. After having tried and tested suit your mouthpiece. Use Maybe one that doesn’t different makes of reed, I this method and you seem to work so well today realized (in all honesty) that always find your own sono- will seem excellent a week Vandoren’s were the ones rity more or less. For later. You hear them say all that satisfied me the most. example, with a B45, I the time: “it feels great”. The sound quality was would use slightly softer But you’re the one who has superior. And I’m not saying reeds because the B45 to feel great, not the reed. Henri Dionet, in the company of that because I was a friend has a certain roundness of Physical stamina influences Henri Druart and at a meal given by the Garde Republicaine for its former members. 14 PORTRAITS Jon Manasse

on Manasse, soloist How did you start out ? halls and climates. In and inspires you. My wife Florent Charpentier and chamber artist Thanks to my parents who Colorado for instance, you is a cellist, and also comes Jis currently principal introduced me to the love have altitude, the summer from a musical family. clarinetist of of music, I started with is dry. Here in Paris the I feel lucky to live with such Tell us about your experience in Canada. the American Ballet saxophone. I did not like choice of reeds is diffe- a variety of performing At the 2007 ClarinetFest in Vancouver, I discovered other ways of playing the cla- Theater Orchestra and the clarinet ! When I was rent. Each situation requires experiences: orchestras, Mostly Mozart Festival rinet, notably though the intermediary of the (many) American clarinetists pre- 10, I never found it played a slightly nuanced approa- ballet, chamber music, Orchestra. He has served sent; and also other repertoires that are perhaps not so well known in France. As well, with a shrill sound… ch to the set-up. Thanks to concertos, recordings, films as the principal for me, I wanted to play a basically chronological program to show I was capable clarinetist for many But in 1976 I became Vandoren to have created and musicals, … of playing more classical pieces (Schumann, Françaix) before freeing up in more orchestras, including the acquainted with David different ranges of equip- original pieces with larger physical and psychological demands, like “The Little New York Chamber Weber, who had a studio ment ! I still use the M30 Harlequin” of Stockhausen. Establishing a different relationship to your instru- Symphony and the near Carnegie Hall, he did 13 mouthpiece; I use all “Audiences ment allows you afterwards to explore other horizons. The clarinet becomes almost Metropolitan Opera not take beginners, but types of Vandoren reeds an accessory once your body itself is expressing something, your face, the way you Orchestra. A graduate when he listened to my (Rue Lepic, V.12, and like music move in space… it’s probably thanks to improvised music with Jacques Di Donato of Juilliard, he has won C-major scale, he accept- Classic) depending on the that I dared to do it. I worked with a dancer, on everything to do with movement numerous competitions ed. I was immensely cap- performance circumstan- that speaks though space, steps, posture, and then with an actress, on more theatrical and has a large tivated by the way he ce. The strength of reed to the heart aspects, facial expressions and so forth. It had to be a little disconcerting for discography. Since 1995, played. He also introduced can range from 3.5-5 also the audience. he has been Associate me to the recordings of the depending on the concert Professor of Clarinet at and soul” century : Hamelin, Cahuzac, venue and climate. I do the Eastman School of Was it hard still paying attention to sonority and breathing technique? Leister… So I fell in love not keep more than 12 Music; in September orn in 1982 Florent You are actually paying less attention to beauty of sound than to synchronizing 2007 Jon Manasse with the clarinet ! David reeds at the same time. The future of clarinet ? Charpentier is your steps with the melodic line. Especially since the rhythmic line that you’re joins the faculty of Weber was serious and And I anticipate my needs The clarinet world has B currently doing doing with the feet has to work like accompaniment. There are all these contrary The Juilliard School. rigorous ; he also made when trying reeds, so I always been rich in artistic the postgraduate rhythms, binary and ternary. Physically speaking, it’s a very hard piece to play recommendations to study have reeds that are at dif- personalities. And the program at the Paris CNSM because you’re running all over and breathing flat out. Jumping up and down, with other professors : ferent points of the brea- world of composers will (studying with waggling my butt and hopping around with the clarinet in the air, were all part of I was at the Aspen Music king process. You must also continue to evolve, to Pascal Moraguès and the challenge… I had a lot of fun. School, I had lessons with have a strong concept of experiment new tech- Michel Arrignon). Lancelot in France what you want in mind, niques. Audiences like He obtained a Premier Prix Are you going to play “The Little Harlequin” of Stockhausen elsewhere? (Academy of Nice in and let that be your guide music that speaks to the with honors from the CNR I would love to. But even more especially find other pieces in the same style. 1981), etc. I tried to blend for selecting equipment. heart and soul. With the in Nancy (Olivier Dartevelle) Mauricio Kagel writes lots of pieces involving musical theatre and movement, that different styles. I try my best to be true to help of Vandoren and its and another in 2006 interests me. I’m planning now to do two contemporary pieces, one by Krystof what I believe in music. U.S. distributor DanSr, I from the Lyons CNSM Maratka and another by a Canadian composer. I also improvise in the group How to choose materials ? The clarinet must repre- commissioned a clarinet (Jacques Di Donato). “Arlequin Variations” and play klezmer music. Two things are important: sent the sound I have in concerto from Lowell He has often performed how it sounds, and how it my heart. I get so much Liebermann to enrich the with orchestra, like with the What about your connection with Vandoren? feels. You must be comfor- from listening to other ins- repertory. The Premiere is World Youth Orchestra All my teachers played Vandoren. It even took me a while to know that other labels table and natural. I travel, trumentalists and singers ! tentatively set for the (Mozart , existed! Along with my V.12, I play the B40 Lyre, it’s a mouthpiece that really so I must play in different It establishes your targets 2009-2010 season. Tel Aviv, 2003). suits me. I like the B40 for its velvet sound, richness and roundness, and the B40 Florent Charpentier plays Lyre gives great facility to playing in the top register. a B40 Lyre mouthpiece and V.12 3,5 reeds. … to today. 16 ”17 POSTCARDS

Luchon in 1960. Much ” It was a great honor for me Jean-Louis René sought after by composers, to work closely with this great David Gould he collaborated with Debussy, clarinet maestro in the years Ravel, Stravinsky, Honegger, 1955-58. To benefit from and Laurent Sultan Milhaud, Rivier, Mihalovici, his precious advice and CLARINETISTS, VANDOREN ADVISORS etc. It can never be repeated have the pleasure of being enough just how important conducted by him with the his career in France really Orchestre de Radio-Lille. ClarinetFest “classical” repertoire would hire unspecialized teachers. was. A lengthy career too, It was on the invitation of 2007, Vancouver. be followed at 22h30 by a 45- Many retail chains increasingly over sixty years long. He the Regional Council of minute concert of hotter organized music classes in played with great sensitivity. the Hérault, the Municipality styles: jazz, fusion, Latin, their own shops. Many The purity of his sonority of Quarante and Mr. Ferrand, improvised music… An exhibitors of and defied description and his the school principal, audience of true connoisseurs accessories were present, irreproachable sense of style thatI participated in the he International Clarinet was to make more than one Vandoren amongst them. The was known and loved musical inauguration of Congress took place this year interesting discovery. This label has a solid reputation of throughout the world. Parallel the “Louis Cahuzac” High in Canada, in the magnificent year Vandoren invited Florent quality, know-how and to his magnificent career as School on May 5th, 2007, Tnatural surroundings of the Charpentier, laureate of the innovation, as our advisors on a concert artist, he had an in a clarinet/piano recital city of Vancouver. Invite a CNSM in Lyons, to make an the stand were able to confirm. unforgettable career as an and also with the ensemble hundred artists, mostly from appearance. Florent was Flow Pack, the new conditioned immense pedagogue. Very “La clé des anches”, the United States and astonishing, especially in reed packaging, sparked off a meticulous, he never lost conducted by Michel Paris. Canada, with a few Stockhausen’s Harlekin which lot of curiosity. Many North sight of the important role Performing the complete clarinetists from Brazil, got him a standing ovation. American clarinetists, often CLARINETIST, PRESIDENT OF THE MUSICAL he had for his students, of works of Louis Cahuzac Mexico, Spain, Portugal, and Vandoren advisors were able from States with very different how he could instill in them in the Roman Abbey of you have a festival…with FEDERATION OF PICARDY, ADMINISTRATOR OF to chat with local musicians. climates, showed great a searching for the most Sainte-Marie (10th century) numerous concerts proposed The number of enrolments for interest in a packaging THE MUSICAL CONFEDERATION OF FRANCE. inspired way of all. He would before the entire Cahuzac each day. Every evening, a musical education is on the allowing for the conservation particularly emphasize the family and a large audience first half of essentially rise, but most schools still of “factory freshness”… here has 76, recorded the Hindemith importance of the clarinet’s was one of the great that French Concerto, conducted by the characteristic timbre. emotional experiences clarinet composer with the London Eminent professor talking of my life.” virtuoso been Philharmonia, in a masterly one day to a young, very King Li, who began on Chinese traditional music). hiding until now for me not to performance that is still virtuoso, clarinetist: “Listen n recent years, the clarinet, has now created the The others are in Shanghai, Whave met him earlier?”. This a reference today. my dear friend, we’re worlds clarinet and the saxophone class at the Xi’an, Tianjin (near Beijing), “ saxophone have become Shanghai Conservatory. There Guandong (Canton), Sichuan, was more or less what Paul Who was Louis Cahuzac? apart. You’re interested in Xiao-Shan Hindemith had to say in 1955 One of the best clarinetists playing twenty notes a second Huang extraordinarilyI popular in are now 9 superior Hunan… My clarinet teacher, (he himself had studied the of the 20th century. Born in while I, on the contrary, am China. In big cities, the Conservatories, 2 of which Madame Tao Chun Xiao is the clarinet). The following year, Quarante, near Béziers in the interested in playing one note CLARINETIST, phenomenon began slightly are in Beijing (one more teacher at the superior Louis Cahuzac, at the age of Hérault, he passed away in well every twenty seconds. VANDOREN ADVISOR earlier: for example, Hong particularly devoted to Conservatory in Beijing. M. Xi

Louis Cahuzac 18 (1880-1960) 19 VANDOJAMS

s os Gr k ar 05 M 20 t e e br z em t pt ni se o - K k O e or livi Le -Y er T ew et M emime N ichae Par l C is - here avril t With very few editors in countries with a university 2007 China, some teachers make system like ours we think notebooks, transposing in terms of Bac +5, or the extracts in their own equivalent, in order to figure The Vandojam, a monthly jam session hosted by saxophonist arrangements. Since there is out just what a Michel Cheret celebrated its 50th edition this year! One of the Hart high points being the Vandojam for the Vandoren centennial in ntonio 5 no teacher of , “Conservatoire Supérieur” A mbre 200 - septe December 2005 which took place after the awards ceremony at New-York bass-players are very hard to means. So finding a job in e 05 Blu e 20 the Jazz Academy. Initially programmed, in 2003, at the new TK embr sept come by. As in the United a conservatoire as a teacher k - restaurant-jazzclub “Autour de Midi” (11, rue Lepic), Vandojams -Yor States, there is a penury of is very difficult, because you New have now migrated to the Sunside, rue des Lombards in Paris and been taken up elsewhere in France and abroad. music classes in lower, junior have to have a recognized and high schools and in diploma. Hopefully things The 50th Vandojam, May 2nd 2007 at the Sunside, Paris:

colleges. When I graduated will evolve. In 2007 there was On this occasion we had the pleasure of entertaining the Parisian jazz scene over from Beijing Conservatory at a big brass band competition a friendly drink. The press turned up (Jean Michel Proust, François Lacharme the age of 18, I was, in 1998, in Beijing in the open air; etc…), as did the musicians. There was no particular theme for this Vandojam, once again a full house ; though the tenor saxophone was the star of the night. perhaps the first Chinese girl each second year it takes Michel Cheret hosted with his habitual enthusiasm and talent. Our “godfather” Long now teaches in Canton. so was Mr. Tie Bai who came ever to come study clarinet in place in a hall. There are Francis Bourrec, accompanied by the Vandojam band, Mathias Allamane on bass, Philippe Soiret on drums and Vincent Strazzieri on piano, opened the Mr. Zhao Zeng Mao should with a clarinet quartet. France. My parents helped me festivals at the Beijing night. In the course of what followed, we were able to applaud Nicolas also be cited, the teacher in The second factor, and I worked to finance my Conservatory and clarinet Montier, Olivier Témime, Eric Prost (our leader of the Lyons Vandojam at the Hot Shanghai… Now there are specifically Chinese, is of studies. I first studied at the and saxophone competitions Club), Alexandre Grimal in duo with Boris Blanchet, Michel Goldberg, along with many other saxophonists also present (David Prez, Hervé Méschinet, Olivier Bogé many teachers in China! course the ever-increasing Conservatoire of the 13th are planned. China is moving …). A Vandojam also took place on May 2nd in Nantes, led by the saxophonist The first thing one notices number of students. There arrondissement with J.F. and developing. In time, there Sylvain Del Campo.

about the teaching of these are already more than Verdier whom I had met in will be more good orchestras. David Sa ndborn et Vandojams have already taken place in other French cities like Bordeaux, Toulouse Mark Gr instruments in China is the 20,000 saxophonists, and Beijing. I went on to study More and more students want New-Y oss or Nantes. At the Lyons Hot-Club, Eric Prost led, for example, on June 20th a ork - août po 2006 Cam p) homage to John Scofield and Joe Lovano. Vandojams also draw jazzmen from l , t incredible motivation to a Saxophone Association, with Guy Dangain at the to go to study in France: they De nez n ti 07 all over when programmed in festivals like Vienne, Marciac, La Rochelle… ai Mar 20 lv an ai Sy sti 2 m learn. The first National in Shanghai alone… In big Ecole Normale de Musique want to get to know French They have also spread to elsewhere in Europe, like in Llubljana, hri - + C tes Competition in China was cities and small towns alike, and then with Richard Vieille music. That was the direction and to the North American continent (Montreal, with saxopho- ( Nan nist Yannick Rieu), New York (with Mark Gross), Chicago, created in 1994 by Mr. Xi Wei there are now musical and Franck Amet at the Paris I took for myself anyway. Los Angeles… Long, and in recent years, associations, music schools, CNR where I obtained a I love France, its music, vandojazz.com, the place for info on all the more and more European and instrumental classes in Premier Prix in 2005. its people. The French Vandojams, the artists, with photos, video extracts, American artists have been universities. The level of I completed my training and the Chinese have many c ! etc. re e r èm ou ti B an coming to perform concerts playing is of course variable. in March 2006 with Claire things in common.” s qu i in nc c a La in festivals and give master- For the moment, there are Vergnory at the Rueil CNR, Fr - s ri classes. For example: Guy very few saxophone quartets, taking master-classes at Welcome to China! Pa Deplus, Guy Dangain, even less clarinet quartets. and J.F. Verdier, , Scores and CDs for these Vandoren whom I now

Paul Meyer, the saxophonist instruments are hard represent in China, working E ric P A rost nimat Fabrice Moretti… Ensembles to find, ensemble scores for the distributor Sodiam. la eur d Vando e jam à also visit: the tour of Claude even scarcer. And similar In China, no-one knows what Lyon Delangle with the CNSM problems exist with a CNR is (CNR: Conservatoire Ensemble was a big success, specialized retailers. National de Région). In

Baptiste H Vand erbin ojam - Par is - 5 déc embre 2006

20 21 WEB SITES www.vandorenscores.com To order an exceptional range of sheet music or ask for advice * opening hours: The Vandoren Sheet Music section opened in 1993 at The store is open to the 56 rue Lepic* for musicians keen to access a wide range public from Monday to of sheet music for clarinet and saxophone, along with Friday: mornings from 10am to 12.30/ afternoons from specialized advice in this field. The Internet sheet music 2pm to 4.30 (note that site, created in 2005, is a logical extension of the store, Friday we close at 4 pm) replacing catalogues now often out of print. Fitted with advanced search motors (by composer, arranger, title, by telephone: category, etc.), soon the site will also feature extracts from advice : +33 1 53 41 83 08 direct orders : +33 1 53 41 83 03 scores. Since January, 2006, CDs in stock at the rue Lepic store have also been added, making many artists available worldwide. by fax: +33 1 53 41 83 02 The selection by email [email protected] A selection representing every style: classical, jazz, klezmer, pop/rock, etc., chosen from hundreds of different editors, large and small, within France and abroad. Established On the site, security facilities teaching methods, collections of studies and instrumental pieces with piano accompani- for credit card payment ment are available. Along with a wide choice of new music for musicians interested in a (Visa or Eurocard/Mastercard) widely varied classical repertoire, klezmer music, or folk music from Eastern Europe. And scores to meet a growing demand for quartet repertoire, and music for clarinet and saxo- To receive update info: phone ensembles. For details about score releases, a listing of concerts in France, information about your instrument, send an email to [email protected] indicating your instrument and musical style. · N AVIGATION TIPS Advanced search if you know an exact term The “Free search” zone allows you to enter a term (last name of a composer, a keyword from a title, etc.). But pay attention to the original language of the vandoren.com editor; for space reasons, it has not been always possible to give the French, English and German equivalents of certain titles (for example, for The main site for details about Vandoren products “Christmas” music, you should also look under “Noël”). At any time you can and a range of information: download Vandoren of course click on a composer in the unfolding menu. magazine, musician bios, current events (concerts in Categories is practical for a search of a particular instrumental formation France, events with the participation of Vandoren), or a style. It gives an overview where everything is classified just like in the mouthpiece and reed manufacturing (a tour of the rue Lepic store, under clarinet or saxophone, classical or jazz, teaching cane-fields and the factory, diaporama), extracts from methods, studies, one or more instruments etc. More importantly, you can search for scores without a full title. For example: under “klezmer”, you will Vandoren videos on sale (DVD of masterclasses by find scores (by, for example, Giora Feidman or other artists) which do not and Karl Leister, interview with Marcel necessarily have “klezmer” in the title. You can also open the unfolding Mule on VHS cassette), listing of international distri- menu in the top left (under Clarinet, Saxophone, Music Theory, CDs) to navi- butors, etc. gate in finer subdivisions. News enables you to check out recent releases. vandojazz.fr or vandojazzusa.com

The jazz and Vandojam site, performers’ impressions, shots of an event or an artist, photos, videos…

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