FAQs & Links...

...help us realize we're all in this boat together.

When and how did you begin?
"I began playing when I was eight, in Bloomington, Indiana. My mother encouraged me and found me a wonderful teacher, himself a bit of a prodigy, who was then only eight years my senior! At sixteen he knew enough to take me on a course of study that matched almost exactly what, years later, Robert Marcellus described receiving from his first teacher growing up in Minnesota. Was I fortunate! That young teacher was Bill Burnham, today a prominent law professor in the Midwest. Bill and I remain close and he still amazes me with his wonderful playing!"

Who were your most influential teachers?
"All of them!... each in his own way. Glenn Bowen (U. of Wisconsin) pointed me toward controlling the instrument while still in high school. Leland Munger (U. of Texas) was a wonderful, thoughtful musician. Steve Girko (Dallas Symphony) exemplified virtuosity. Larry Combs and John Bruce Yeh (both Chicago Symphony) guided me through my roles in Chicago�s Civic Orchestra. Clark Brody (Chicago Symphony/Northwestern U.) and Robert Marcellus (Cleveland Orchestra/Northwestern U.) put me under their microscopes. And, Carmine Campione and Ron DeKant (both Cincinnati College-Conservatory) reminded me of things learned and forgotten. I owe them all a great debt."

What clarinets do you play?
"I play Buffet clarinets. I guess I was spoiled; I was given my first Buffet R-13 clarinet when I was only eleven, in sixth grade. It was a fine used instrument that my teacher selected, and it carried me into college. For the past twenty years I've been playing Buffet RC-Prestige clarinets that I selected at the factory; Bb, A, C and Eb. For me, they are the best! It is distressing that this model is all but unavailable in the United States, yet it so prevalent and often the instrument of choice in Europe."

What mouthpieces do you play?
"I play Kaspar (Cicero/Chicago) and Vandoren mouthpieces. Again, I was spoiled. I received my first Kaspar along with my first Buffet. I'm sorry to say that particular Kaspar mouthpiece is the only mouthpiece I have ever dropped and broken. The spare mouthpieces I carry around are Vandoren (5RV and 5RV-Lyre, both Profile 88). I still think Vandoren mouthpieces are the best production mouthpieces readily available. One can spend a lot more money for a lot less mouthpiece. Learn to play properly and you will sound great on a good Vandoren mouthpiece. May I mention my deep gratitude to the late mouthpiece geniuses, Elmer Aiello and Everett Mattson, for teaching me so much about the all-important mouthpiece."

Do you have a favorite ligature?
"Of course. Don't ball players have 'lucky socks'? I play Buffet and Bonade traditional ligatures. I wish I had a nickel for every different ligature I have purchased and tried over the years. Those nickels, and the money back from the purchases, and I would be rich. The ligature is tremendously important in the way it affects the reed's vibration, and it is a relatively inexpensive way to experiment with sound. It's interesting to me that Marcellus would allow me to handle his horns, his mouthpieces and his reeds, but he would never allow me to handle his ligature. Still, don't look to the ligature to solve your problems, although it may in fact be creating some of them."

What type of reed do you play?
"I play my own, handmade reeds. I have two of my great former teachers, Glenn Bowen and Clark Brody, to thank for every one of my good reeds. Bowen had me begin making reeds early in high school. Other wonderful teachers, Steve Girko, and later Larry Combs, helped me still further. Mr. Brody hoped I would go into the reed-making business!"

Any further advice for us equipment 'geeks'?
"It is extremely important to have the very best equipment you can obtain, even if it means making sacrifices. Mr. Marcellus once illustrated that fact in telling me he "owe(d) 95% of my career to Hans Moennig (legendary repairman), Buffet clarinets, Kaspar mouthpieces and Morre reeds." Marcellus was truly being modest, but his point was well made. Today we are fortunate to have so much great equipment to chose from - horns, mouthpieces, everything! However, that same variety can prove confusing to many players. I think the wide selection available tempts us to seek solutions in that 'next magical purchase'. Buyer, beware! Keep in mind, regardless of your equipment, you must still play the clarinet. A brilliant oboist friend of mine has a wonderful expression that I think puts the performer-vs.-equipment relationship into perspective. He says, 'Remember, much beautiful music has been made on pretty mediocre reeds...' Indeed!"

Send your questions via e-mail and Les will try to answer them. With permission, he will post, here or on his blog, questions likely to be of interest to other clarinetists.

Below are a selection of my favorite links: