Schwenk & Seggelke (Bamberg, Germany)

Gandalfe

Striving to play the changes in a melodic way.
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http://www.schwenk-und-seggelke.de/englisch/index.php

Werner Schwenk has been an instrument maker since 1963. He trained with Kreul of Tuebingen and was employed there for 19 years before joining Puechner for 5 years. After passing his Master's exam in Munich in 1986 he finally graduated into self-employment. In 1996 he merged his business with Jochen Seggelke's, and moved to Bamberg in 1998. In his rare days off you might spot him somewhere far away on his bicycle.

Jochen Seggelke studied clarinet playing with Hans Pfeifer in Mannheim, and has been performing in various German orchestras and ensembles since (e.g. Concerto Köln, Acamus). In 1995 he finished his training as a woodwind instrument maker and set up his own business, which he merged with Werner Schwenk's in 1996. He still can't stop playing, and his experience as a professional musician enables him to deal with customers' requests with empathy. He is listed in Germany's "Who is Who", and since 2005 an active "economic ambassador for the Bamberg region". From time to time he escapes business on a sailing boat.
 
S&S is one of the most innovative handcraft clarinet maker in the world yet. It's worth a visit everytime ;-)

kindly
Roman
 
I think the modern boxwood horns are very pretty. I wonder why people moved from boxwood to grenadilla for most woodwinds ....
 
Boxwood vs. grenadilla

"I wonder why people moved from boxwood to grenadilla for most woodwinds ...."

Vaguely remembering something I read online, I found two clues when I Googled "boxwood stability clarinet"

On his website, Stephen Fox says: "Boxwood is an interesting option for a modern clarinet, particularly for chamber music, but for an instrument in heavy everyday use, longevity would be a concern."

And in his book The Clarinet, talking about the transition away from boxwood, Eric Hoeprich comments that grenadilla, ebony, and cocus were prized for their stability and volume.
 
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