• 5 Speed Manual Transmission

Used Selmer Mazzeo Bb ClarinetCLARINETS DIRECT03 or 71SELMERPARIS SERIES 10 MAZZEO Bb CLARINET, £795ClarinetsDirect is pleased to be able to offer another rareclarinet from the Charles collection, for sale.Thisis a good condition Mazzeo System Selmer Series 10 BbClarinet. For those unfamiliar with the Mazzeo system the mechanismfacilitates the production of a good throat Bb byusing additional key work to open the third trill key in conjunction with throat A.Thus an excellent throat Bb can be produced by touching any of the rings from LH 2 down,with the throat A key. I remember ordering this system as a kit from Selmer USA in the 1970s, foraddition to a Series 10S Bb.This example has seen muchuse and has marks and surface scratches to the wood, in addition the bell has been repaired in the past, see photo 9.The Mazzeo bell is extremely thin and delicate. The silver plated key work is in good order throughout.The pads, whilst not new, are all double bladder fish skin and sealing well.

The instrument has had a thorough check down in ourworkshop. The matching serial nos. AreW3635 which dates to 1970. The case is the original in fair used condition, with some scuffs to the exterior, butit still latches and protects the clarinet well. The m'piece is a Brillhart.

In Memoriam - Rosario MazzeoYour browser doesn't support iframes, so you're missing our bannerFrom: Sherman FriedlandSubject: Re: Death of Rosario MazzeoI studied with Rosario Mazzeo from 1957until 1961. He was,without a doubt the most influential being in my musicallife as well as in all other avenues. He had developed the Mazzeo Systemclarinet, an instrument that literally freed the player from useless superfluathat impeded musics way. I was, at first skeptical, then more accepting until Ifinally used a set of his own which I found to be a way to achieve a fluidityand a more musical approach to what it is we do, and, although by mechanicalmeans, the results had to do with sensitivity, and musicalityEven though the instruments never cameinto popular usage, it was not that they were not equal to the task ofeliminating certain difficulties, for they were. What prevented wideutilization was availibility of only one make and perhaps one or two to try,rather than the wide array of instruments available. During my retirementconcert on June 1, 1997, I was plagued by DeQuarvains Syndrome, an extremelypainful ligament problem in my left wrist.

It was only with Rosario'sinstrument that I was able to play the concert. Like many other of his studentsI have always taken photographs and organized concerts and tried to lead as heso well did and I am absolutely positive it was his influence that helped as hehas been always in my mind.What a force existed at the New EnglandConservatory in Room 23 on Saturday mornings, for that is when he held forth.At that period all attended his master class and the night before all of ushunted for our best reed, for there was an ordeal to be faced in the morning.There was no time to swab, hardly atime to think, this was the intensity of the man. This was unquestionably thefinest playing of all of our lives, for only perfection was accepted.

5 Speed Manual Transmission

Thecompetition was incredible as it was and is in the business of earning aposition in an orchestra, so this was incredible preparation from a man who haddone it all, including the BSO and the BSO audition process which has becomethe world model.I knew that he had been quite ill, butI had always hoped that he would be able to retain his original plan of livinguntil 120. He told us he had plans until then. I and all of those whose path hecrossed will remember him with respect and affection always.ShermanFriedlandRemembering Rosario Mazzeo: An ObituaryMargaret ThornhillAs Sherman Friedland noted on theKlarinet bulletin board, Rosario Mazzeo, one of the most influential clarinetteachers of the century, died July 19 at the age of 86. Clarinetist, bassclarinetist, and personnel manager of the Boston Symphony Orchestra for overthirty years, he was also chairman of the woodwind department at the NewEngland Conservatory of Music. After his retirement from the orchestra in the1960's, he embarked on a second thirty-year career, moving to California, wherefor a decade he presented a distinguished chamber music series with the CrownChamber Players at the University of California, Santa Cruz, was a facultymember at UCSC, Stanford University and the San Francisco Conservatory, andaccepted distinguished pupils from all over the world at his Carmel studio. Hewas renowned for his master classes, his columns in the Clarinet magazine, hisbook (The Clarinet: Artistry and Excellence/Dorn.

1990), his coaching atTanglewood, and, in other circles, for his Ansel Adams-inspired black and whitephotography.Hearing Rosario Mazzeo play Brahms in1968, when he was still in his prime, was a revelation. As a performer, he wasnoted for his incredible range of dynamics, the warmth and beauty of his tone,and especially his committment to the score.

Rosy had no use for 'artistictemperament' in his colleagues, himself, or his students. He believed,more so than any artist I have ever known, that the performer should be theservant of the music, not the other way around. His perfectionism was such apart of his nature that he left no commercial recordings as a soloist. As faras I can tell, he considered chamber music the greatest art of all, in partbecause of the test of character it requires to perform it well.He had a distinctive teaching stylewhich was not at all based in the student emulating the playing of the teacher.In fact, he had scorn for multi-generational performance traditions which couldnot be supported from the music itself. In the decade I worked with him, henever played a note at any of my lessons. Instead, he would use words andconcepts, conduct, exhort, and expecially use his often blustery singing voiceto demonstrate how a phrase should go. In this he was extraordinarilyeffective.And although anyone who has read any of his writings knows how deeplyhe understood the mechanics of playing the instrument, how he led his studentsto think for themselves about cause and effect, and how ably he communicatedhis ideas about technique,(frequently using humorous analogies), his musicalinsight was probably his greatest single gift.

His convictions about musicalinterpretation were profound. If you had a difference of opinion, you had towork hard (and support it from the score) to make it equally as convincing asthe phrasing he heard in his head. Most of the time, the results were better ifyou went with his concept.

Making music for him in his studio was actually apartnership: he was conducting, either physically or intellectually, and theobject was an ever higher musical ideal. For the student who could appreciatehis greatness, the attempt to fully realize those ideals became an almostsacred quest. There was simply no such thing as perfection: it was always,tantalizingly, just beyond reach.Unlike many famous artist-teachers, hewas kind. He had no need to tear down the ego of any of his students. Instead,he empowered them., helping them build upon their successes. His personalpower, which drew able students like a magnet, was the wamth and positivism ofhis personality, his profoundly convincing musicianship, and his ability toabsolutely focus on each student.

When he was teaching, he was totallyinvolved.His students mourn the passing of agreat artist, but even more, the loss of a gentle, ebullient and generousfriend, who touched and changed our lives.Portions Copyright ©. All articles © the respective authors.Please contact Mark Charette and the authors for reprint information. No inlining of thesepages allowed.