It is now 2009, and after 20 years I am finally prompted to write the information on this webpage due to the massive, immature and conflicting amount of disinformation that has appeared on the Web regarding the pitch, intonation and tuning of Wurlitzer Reform-Boehm clarinets.

The bottom line is that there is NO Problem.

Hasn't it occurred to you that there are NO articles written by the great artists who play Wurlitzers (German System or Reform-Boehm) that complain about them?

These instruments are the most highly developed clarinets in history.

To be quite frank, the Problem lies in the hands of those clarinetists, no matter their level of professional standing or development, who have "tested" or acquired a Wurlitzer Reform-Boehm but have not taken the time to develop the correct embouchure, breathing and reed selection / adjustment -- all of this BEFORE a final mouthpiece acquisition.

This was Herbert Wurlitzer's great concern: that his instruments would fall into the hands of those who would not understand or take the time to learn the aesthetics and technicalities, thus distorting or obscuring his great achievements as the finest clarinet maker in history.

First, a little personal history...

As a student in 1984, it was only at the specific telephoned request by my great teacher (and now friend) George Pieterson, Solo Clarinetist of the Royal Concertgebouw Orchestra of Amsterdam, that Herbert initially and quite reluctantly "agreed" to make a set for me. He did so only because George "swore" (in German) that he (and I) would take the "responsibility." George did, I did, and Herbert did. After being on the waiting list for three years (and all business and correspondence being conducted in German) in 1987 he made me a set of Reform-Boehm's as the first American clarinet soloist to acquire them. As time wore on and I lived up to my oath, Herbert and the Wurlitzer Family and I became quite close and in 1996 I was named North American Artist Representative.

Perhaps Herbert's "artistic protectiveness" was right for his time and experiences. But now, with the new, open, English-speaking generation of the Wurlitzer family, we all finally have the opportunity to own the finest instruments in the world -- but Herbert is still correct: we must understand and respect them.

However, the point is not about me -- it is about you.

The Wurlitzer is NOT a Buffet. If you have a Wurlitzer Reform-Boehm, are experiencing what seem to be intonation difficulties, and are "fiddling" or obsessing with mis-matched bores due to inappropriate mouthpieces and barrels; much less tone hole adjustments, pad seating and spring tensions; reeds, etc., I can assure you, without the slightest artistic, professional or technical hesitation or doubt, that you are on the wrong track.

What you need is careful guidance and a great deal of practice -- not a "magic bullet."

I have been very successfully playing Wurlitzer Reform-Boehm clarinets (as have many Dutchmen, other Europeans and clarinetists in the international community for the past 50 years!) since I received my set in 1987 with the original barrels, and have only used 2 mouthpieces. A Wurlitzer K4, and several years later, a Hans Zinner "George Pieterson Model" German Reform-Boehm mouthpiece (based on a Fritz Wurlitzer original).

With guidance from me and that of my friends, particularly the late Gordon Bobbett of Knoxville, TN and Stephen Bates of Washington, DC (to both of whom I introduced these instruments), there are now dozens of fine American clarinetists who play Wurlitzer Reform-Boehms with tremendous artistic and technical success. They are now spreading the word to their students and colleagues.

Open your ears, heart, mind and wallet.

Move on beyond your prejudice and limited experience.