Noblet saxophone history10/30/2022 ![]() ![]() In history, the manufacturer of instruments most always takes the level that he has achieved as a performer. ![]() #NOBLET SAXOPHONE HISTORY PROFESSIONAL#He abandoned professional playing, which he loved dearly, and together with his father opened a factory in Paris for the express purpose of developing new and improved instruments and instrument-making techniques. In this way musicians could devote their skill to the interpretation of music and the development of technical versatility rather than fighting to overcome the shortcomings of the instrument. With this knowledge and belief, he devoted his life to the improvement of wind instruments so that musicians after him would not have to face the performance problems that are so great with earlier designed instruments. It must take the human element into consideration. He considered the clarinet to be an integral part of the player-an extension of his voice that must be flexible enough to express music in every form and mood. Leon's friends know of his great love for playing the clarinet and for him to give this up meant a personal sacrifice in order to help others.Īs an artist-musician, he knew the many problems that confronted an instrumentalist due to technical shortcomings in the instrument itself. He felt that an even greater contribution could be made to the art of music by combining his talents as a musician and an instrument-maker. Here he completed his studies and graduated, winning the first prize both in clarinet and in solfeggio.įollowing his graduation from the Paris Conservatory, Leon Leblanc followed a successful career as a concert clarinetist. While still in school, Leon Leblanc's outstanding talent was recognized by one of the great French conductors of his day, Phillippe Gaubert, who insisted that Leon be entered in the Paris Conservatory. This fact eventually led Leon to develop the covered tone hole or plateau-key Bb clarinets and alto clarinets, and to further improve the Eb soprano clarinets, so that other young musicians would have a solution to this problem. He began in this order because his fingers were too small to cover the rings on the clarinet. Even before he had reached his teens he had become familiar with virtually every aspect of the instrument-maker's craft.Īs is traditional in the Leblanc family, Leon began his purely musical training at an early age-first on the soprano saxophone and then on the clarinet. Leon Leblanc learned the art of instrument making from his father and mother. He had the rare qualities of brilliance in music, acoustics, instrument design and engineering, that comes along only once in a generation! He was the only active head of a musical instrument manufacturing company that won the coveted "Grand Prix" at the Paris Conservatory. ![]() In 1959, Georges and Clemence's son, Leon, was the active head of G. Her technical knowledge of manufacturing processes was undoubtedly greater than the heads of competitive manufacturers. During World War I, Mama Leblanc actually ran the factory while her husband was in the service of his country. And by his side you would have found his inspiration for all these years, "Mama" Clemence Leblanc, who worked every day hand-wrapping clarinets with the same care and pride that she had for over fifty years. In 1959, in the Noblet factories in La Couture-Boussey in the French province of Eure, you would have found the grand old gentleman of the French woodwind industry, "Papa" Georges Leblanc, busily creating new improvements and new models just as he had for over half a century. The Leblancs are a unique combination of musical artistry, acoustical and engineering genius, progressive thought, with a deep-seated dedication to music and musicians. ![]() This is a history of the people behind the name Leblanc, a personal account of the most magnificent and respected family in the history of musical instrument manufacturing-a family whose devotion, foresight and ideals are the inspiration of our industry. ![]()
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