I recently picked up an unusual clarinet, so thought I'd post some information on it. It's a Gustav Kohlert Boehm system in A. According to the new Langwiel guide, Gus was making clarinets in Graslitz, Czechoslovakia from 1921 to 1930. He must have been related to V. Kohlert's sons, but I haven't found any other information on him. This one is probably an early example. The keywork was 10 years out of date in 1921. The serial number was B0, with the zero overstamped 70. There is no Made In marking, or L.P., although it is a low pitch instrument.
The keywork is very standard for the turn of the 20th century. Left pinky keys have a single pivot, top two trill keys are on one pivot, lots of flat springs, C#/G# tonehole has no pad seat, register key is wrap around, no post locks, and so on. A lot of the details, particularly the spring setups, are different from similar vintage V. Kohlert Sons clarinets. Also unlike V. Kohlerts, all the parts have assembly numbers. The wood parts are marked III, the upper joint keys are IV and the lower joint are V. It has a rather eclectic mix of top of the line features, and student model features. For instance, the C, B and F# trill keys have spring seats, but the C#/G# and Eb/Bb keys do not.
The wood is dense, but really bad quality. There are filled knot holes in the bell tenon that go right through to the bore. In addition, there are several filled places on both joints. In the upper joint bore, a 2 inch long sliver is missing about halfway down! The center joint was very loose, like some 1950s Monopoles. However, the bell joint is tight enough to stay together without cork.
The bore measures 14.7mm, much smaller than similar vintage V. Kohlerts, and almost identical to my Leblanc A Symphonie 3. The lower part of the bore is different from the Symphonie 3, and the lowest townholes are a few mm further down.
So, how does it play? Very well actually. I was surprised at how well. The keywork is nicely laid out, has good action and is even reasonably quiet. The low register is full and dark with great projection. Clarion is clear and crisp, but notes from G to C are a little less stable than the Symphonie. (There could still be a leak up there from the repad.) Altissimo is easy and responsive. Tone and volume are very even across the registers, with only the low E and F tending to jump out a bit. Intonation is surprisingly good, except for throat D to A in calumeau, which are flat. F is almost 30 cents off. Clarion A through C are good. I suspect this is a barrel or MP problem. Hopefully MP, since the barrel to upper joint tenon is an oddball size.
Overall, it's a nice horn. If the throat intonation can be improved, I wouldn't hesitate to play this clarinet in church or community orchestra.
Here's a picture with the G Kohlert on the left, and Symphonie 3 on the right.
The keywork is very standard for the turn of the 20th century. Left pinky keys have a single pivot, top two trill keys are on one pivot, lots of flat springs, C#/G# tonehole has no pad seat, register key is wrap around, no post locks, and so on. A lot of the details, particularly the spring setups, are different from similar vintage V. Kohlert Sons clarinets. Also unlike V. Kohlerts, all the parts have assembly numbers. The wood parts are marked III, the upper joint keys are IV and the lower joint are V. It has a rather eclectic mix of top of the line features, and student model features. For instance, the C, B and F# trill keys have spring seats, but the C#/G# and Eb/Bb keys do not.
The wood is dense, but really bad quality. There are filled knot holes in the bell tenon that go right through to the bore. In addition, there are several filled places on both joints. In the upper joint bore, a 2 inch long sliver is missing about halfway down! The center joint was very loose, like some 1950s Monopoles. However, the bell joint is tight enough to stay together without cork.
The bore measures 14.7mm, much smaller than similar vintage V. Kohlerts, and almost identical to my Leblanc A Symphonie 3. The lower part of the bore is different from the Symphonie 3, and the lowest townholes are a few mm further down.
So, how does it play? Very well actually. I was surprised at how well. The keywork is nicely laid out, has good action and is even reasonably quiet. The low register is full and dark with great projection. Clarion is clear and crisp, but notes from G to C are a little less stable than the Symphonie. (There could still be a leak up there from the repad.) Altissimo is easy and responsive. Tone and volume are very even across the registers, with only the low E and F tending to jump out a bit. Intonation is surprisingly good, except for throat D to A in calumeau, which are flat. F is almost 30 cents off. Clarion A through C are good. I suspect this is a barrel or MP problem. Hopefully MP, since the barrel to upper joint tenon is an oddball size.
Overall, it's a nice horn. If the throat intonation can be improved, I wouldn't hesitate to play this clarinet in church or community orchestra.
Here's a picture with the G Kohlert on the left, and Symphonie 3 on the right.