Bass Clarinet

Bass Clarinet

This is one of the earliest examples of an American-made bassoon-shaped bass clarinet. Starting from the bottom, the ivory ferrule is secured to the butt via two metal screws. This segment is attached to the butt section (henceforth base/body) of the instrument with a large brass ferrule; three square-headed thumb keys and a thumb hole line the back of the body, with two keys (one spatula and one square-head) and three finger holes lining the front. Another ferrule wrapped around the top of the base contains a brass ring on the back, presumably for attaching a neck strap. The crescent, droplet-shaped barrel of the instrument’s upper section is attached to the left (i.e. player’s left) bore of the base. The barrel’s own bore extends beyond its wooden shape and is inserted into the base; thin twine is wrapped around this area to ensure the barrel and base remain securely joined. Rice notes there is a connecting tenon missing that would run in between the base’s right bore and the long copper bell, most likely using the same technique of thin twine to keep all parts in place. Returning the barrel piece for a moment, it is a noticeably darker stain of maple wood. Moving from lower half to the upper half of the barrel, the crescent/droplet form thins out into a more symmetrical, cylindrical shape. The back has one thumb hole and a brass thumb key (spatula); the front has three finger holes placed towards the lower half of the barrel and an intricately bent square-headed brass key along the transitional curve right above the top-most finger hole. Another brass ferrule lines the top of the barrel’s borehole. Finally, an L-shaped copper crook adjoins the wooden mouthpiece (with ferrule) to the upper end of the barrel. The mouthpiece has nine grooves with wood stained a darker shade, which wrap around it. They end at the flattened section of the mouthpiece where the reed would lay on top. It is safe to assume that these grooves would assist the ligature in keeping the reed flush with the mouthpiece.

c. 1825

Rice, Albert R. “From the Clarinet D'Amour to the Contra Bass: A History of Large Size Clarinets” (1740-1860): 264-268.

Rice, Albert R. “The Clarinet in the Classical Period.”

Clinkscale, Martha Novak. “Makers of the Piano, Vol. 2” (1820-1860): 246.

Bliss, Lou Whitney, “A Glimpse of Calais”, Vermont History (Jan. 1954).

Eliason, Robert E. “Letters to Marsh & Chase from Graves & Company, Musical Instrument Makers,” JAMIS 4 (1978): 43-53.

Lithographed Sheet Music Cover Published in Boston: “The Berry Street Rangers Quick Step” (Henry Prentiss, 1837); Captn, E.G. Austin’s Quick Step” (Parker and Ditson, 1837); and “Whig Gathering, Song and Chorus Respectfully Dedicated to the Whigs of the United States” (Henry Prentiss, 1840).

Unknown

Calais (Vermont)

Marsh & Chase

Length 5 cm across the butt section of the barrel, 14.5 cm across the diameter of the bell; Width 4 cm across the butt section of the barrel; Height 82.5 cm

Single-reed Aerophone

"Marsh and Chase" is stamped on the front of the mouthpiece, as well as the outline of an eagle. Below the bird figure is the place of origin, which reads, "Calais, Vermont." There are two identical inscriptions stamped elsewhere on the instrument: one just below the middle brass ferrule, and the other below the left thumb hole of the barrel.

Minor bumps and scratches along the body, and dents along the bell of the instrument. Remnants of red paint can be found on the inside of the bell piece, and green residue can be found inside the two bores of the base section. The reed and ligature are missing from the mouthpiece. Ivory ferrule on the butt of the instrument has been cracked and glued back in place. As previously mentioned, Rice notes there is a connecting tenon missing between the bell and butt section of the instrument. Otherwise, the instrument is in good condition and would be playable with the addition of its missing parts.

George Catlin (1778-1852) of Hartford Connecticut was the first American maker of bass clarinets. He is noted with coining the term "clarion" to refer to the instrument. It should also be noted that this particular bassoon-shaped clarinet follows Catlin’s design, with the bell placement being over the player’s left shoulder rather than their right. It can be assumed that this instrument would have been played in a wind or military marching band, as Rice notes that their popularity continued through the 1830s, ‘documented by illustrations showing them in marching bands in three lithographed sheet music covers published in Boston: “The Berry Street Rangers Quick Step” (Henry Prentiss, 1837); Captn, E.G. Austin’s Quick Step” (Parker and Ditson, 1837); and “Whig Gathering, Song and Chorus Respectfully Dedicated to the Whigs of the United States” (Henry Prentiss, 1840).’

Known Notations found in a quote from Rice: “...[has] a short key for C# / G# (for R1), long key for A♭ / E♭ (L4), thumb hole for low C, and thumb keys for E, D, and Bb♭.”

Though at this moment it cannot be confirmed, this bass clarinet may have been made by Graves & Company rather than Marsh & Chase. A quote from Eliason: ‘It is entirely possible that Marsh & Chase stamped their name on instruments made by Graves. One clarinet in the collection of Avraham Galper, Toronto, Ontario, is inscribed “Marsh & Chase Calais VT.”, but has what appears to be a Graves eagle above this inscription. This eagle appears also on a number of flutes and clarinets marked “J. Ashton Boston.” John Ashton listed his firm in the city directories from 1820 to 1843 as umbrella makers and music store, but never as musical instrument makers. If this practice was widespread, Graves’ influence may have been even greater than has already been established.’ Comparison photos in Eliason’s article show a near-identical eagle stamp as the ones that appear on the bass clarinet.

Marsh & Chase were musical instrument makers and dealers who began their business together around 1819 in the small town of Calais, Vermont. Clinkscale notes that, “the firm was established by Perry Marsh (b Calais, VT 7 Aug. 1796-d Northfield, VT, 2 Feb. 1882) and Nelson Ainsworth Chase, who may have been Marsh’s cousin. Marsh’s father, Jason Marsh, went to Calais with his family in 1800. Young Perry came to be called ‘the boy fifer of 1812’, a reference to the War of 1812, in which Jason served as a soldier and both his sons, Perry and Dwight, were fifers.” Marsh and Chase moved their business to Montpelier in 1836, and for a time became the greatest suppliers of musical instruments in north central Vermont. Chase eventually left the partnership to return to his farm, and Marsh continued the business independently.

Karl Rabe

JW

The bass clarinet body is maple wood with a copper bell and crook, brass saddle-mounted keys (some with leather padding to cover the holes), and ivory/brass ferrules. There are seven total keys; two spatula keys and five square key heads.

Vassar Treasure Room

Unknown