No name is more legendary in the present American woodwind world than that of Hans Moennig of Philadelphia cousin of the late solo bassoonist of the Philadelphia Orchestra, J. Walter Guetter, master repairer, and a friend and consultant to thousands of players from many countries. Professional clarinetists, oboists, bassoonists and flutists cross oceans and continents to reach him, and also beginning woodwind students walk into Moennig's small workshop in Philadelphia for their instrument's adjustment or, perhaps, a new reed.
Repair is an insufficient word for the work of Hans Moennig. He is a wood and metal-working artisan with few equals in any field of art. He has continually designed and constructed perfectly-fitting keys and mechanisms for the woodwinds and is a master at improving clarinet mouthpieces and barrels. He has been consulted on many occasions over the years by well-known players and instrument makers for advice and help on design and acoustical improvements. Constructing complete woodwind instruments would present him with no problems because he commands such complete technical and artistic knowledge of all the necessary factors.
An appointment for a few hours at Moennig's is very difficult to arrange and may require months of delay because of the legions on his waiting list and because he and his excellent colleague, Casimir Luczycki, work-carefully and painstakingly on each instrument, giving full respect and attention to every important detail. But once there, the wait is repaid by the very beautiful workmanship, accompanied by good orchestral music from the FM radio and by much stimulating talk about the music world which has been so long a central part of Hans Moennig's life.
Perhaps the most desired of all his services is that of having Moennig give your instrument his full "treatment". This includes a minute adjustment of each moving part, attention to all inner and outer surfaces for appearance and condition, a complete airtight sealing, careful tuning and voicing of the instrument's complete range (construction and fitting of sterling silver tone hole liners for left hand l-2-3 and right hand l, if not already present), and a final balancing or "articulation" of the key mechanism followed by a careful playing test. This leaves your instrument feeling as if it plays by itself! I have literally kicked up my heels with joy at the astonishing improvement Hans Moennig has brought about in my instruments.
Mr. Moennig's prices are eminently fair and reasonable; he is really a true friend to the woodwind performers.
Here are a few suggestions from Hans Moennig for the proper care of bassoons so they will remain in good operation and require infrequent professional attention. I am sure that readers who have never met Hans Moennig will be helped in music by this advice, and I think old friends of his will welcome the reminders. Thank you again, W. Hans Moennig!