I recently read a piece ,a clarinetist joyfully expressing his happiness at finding the perfect mouthpiece. I do not recall the name, or the mouthpiece and will call it for this piece, the Maurice Borat Special.
It is interesting to read of such wonderful enthusiasm, and without meaning to pour water on such an impressive note, I would like to stress that the acquisition of a new mouthpiece or even a new instrument cannot be ascertained for a period of time usually commensurate with one’s experience.
These things are all new and will feel completely different than what preceded them, and frequently the enthusiasm curls up and passes within a short period of time and one finds oneself even going back .
I have a dear friend, actually one of the world’s finest hornists, Tom Kenny, now retired and an enthusiast of old cars, absolutely loves them, and fixes them , acquires them constantly. Sells some as well.
What Tom has told me is that one cannot tell if a “new” used car burns or uses oil for at least thirty days, and I feel that he is correct and see the corollary with mouthpieces. Do you?
Phil Farcas, former principal of of the Chicago Symphony upon the conclusion of a concert which included “Til Eulenspiegl” was complimented by a student who told him it was the finest “Til” he had ever heard.
Phil looked up quizically and said, “Oh my God!. I wonder which mouthpiece I played it on.”
And that is the story, it is always you the player who makes the sound, never the equipment.
It is my understanding that Daniel Bonade made all of his students play on a medium mouthpiece, nothing extreme, at least that was his suggestion and was expressed in that little pamphlet that was published many years ago.