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UniV'crsxt; e This is to certify that the thesis entitled A HISTORY OF THE CLARINET AS AN ORCHESTRAL INSTRUMENT FROM INCEPTION TO FULL ACCEPTANCE INTO THE WOODWI‘ND CHOIR. presented by Daniel Thomas Bogart, Jr. has been accepted towards fulfillment of the requirements for Ph .D . degree in MUS iC ajor professor Date. / 0 5 8 0—169 'APR051995 W I 2mm JUN 1'6 3 f32094-3 [2.35. wwrfizw 05 a 4 05 I: $111412? MHW ABSTRACT A HISTORY OF THE CLARINET AS AN ORCHESTRAL INSTRUMENT FROM INCEPTION TO FULL ACCEPTANCE INTO THE WOODWIND CHOIR by Daniel Thomas Bogart, Jr. The subject of this paper is the apprenticeship of the clarinet as an orchestral instrument. The period covered is from the very beginnings of the instrument up to the time it began to appear regularly in the woodwind choir. The approach used was (a) to read all available books and articles on the subject, and (b) to analyze selected scores of the l8th century. Xeroxed examples of the music discussed are included in this paper. The first chapter presents a brief descriptive history of the invention of the clarinet and its subse— quent physical development from the early 2—keyed model shaped like a recorder to the classical 5 to 6—keyed instrument. Chapter II deals with scores of the first half of the l8th century beginning with opera scores containing sporadic parts labeled ”chalumeau" to the use of the clarinet by Vivaldi and Rameau. Chapter III is concerned with the orchestral use of the clarinet at Mannheim. Chapter IV takes the clarinet through the active years leading to its full acceptance into the woodwind choir. Daniel Bogart In summary, it was found that the composers most directly responsible for the clarinet's eventual success were (a) early innovators in orchestration such as Reinhard Keiser of Hamburg and others, who first "broke the ground"; (b) Antonio Vivaldi for his characteristic writing for the instrument in three recently discovered concertos; (0) Jean Phillip Rameau for his introduction of the clarinet into the Paris Opera Orchestra; (d) Christian Cannabich for his intelligent, individual clarinet parts; (e) Francois Joseph Gossec for his use of the instrument in La Poupliniere's orchestra; (f) Johann Christian Bach for his use of the instrument in England; (g) Christoph Gluck for his eventual acceptance of the clarinet as a regular member of the ensemble in some of his later works; (h) Wolfgang Amadeus Mozart for his wholehearted acceptance and unreserved use of the instru— ment; and (i) Ludwig van Beethoven for helping to solidify the clarinet's newly won position in the orchestra by regularly including it in all of his orchestral scores. It was found that physical improvements leading to the appearance of specialists on the clarinet were also a factor in the instrument's acceptance. It was no longer thought of as just a doubling instrument for oboe players. The clarinet's supplantation of the oboe in the military band undoubtedly helped the instrument gain a wider base of acceptance. Daniel Bogart The developing concepts of orchestration during the 18th century also were a factor in the clarinet's accept— ance; its use as a color instrument by opera composers is an example. The readiness of the clarinet to blend with other instruments and with the human voice were important assets. The clarinet‘s supreme control of dynamics Spoke well for it as the effects of sudden pp's and ff's and crescendo and decrescendo came into widespread use. Finally, it was found that, based on available scores and with the exception of Christian Cannabich and one short opera excerpt by Ignaz Holzbauer, the use of the clarinet in the orchestra by the composers at Mannheim had nothing to distinguish it from its use by other com— posers of the time. A HISTORY OF THE CLARINET AS AN ORCHESTRAL INSTRUMENT FROM INCEPTION {NDFULL ACCEPTANCE INTO THE WOODWIND CHOIR By Daniel Thomas Bogart, Jr. A THESIS Submitted to Michigan State University . in partial fulfillment of the requirements ‘ for the degree of DOCTOR OF PHILOSOPHY Department of Music 1968 In Loving Dedication to my Father and Mother ——- -— ACKNOWLEDGMENTS I want to express my gratitude to my graduate com— mittee for their assistance, guidance, and encouragement. Dr. William R. Sur, Chairman Dr. Richard Klausli De. H. Owen Reed Dr. Robert Sidnell Mr. Keith Stein OF CONTENTS DEDICATION . . . ACKNOWLEDGMENTS . . . . . . . INTRODUCTION . . . . . . . . Chapter I. THE INVENTION OF THE CLARINET II. THE EARLY YEARS . . . . Reinhard Keiser . . . J. A. J. Faber . . G. F. Handel . . . Antonio Vivaldi . . Jean Philippe Rameau III. THE MANNHEIM SCHOOL . IV. THE YEARS OF ACCEPTANCE . . Thomas Arne . . . Francois Joseph Gossec . Christoph Gluck . . . Francois Joseph Gossec Johann Christian Bach Wolfgang Amadeus Mozart Ludwig van Beethoven Summary . . . . . . . APPENDIX . . . . . . . . . . BIBLIOGRAPHY . . . . . iv iii INTRODUCTION The subject of this paper is the apprenticeship of the clarinet as an orchestral instrument. The period covered is from the very beginnings of the instrument up to the time it began to appear regularly in the woodwind choir. My approach to this study has been (a) to read all available books and articles on the subject, and (b) to analyze selected scores of the 18th century. Zeroxed examples of the music discussed are included in this paper. I have used the facilities of the Michigan State University Library, Harvard University Library, the Library of Congress, and the Newberry Library of Chicago. This subject has been considered in a number of books and articles throughout the years, but a detailed investi— gation of this aspect of clarinet development has not been made. Such authorities as Wilhelm Altenburg, Anthony Baines, Michel Brenet, Adam Carse, Georges Cucuel, Lionel de la Laurencie, Geoffrey Rendall, and others discuss this subject, but none give a sustained account and do not make available any examples of the music in question. Errors were encountered in some sources. The Encyclo— pedia Britannica (1959 edition) in its article on clarinet states that Handel did not know the instrument, when research in 1950 concluded that "there can be no doubt that Handel knew the clarinet."1 C. Mennicke concluded that the ‘clarinette' parts in Rameau's opera "Acante et Cephise" (1951) were really meant for an 8 foot natural trumpet.2 However, there is documen— tary evidence of the clarinet's having been used in France at this period at various court functions thus proving that it was a known quantity and making a mistake in terminology unlikely;3 also, there is documentary proof that clarinets were used two years previously by Rameau in his opera "Zoroastre" (17A9), which again makes an ambiguous use of names unlikely.Ll Finally, there is a note on the manuscript in Rameau's own handwriting cautioning the orchestra to play quietly when the clarinets enter, something he would have been unlikely to do if by that term he meant trumpets.5 Anthony Baines states that the 'clarinette d'amour' was used solely as a solo instrument and did not appear in 1R. B. Chatwin, Handel and the Clarinet (Galpin Society Journal, London, March, 1950). 2Adam Carse, The History of Orchestration (New York: E. P. Dutton and Co., 1925), p. 179. 3Bulletin de la Societe francaise de Musicoloque, Notes des archives concernant 1'emploi des clarinettes en 1763 (April, 1919). ”Lionel de la Laurencie, Rameau et 1es clarinettes SIMG, XIV (February, 1913), 85—90. 5Michel Brenet, Rameau, Gossec et 1es clarinettes Le Guide Musical (Maqu 8, and 15, 1903). g..- any scores,6 when it is used in the introduction to F. J. Gossec's "Requiem Mass." (To remark these errors is not to criticize the over— all excellence of the contribution these men have made. On the contrary, I greatly respect and admire their work.) In tracing this history I have assembled a list of 18th century scores in which the clarinet appears, and have sought to identify the composers who made significant use of the instrument and were thus important in its achieving a permanent place in the orchestra. I have also sought answers to the question of why the clarinet was taken into the orchestra at all. It was a crude instrument in comparison with its neighbors the flute and oboe, possessing only two keys for much of its apprenticeship; its sound was not altogether pleasant if we are to believe contemporary accounts: The tone of these early clarinets is far from satisfactory. Disparaging remarks occur as early as 1713 when J. Mattheson in his ”Neueroffnete Orchestre" speaks of 'chalumeaux' with their howling symphony,‘ and Walther's statement that 'the clarinet sounded from afar like a trumpet' points to some stridency of tone in the higher register.7 With all its glaring imperfections Denner's 'invention' could not be expected to gain an enthusiastic welcome from musicians. Nor did it. It was vastly inferior to the contemporary oboe 8 and flute in tone, intonation, and agility . . . 6Anthony Baines, Woodwind Instruments and their His— tory (New York: W. W. Norton and Co., Inc., 1963), p. 304. 7Geoffrey Rendall, The Clarinet (2d ed. rev.; London: E. Benn Co., 1957), p. 70. 8lbid., p. 7A. It was limited to diatonic passages for the most part, as nearly all chromatic tones required cross—fingerings of questionable intonation; its distribution was spotty at best, and it was built in many different keys, not all equally available; it was given sporadic work to do when it did appear, and most composers seemed at a loss to know what to do with it; the oboe admirably filled the gap in the staff between the flute and bassoon and range require— ments presented no need for another instrument. All of these things argued against the clarinet's being accepted into the orchestra. The search for reasons why it was accepted forms a focus of this paper. I have also tried to clear up confusion over termi— nology in some early scores (i.e., whether chalumeau meant clarinet; whether clarinet meant clarino-trumpet). A care— ful analysis of the scores, as well as facts about early wind instruments have been applied to this problem. No attempt has been made to study the other members of the 18th century clarinet family, such as the high clarinet in D and the clarinette d'amour in G, other than to note their rare appearances. I have traced the path of the primary instrument from the chalumeau through the 2—keyed instrument to the 5—6 key classical clarinet. The 18th century was an interesting period because the orchestra was developing at the same time the clarinet was entering the scene; the method of writing music was il"! changing (i.e., from contrapuntal to harmonic; the conscious use of some instruments for an accompaniment role and others for the melody); the use of instruments for their own characteristics instead of the old arbitrary assignment of parts was beginning to be the norm; the imaginative search for orchestral color through the combination of different sections of the orchestra was becoming an important facet of the composers' art. The orchestra was being moulded and fashioned into the great 'instrument' of the classical com— posers and the clarinet, the last instrument added to the classical orchestra, was very much a part of this develop— ment. CHAPTER I THE INVENTION OF THE CLARINET Although the physical history of the clarinet is not the focus of this paper, some information in this area is a necessary part of a history of its early uses. For this reason this chapter is presented. The idea of a single—beating reed used in con- junction with a cylindrical tube is of ancient origin. It was in use as early as the beginning of the third millennium B.C. in Egypt, which may have been the country of its origin. It also seems certain that at least one type of the 9 ancient Greek Aulos used a single—beating reed. Miss Schlesinger confirms this. She says, "The single—beating reed mouthpiece was the Greek instrument of the musician and creative artist.”10 In the Middle Ages the single—beating reed was chiefly identified with peasant folk. In France it was called the chalumeau, a word derived from the Latin Calamellus, "a little reed," or from the Green Calamaulos, "a pipe of reed." 9Francis W. Galpin, A Textbook of European Musical Instruments (New York: E. P. Dutton, 1937), pp. 186—187. lOKathleen Schlesinger, The Greek Aulos (London: Methuen and 00., 1939), p. . “hi"; i. ._. n In: l; The word "chalumeau," however, was used loosely to describe not a specific instrument but almost any small woodwind instrument. It was a generic name, applying to (a) wooden pipes played with a double—reed, (b) wooden pipes played with a single—reed, and (c) the chanters of Bagpipes and Musettes. One of these early "chalu— meaux" was a small keyless pipe of type (b), with a cylindrical bore, no bell, and with a single— reed. This is the instrument that was the fore— runner of our present—day Clarinet.ll Anthony Baines gives a description of such a chalu— meau as, a little cane pipe, 8 to 9 inches long, with six holes and thumb—hole, and the reed—tongue cut in the upper side of the cane at the top end. Bonanni describes it in his book on instruments (Gabinetto Armonico, Rome, 1722), and an instrument answering to his description was exhibited at the Royal Military Exhibition in London in 1890 and described in Day's catalogue as follows: of cane, 8% inches long with 15 millimetres bore, covered with red leather, and sounding from g' to g" in fundamentals.12 J. C. Denner, who was one of the leading German woodwind—makers of the end of the 17th century (died 1707), improved this instrument by making it of boxwood, adding a little—finger hole and two keys near the top end of the instrument (one in front and one opposite it on the back), giving a range of f' to b—flat' or b', and using a re— placeable reed which was tied on [see page 8 (a)]. llCarl W. Forsyth, Orchestration (London: MacMillan Co., 19U2), p. 251. 12Baines, o . cit., p. 296. ( 4) JZC. DENNER IMPROVED .9: KEYED CHALuME nu L9.“ RfiNG—E + EARLY J‘KEYED CLanET ( :) RESEM BLINQ REC ORDER ~ iLC.DENNER .iLATER MODEL OF 2: KEYED CLARINET __ M.” ‘— -——FUNDHMENTAL5 ‘9‘ —e- +the keys opened singly wave a', +b'-flat produced opened together b'naturnl; with both keys b'-f]at was produced by slack— open; b'natural ening the enbouchure and stop- produced by ping the tone holes of the upper tightening the half of the instrument embouchure (the keys were diametriorllv (thumb key closer opposite arch other) To mouthpiece and size of hole reduced) Bonnani states that musicians called this 2—keyed form of the instrument the "Calandrone," "the lark," and that it gave a raucous sound.l3 Diderot's "Encyclopedie" (Paris, 1767) confirms that the chalumeau is correctly identified in this midget instrument.lu An acoustical feature of the stopped cylindrical tube (the reed end of the chalumeau in effect "stops" the tube at that end), is that it overblows at the 12th rather than the octave. This feature had, up to this time, caused a "gap" in the scale of the chalumeau between its funda— mental scale and its overtones. In improving the chalumeau (adding a little—finger hole and two keys), Denner had extended its fundamental range up to its first overtone. He also found that opening the key at the back of the instru— ment aided in producing these overtones, which previously had been much more difficult to sound. These two things, (a) extending the range to the first overtones, and (b) making these overtones much easier to produce, gave Denner an instrument which was more sophisti— cated, but hardly capable of doing much more than it always had because the overtones, being very high and shrill in quality, were still impractical. He had in his hands an l31bid., p. 296. lulbid. lO instrument of greatly expanded potential but one which could not fully realize this potential. Denner must have reasoned that if the instrument could not expand upwards to any degree perhaps it could do so if it were pitched lower. He constructed a new instrument twice as long as his chalumeau having a funda— mental range of f to b'. As a master craftsman in the making of recorders, Denner shaped the new instrument like a recorder, and using the rear key as a ”speaker key" he now had pleasant sounding tones in the over—tone range, which was the chalumeau's fundamental range, and a usable scale of from f to c”', a 2% octave range and an instru— ment of importance; one that clearly was much more than a chalumeau, and which would soon make that crude instrument obsolete. J. G. Doopelmayr records the event for us in his "Historical Report of Nuremburg Mathematicians and Crafts— men" of 1730 where he tells us that the clarinet was invented about 1700 by J. C. Denner of Nuremburg15 [see page 8(b)]. We don't know when this new instrument was named but we do know that the publisher Roger in 1716 published a score entitled ”Airs a deux clarinettes ou deux chalu— meaux" (original score in the library of the Brussels Conservatoire of Music). 15 lbid., p- ?97 11 Around 1720 Denner's son John added an oboe-like bell. He also moved the thumb—key nearer to the mouth—piece and greatly reduced the size of the hole it covered. B—flat' was then produced with both keys open and greater security was given to the harmonics. He also slightly reduced the size of the mouthpiece and reed. This form of the instru- ment is the one more generally understood among historians as the ”two—keyed clarinet" [see page 8(0)]. This instrument was taken abroad and introduced to France and England by Germans who played it in partnership with the horn. It was known in Italy as ”Clarone” as early as 1721. Vivaldi wrote for it in three of his con— certos which have only recently been discovered. It also was in common use in the Netherlands, appearing very early in a Mass by J. A. J. Faber in the 1720's.,16 Soon after 1720 came the improvement which gave the instrument its final basic form: the elongation of the bell to take the long B key so that b' could be more properly produced and lowering the fundamental tone to e. Next, soon after 1750, the E—flat key was added, and before 1770 the long C—sharp key, making the Classical 5— keyed clarinet with a range of e to e"'. Its bore was narrow, only 13 to 1A millimeters as against 15 or more today. l6Rendall, op. cit., p. 75. l2 B—flat and C were the usual keys it was constructed in, D was sometimes used, and A was rarer (see page 13).17 Its use gained steadily and by the 1790's the clari— net was accepted into full partnership with the flutes, oboes, and bassoons. By 1800 few orchestras of any size were without them. l7Baines, op. cit., p. 299. l3 THE CLHSSICRL 5-KEYED CLARINET CHAPTER II THE EARLY YEARS In studying early 18th century orchestral scores with parts marked for the chalumeau (the term clarinet does not take over exclusively until after the middle of the century) it is a question whether the parts were in fact intended for that primitive instrument or for the clarinet. In other scores the term clarinet may have referred to a trumpet (clarino). It is not always possible, due to the conservative nature of the parts, to make a judgment on what instrument was really intended. There was undoubtedly some confusion over terms for many years after the invention of the clarinet. This was especially true in the case of the terms chalumeau and clarinet. In 1716 Roger was advertising "Airs a deux clarinettes ou deux chalumeaux." The two instruments may 18 just as well be equivalents as alternatives. Majer in his ”Neu eroffneter Musiksall" of 1741 describes both the chalumeau and the clarinet in such a way as "it is impossible to suppose that they were any— 9 thing but one and the same thing."1 Evidently clarinets l8Rendall, op. cit., p. 66. 19Carse, op. cit., p. 178. 14 15 were manufactured and sold under the name of chalumeau as the confusion over names persisted. As the parts for the chalumeau become more sophisti— cated, however, it is obvious that the primitive instrument is inadequate to perform the music and that the new instru— ment was intended under whichever name it was assigned. In cases where a trumpet might have been intended, music of a highly technical nature, with diatonic scale work extending to middle C and below, helps us reach a decision in as much as the only trumpet available at that time was the natural trumpet without keys or valves (key trumpets were invented in 1770; valves were introduced in 1813).20 2OWilli Apel, The Harvard Dictionary of Music (Cambridge: Harvard University Press, 1944), p. 771. fii—“'——mifi I I II III ' 7’ 7 If ' hair-"fir 16 1711 — "Croesus" - Opera — Reinhard Keiser The three earliest scores using the chalumeau are no longer available (see list of 18th century scores in the Appendix). "Croesus" by Reinhard Keiser is the earliest score I have been able to locate (Newberry Library). A Xerox copy of the chalumeau's only appearance in this work immediately follows. It is a three-strophe aria. A different woodwind instrument doubles the string parts on each strophe. (The instruments used are flute, oboe, and chalumeau.) In trying to ascertain what instrument may actually have been used here (i.e., the chalumeau or the clarinet), ”. it is not unreasonable Grove's Dictionary states that to suppose that 'chalumeau' marked parts by Keiser, gt_a1., were intended for the newly invented instrument.” A glance at the music supports the thesis that a clarinet could indeed have been the instrument intended by the composer. The range of the parts requires an instrument with a sounding range of and the ability to produce the chromatic tones F#, C#, G#, and D#. All sources 1 have read but two give the written sounding range of a chalumeau as -J-_ ---— ___--—-— —I =- "" -"' - - — , —.-—_-—_ -v-__—-_——— —-—-—————-——— /—_ :l-mr—y-a! 1 _ .._ ---' _-—l--v r--'- 5 / l 7 ich kann nicht, Verzwoiflung-Wortl mun dag Ur . toil hb . ran: m-:;— .--—l— v--_ I--- - I r _I_ —v— ———- ichkafinnicht. Verzweiflung- on! hd . ron: - _ _ r:—— =====u do. xch mull das Unil dein ne -belt ma be Scena. 10 Atis, Elcius,Vorige. [A115 zcigl nah ”antigJ D. HT. xxxvu. xxxvul. e, n . n m d n u t s u L Cantabile mei.ner on sordino) haluxueau eViolino II n sordino) con cord.) Elmira 0 (Chnlumeau eViolino I C s 18 -_.—-v - —..— __l_l" .-- _I- l_'- .— -—-—- I—'- —'__ _,..——-———I_— LaB mir glfinzen_ mei . ne Sonne, . —-——— —_ w — ————-—__— “wigh- ——— —_—- —-—-—-— n——_————_'—_.- —-‘—__—_-=— .——~'_‘——--——u_—g—-h ‘ EE__ dei.ner Au . gen Freu .den-Lichtl nichtl atmcca (Recitativo) . V A ‘ L ‘ | ‘ . l l _ Elcms [932 u . WWwa—H 5, '7 n Y Y 1’] I, Y I Y J._l Y (r! 1' l # Irl I 1'] I; 1’ .1 W0 ich bci dioscn Fackeln dosNachtes sehen muB, so wird mcin trunknerFuB imDunkeIn groulichwuckcln. e . 1 x I x u—*: L' /_ arr" i l 1 7 r . . (Commuo) p.441. ,7- a { ”I i i - ‘L .‘ . 3:; i " a s e (V olloncello) —' ' '#=- v [Axis zcigt indcssen seine Ungeduld, La stanza 2th 6t 3m come 30pm: «3 er nichl reden hum.) D. D. T. xxxvu. xxxvm. (z) 19 b9. era-9- If these sources are accurate, the chalumeau used would have had to be pitched a 6th lower than the size they were normally built in to handle the lower notes. This would have been a chalumeau pitched in A and then all the sharped tones would have been in its diatonic scale with the exception of the D#. Baines states that ". . . a few of the operatic chalumeau parts demand instruments pitched a 3rd or a 4th lower .21 than normal pitch; however, there is no record of chalumeaux pitched a 6th lower. This gives credence to the use of a clarinet on these parts. To make the picture more confusing, Hugo Riemann offers different information as to the range of the chalumeau. Riemann states, "The chalumeau had 9 tone holes, was made in F major, and had a diatonic scale from f to a'."22 6- If this was the case, Adam Carse, in discussing the subject, says 21Baines, op. cit., p. 296. 22Hugo Riemann, Musik—Lexikon (Mar Hesses Verlag, Berlin, 1922), p. O i . -.-.. -.-_..'_ _ ' - harass-vs»! I'.:.Ir-.' -. iz- run-m: 20 If the compass of the chalumeau was only from F below middle C to A a tenth higher, as is stated by Riemann ("Musik—Lexikon") and Volbach ("Die Instrumente des Orchesters," 1913), there is indeed conclusive proof that the chalumeau in the 18th century scores was none other than the early clarinet, for Keiser' s parts in "Croesus" and Bonocini' s in "Turno Aricino" are much too high for an instrument of such limited range . . . .23 A clarinet used on this part could, theoretically at least, have been pitched in C. It could have read right off the string parts. The enclosed fingering chart for the 2-key instrument shows how it would have fared. We can see from the fingering chart that while the parts would have been playable on a C clarinet with double— Vented F and G keys, it would have presented difficulties of intonation and tone quality on all notes out of its diatonic scale. An authority named F. D. Castilon, writing in the 1776-77 edition of the Diderot and d'Alembert Encyclopedie (Paris), states that the clarinet, even the 4-key model that he describes, encounters such difficult intonation problems on chromatic tones that the instrument is practical only in its diatonic scale.2Ll Eric Halfpenny states that he reached the same con— clusion himself based solely on the evidence of the instru- ments themselves (as did Geoffrey Rendall). He also says that English tutors of the period agree on this point.25 23Adam Carse, The Clarinet in the 18th Century, The Sackbut, Vol. 2, No. 4 (London: 1921), p. 19. 2”Eric Halfpenny, Castilon on the Clarinet (Music and Letters, XXXV, No. l, 1954), pp. 332—36 251bid., p. 337. -F. _'.' '5! s 7'1 Sin: «9- apt-3t- #uhfu! mar- mug: III A «firm ‘ . is": 21 FINGERme-S FOR THE a—Key CLARINET 1W ARE PROVIDED FOR 'Ij 0| —— ~— ARE PROVIDED FOR 8 4150’ WI — d- LITTLE "f RIN‘ FlNéER REMou ED —9- *FORKED Fmafinmé 0F RI + 3 _£-- FlflfiERED R. U ~c'-L|z3 - L17. 4’ KIZ I ~cQ-Ln_ ‘FORKED wITu LH} ~1l ‘Lu E -fl- LTuuMB+L2 WWW — BOTTOI‘N f— ALL FINGERS DOWN — SATISFAcToRY - NON-EXISTENT' uNLESI TWIN HOLES —8 ‘ “TILE FINGER REMOVED ~ jnTtsr—‘ncT‘oRy —NDN~EXI‘TENT aness TWIN HOLES - L655 SATISFACTORY Due? To BM) VENTINfi - VERY MuFFLED AND SHARP since IT Ii AN INfllFFIcIENle Fun-remap 4&1 - Too PLnT BECRMSE IT IS MNAIDED By A VENT KE‘I - fi-ooD “ VERY POOR — éooD — SHARP mw weak ‘ eooo \ FAIR "L I Jfig'} 'I-AIIW "1 {4.34.4 1.1 I: HM -' 22 — L Tnumo ’eooomu‘r sorIEWHAT FLAT I * g - nu FméERS orr -dooD E _ o... .p..... 5...... I ‘d - TO? KEY OPEN “ [50TH KEV} OPEN AND SLMKENING EMBONCHLLRE I E -1. - B... K... .p... , .13.: TH’ Tm: I2 ARE BETTERIMORE RESONANT’ hub none CLEARLY DEFINED. * Rendall, o . cit., pp. 71—72. i II I. 23 The enclosed fingering chart Principes de Clarinette for the H—key clarinet also indicates that chromatic notes are very poor when it states that clarinets in A, B-flat, C, and D are needed to enable the clarinetist to play in all keys. All of this makes the use of the C clarinet improb— able in this instance because of the notes required that are out of its diatonic scale. I believe the clarinet pitched in A could have been used because all but the accidental tone would lie in its diatonic scale. A clari— net in D (its parts would be in the key of G) is another possibility. Summary In this early fragment of orchestral music for the chalumeau/clarinet we have an example of the concept of orchestration which was current at the beginning of the 18th century. Instruments were arbitrarily assigned parts without regard to their special characteristics or prob- lems. But, the fact that the instrument was used here for an effect of tone color (of the other two strophes of the aria, one uses the flute with the strings, the other the oboe) shows that composers were beginning to experiment a little in this area. Reinhard Keiser (1673-1739), the first prominent figure amongst those who made Hamburg a flourishing centre of musical and operatic activity in the early years of the 18th century . . . was amongst the first of the Germans to show signs of the coming change in orchestration. +—L 21+ PRIN C IP13 3 DE CLAPJNE T TE Area [w faélaéum day medial/v L/f/Cm pour cet/ 112.:th etylw‘ieur Duo pour cab [mt/211726225 Prix 1'? 4f“. A Paris GAMME GENERAL}: Dan! me warm 1‘1!wa gram]; Madrar pour tow la! load" powiéézr Jab clarinetta . mflfm’wl 0'11,an 11¢ re Illéklllih/h‘jhxfc’l ."L’bJ‘L' H11! (“I 7'& ' . 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His scores reveal many flashes of indepen— dence and well-aimed efforts to bring about more varied orchestral effects than were known to the German Church composers of his time. He was amongst the first to write parts for horns, to devise entirely pizzicato accompaniments for strings, and to make use of double—stopping in his violin parts; all of which show a commendable desire to exploit what were unfamiliar, if not quite novel means of brightening up the rather monotonous colouring of contemporary orchestration. To Keiser's list of innovations, we can add his use of the chalumeau/clarinet in his opera "Croesus." I want to especially note here that (l) the instru— ment first appeared in the opera orchestra; (2) that the reason for its use here was to obtain variety in tone color; and (3) that the word chalumeau here almost certainly meant a clarinet, most probably in A or D. The use of the orchestra, as noted previously, underwent dramatic changes in this century. This evolving concept of orchestration with its attendant climate of experimentation helped ease the way of the clarinet into the orchestra. This first fragment of orchestral clarinet music demonstrates this. 26Carse, The History of Orchestration, p. 1M7. I .' ,t ‘g-L—ingi‘iAé-A‘r” .1. =.--'.---.1 hid-'5" E - | I 27 I i 1720 — "MARIA ASSUMPTA" MASS - J. A. J. Faber The next known appearance of the chalumeau/clarinet in an orchestral score is in the "Maria Assumpta" Mass by the Netherlander organist and composer J. A. J. Faber. The score is no longer extant but Gevaert in his "Nouveau traite d'instrumentation" of 1885 reproduces 21 bars from the "Qui tollis"——the solo contralto is accom- panied by two flutes, clarinet, and cembalo or organ. "A most unexpected feature are arpeggios for the clarinet in the chalumeau register, descending to f, at that time the "27 (A Xerox copy of this excerpt is on the lowest note. following page, from p. 178 of Gevaert's book, Newberry Library.) Summary I would like to note two things about this fragment: (1) it is the earliest known appearance of the word "clarinet" in an orchestral score (the part is for clarinet in C); and (2) its use of the chalumeau register right down to the low f is the earliest known orchestral use of this register on the clarinet. (Most sources give Mozart credit for the first use of this register.) This example of the clarinet's use by the chapel— master J. A. J. Faber 27Renda11, o . cit., p. 75. 28 C LARINE'I'TB ORDINMRE 3x364. "out taunt .9 Clarinets cum. Soon org-u En dehors de ce fait isolo,nous no eonnaissons aucun exemple do l’omploi do la clarinette ante'riourement a 1751 (Rameau, Acante ct Ce'phise, pastorate he'roi'que) . L’orchestre do theatre impérial do Vienno no posse'dait pas encore do clarinettes on 1767, témoin la partition do l'Alceste italionne do Gluclx,oi| l'on rencontre les antiques chalumeaux. Lo grand re'formateur du drame lyrique so servit du nouveau timbre dans sos ouvrages francais,mais il avail appris a lo connaitro trop tard pour so familiariser avec lui et en tirer do grands effets. Mozart om- ploya pour la premiere fois dos clarinettesdans la symphonic qu’il composa et fit exe'cuter a. Paris on i778,et depuis lors no s‘on passa plus an théitreNers la mémo e'poque Haydn com- menca aussi ‘a les introduire dans sos compositions. Enfin‘a partir do la 1'” Symphonic do Beethoven (1800),les clarinettes sent devenuos un élément indispensable du programme instru- mental de l'orehestro symphoniquo. Uno partieularite' a noter,e’est quo les trois grands maitros,en eicrivant lens oeuvres orches- tralos, s‘abstiennont presquo complétemont du rogistre infériour. Mozart, qui on use largement quand il traite la clarinetto on solo, n’a touehé au chalumeau qu’uno soulo fois, a ma conuais- sauce, hors do co cas: dans lo célebro trio dos masquos, an final du l"acte do Don Giovanni. ll o'tait ro'servé au' créateur do l’opéra romantique do révéler dans le Freyschu‘tz l’expression meuaeanto, infernalo, dont cos notes sont susceptiblos. La pratiquo générale a l'orcbostro est d'employer deux clarinettes. Cliez les nucleus compo- siteurs d'dpe'ras, la premiere so détache parfois do sa compague,pendant des morcoaux outiors, pour jouer une partio obliges dialoguant avee la voix. Mozart uotamment a dos airs do soprano avee clarinette solo( oxemplo: la Clemente da’ Tito, l"acto, air do Sesto 'Parto! ma tu ben mio) genre do composition aujourd’hui completement do'modé. L’orchestro dos derniers dramas do Wagner comprond trois parties do clarinetto,sans comp- ter la clarinetto basso. (5‘) 29 is most significant and of vital interest if one realizes that Gossec finished his musical education at Anvers and that he was for several years a chanter in this same cathedral; it would be therefore very possible that he had appre- ciated the use of the clarinet before entering the service of La Poupliniere.2 (In the 1760's Gossec wrote symphonies with parts for the clarinet.) 28G. Crucuel, Etudes sur un Orchestre au XVIII me siécle (Paris: Librairie Fischbache, 1913), p. 17. 30 1724 - "TAMERLANE" - Opera - G. F. Handel 1727 - "RICCARDO PRIMO" — Opera - G. F. Handel l7 ? - "OVERTURE" - G. F. Handel It has often been stated that Handel did not write for the clarinet, but several well-known authors have expressed the opinion that certain parts com— posed by him were intended for this instrument—— Handel may have intended that a clarinet or clarinets should be used in the following three works: 1. the opera "Tamerlane"——l724 2. the opera "Riccardo Primo"--1727 3. a score in three parts headed "Overture" (in the Fitzwilliam Museum, Cambridge undated).29 l. "Tamerlane"--in the air "Par che mi nasca" Handel indicated cornetti in the autograph score. Since players could not be found, or were not good enough, the parts were played on violins, as shown in the printed score and in the other transcriptions When the opera was revived between 1760—70 clarinets were available and were used on these parts. The transcriptionist who made the alteration would have been very unlikely to do so unless he knew that Handel had wished to authorize the use of clarinets. In the Granville Manuscript the parts are marked Clar. l + 2 (instead of Cornetti, as this edition of the score is marked). It is possible that "clarini" are intended, but the pensive nature of the song calls for clarinet rather than trumpet tone.3l (A Xerox copy of the excerpt follows.) 2. "Riccardo Primo"——Handel indicated chalumeaux were to accompany the air "Quell innocent afflitto." It is not clear whether Handel actually intended the 30 29Chatwin, op. cit. 3OIbid. 31George Grove, Dictionary of Music and Musicians (London: Macmillan and Co., Ltd., 195“), p. 322. O PsRA“TnMc=—umo” 31 130 chi non conJmJaa pie - no do! so - no la co-stan- za,_ so Ia -gi-ta it (1'. mar,- .— Adagio. nan can-ten-taa pie - no (It?! so - no la spe-ran_za, se ['11 -gi _ tail ti -mor. Da Capo- (p arise} *) B o (n. pug. M0.) ..... fertile. grail -tu - (Ii -ne al men ug-gi mi rende- Corneni I. II. Violin-i LII. (Viola) lRENE. 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(i -l mu: - l ILW. as. (5’) 3M chalumeau or the clarinet because the parts are limited to a twelfth for the most part. (A Xerox copy of the parts follows.) This would make the parts playable for a chalameau,‘but in four instances the parts call for notes which extend the range beyond that of the chalumeau. On page 125 of the score, in measures 4 and 11 an e' is notated. Perhaps the chalumeaux could just drop off the part in measure A where they are doubling the vio— lins, but in measure 11 this would have been awkward, as the chalumeaux are notated alone at this spot. The note e' is important, too, in that it is a phrase—ending note. On page 127 in measures #0 and “1 an e—flat' and d' are called for. Here, again, the chalumeaux could just drop off the part on these notes. However, I don‘t think Handel would score a part for an instrument that would even temporarily be out of its range. A chalumeau pitched a 3rd lower is a possible choice of instrument. Anthony Baines supports this view on page 296 of his book. Mr. Baines states that the chalumeau's Usual compass was from f' to b-flat", or even to c"' (which no doubt would have been possible by opening the back key to overblow the bottom note to its twelfth), but a few of the operatic chalumeau parts demand instruments pitched a third or a fourth lower. Among the composers who wrote for it——usually for a pair——are Handel (in "Riccardo Primo"), Telemann, Vivaldi, and lastly Gluck. Another choice of instrument is the improved 2—key clarinet in C [see page 8(c)] with a double—vented f and .- , utmost?” I!" ' 'I 35 11...... APPE NDICE. Mndante. Tutti. Chalameau x , '=__.-=_-.::__=__=:__:.____.__-_=_._-____— . . _.,_ _% _____..v_._.__..--. m_.__=___. ;:W_--_--_ eVlollno l. "__u ______ m..- Violino ll. Viola. ‘ _— PULCHERIA. . ' ,. B a s s i . =‘==:==.. .==§:'_==‘.'.—‘.__ "'"_ ' E=,—'—--'———‘ _ r 6 6 6 6 e 5 " Vlol _=-i-—-3-=E=-__u M _ - h" — Qumuio non radc [a aura lmmdrnqur/ldme ’ - . . ._ —__‘: ,_ .3 '===—_":_:=‘=:=-.='- _—=__———=_—=‘=- __ :1: 6 6 6 6 6 6 7 e 4 7 5‘s- [’1’ 5 5 s 3 -liJuz gmmt’ruio viz. fz'uhéunprulmre pieJd e la comducr [a (‘07). (Mal. cob/r 0"} lg _=...=a='-_ _lb—fi —-' r? fl 4r“ 5 NEW. n.(q) 36 2 0 Tutti. . Ions Chlllfllcllx. ' O c . '1 ——-__.—————_-————--——— ———-——— u.- T“ ———--————r———————-— —: —_—— _ — — _— - j_——-r-_——_.——-— ”£— ————P_—— --—_—_—__ '—L _- X / , . - - I _ _ 1:; . ' -= -: \ — .2 ' mafdm quell a. gnelJi- nu ge_mcn_do _ _ ‘ - _ ' __— f; , _EE=EEEEE§-a_=-Hfi=—_= _ _ ~————————=-_——_—-—=— ———_——- ' 6 7 7 6 l 3 7 i 15” l -‘ ._ .n-.—__..___— __E—_ " """' E=EE===_::F—'—_E __ .. a 1,; _h _—=—_—_'—_—:E-EEE=_- -'-- W— ' m .5 I ‘ a II". .— -_i __J _ _l _—‘ A“ r——_—__ _——‘Jl - —"—_ WEEJEEEWEEE.§ES ma====a§=95 % l lil (a ‘a-‘l la? I? l _.- 15-h I..- m- _~— I — ——=——-—-.--r -— —_-_v—v— - = I—PI rap——= =——— = ._ ‘ __w—wt ~‘-—_‘i-:--- 1 —_— —--—— _— — — " ‘— --——_——_——_———_— —- d__a' ‘_“_l_lj 1K.W.7o. (to) 37 Tuttl. 3 \'lol. l. o (‘IlaLl . Viol. ILe ChaIJI. -du-ce ov’el - la E (0.16 i0 817910,“: mlvoé allau- reeai renJi, ealfin ,- ‘ ' (Fine.) 6 6 7 7 3 5 5. -var qualxhe pieJir, cal fin tro - var qual-che pie- (d,- e taJeio speJo,se vivoéil padrqalfz'n tro- “f: Tutti e Che]. “01% f 17.1.7 Srgno. Ada --_ .—-‘-_»-_ —— __— ’ l ()uan-d0 mm H ---". H -var qua! _ che pie (6. }|.W.n. (n) 38 and g. This instrument could have handled the parts as the accidentals are not numerous. 3. "Overture"——the score is in three parts headed: Clarinet l. Clarinet 2. Corno di Caccio This seems to be a definite instance of the use of the clarinet by Handel. The parts are reported to be of such a character that "this particular instance seems undoubtedly to mean clarinets."32 ‘ Summary Mr. Chatwin conclused his article by stating "There can be no doubt that Handel knew the clarinet, and, as we can see from these three scores, he was interested in trying it out—-more than that we cannot say unless fresh evidence is found."33 32Ibid. 33Ibid. 39 17 ? — CONCERTO F XII, No. l — Antonio Vivaldi l7 ? - CONCERTO F XII, No. 2 - Antonio Vivaldi l7 ? - CONCERTO F XII, No. 14 - Antonio Vivaldi In three recently discovered concertos, Antonio Vivaldi scores for the clarinet. (The score indicates clarinet, not chalumeau.) These are the only known instances of this master's use of the instrument. The exact dates of these compositions are not known. While the 3—key clarinet may have been available to Vivaldi, the careful avoidance of the note b' in the clarinet parts in these concertos points to the use of the 2—key model (b' was a very poor note on the 2—key clarinet, but there would have been no need to avoid this note with a 3—key instrument). Mr. Baines states that, "The clarinet parts that occur in some of Vivaldi's concertos are . . . probably for the two—keyed instrument.”3u The improved model of this instrument, shown on page 8, letter (c), was possibly the model he had at his disposal. The two excerpts on pages MO—Ml show Vivaldi avoiding the b', and demonstrate his awareness of the problems of negotiating the "throat" register in a rapid passage. In all three concertos Vivaldi uses the oboes and the clarinets instead of one or the other as was commonly done in the first half of the 18th century. 3”Baines, op. cit., p. 299. 40 EL!“ 0 2.) ill ' i - mm“ ( 15) 42 There was clearly some uncertainty at first whether the newcomers were to be regarded as additional to the already established group of woodwind instruments or as substitutes for the oboes. (i.e. Mozart's early symphony in E-flat K. 18 was written for clarinets instead of oboes. Burney mentions a clarinet which served as a haut— boy in a Brussels orchestra.) Many composers write no oboe parts in the movements in which they included clarinet parts, and with others it was evidently a matter of choice whether oboes or clarinets, or both together, were to play the parts which lay between the flute and the bassoon registers.35 Only late in the 18th century was the problem resolved by the decision to keep both instruments in the orchestra. An interesting example of Vivaldi's use of the two instruments is the second movement of Concerto No. 2 which is written for two oboes and two clarinets only. It is reproduced in its entirety on the following pages. Another interesting feature is the use in Concerto No. I“ of the complete woodwind choir--two flutes, two oboes, two clarinets, and in this instance, one bassoon. This was approximately forty years before the eventual establishment of the orchestral woodwind choir. (Note again the avoidance of the "break” on the clarinet.) Other facts concerning the clarinets in these con- certos include the almost exclusive use of diatonic writing. (All three concertos are in C major——a C clarinet was used.) The production of chromatic notes on the 35Carse, The History of Orchestration, p. 178. 43 1’ Largo (J) 90 t, 95 (P) (>’ (W) (p) (>) (:..‘:- ---—-i >A >A A a... (>) A (>i (PP) £3346 (1+) WP) 100 105 Ml (PP) (PP) 110 amass (: 5‘) ("‘P) 13 45 1...... “ CONCERTO in D0 maggiore * " ‘ «per la. Solennita di S Lorenzo» per 2 Flauti, 2 Oboi, 2 Clarinetti, F agotto, 2Violini, Archi e Cembalo 0 our a di F. X“ o“ . . . Angelo Ephrikian n Antgggsgjgzaldl Largo 0)) I \/Fla.ntl \/ 0161 ,, Do I. Vela-1mm Do U. «Fagotto Violino l? concertante Violino z? ooncertante I. Violtni Viola Vloloncelli Contrabbassl Cembalo 0.3160RDI G 0. Editori-Stampalon, MILANO. (Copyright [94.9, by 0.RI€'0RDI & 6'0.) Tutti l diritti dolls presents revisions o realizzaziono sono rlserntl. Tous droits de la. présente réxislon at realisation résen“ es. 1 n) P.1L3M A 46 2-key instrument was, as noted earlier, a difficult feat. Vivaldi carefully avoided them by giving the clarinet rests during most of the chromatic sections of the concertos. Whereas Mozart is given credit for being the first to use the chalumeau register of the clarinet, we have already noted J. A. J. Faber's use of this register in his "Maria Assumpta" Mass. Here we find Vivaldi also writing for this register (pages u7—u9). The music is generally in "clarino" style abounding in rapid diatonic scale work, skips, and trills. The clarinet is given ensemble work but also significant soli work. It is used alone as a pair, and also is paired with oboes and with bassoon (pages 50—55). Summary The things I would like to note about these Vivaldi concertos are (l) the use of the clarinet wipp instead of in place of the oboe (they even cooperate imaginatively when they carry an entire movement together); (2) this is the earliest known use of the clarinet in cooperation with the bassoon. "This blend was soon to replace in general favour the old established alliance of oboes and bassoons";36 (the quote was in reference to their use together by Puccini in his opera "Iphigenie en Tauride"——Vivaldi's use of this pairing predates Piccini‘s scoring by twenty or more years); (3) this is the earliest appearance of the complete woodwind choir together—-(Concerto No. I“). 36Ibid., p. 158. “7 CLEAR 40 (1 Solo) (ppucrescq (670.0.) (1?: —__-==—-—PPI t P.R.231(11 48 (m ) (p) ennui.” L19 2! (PP) as. 28104) (PP) (PP) (PP) (Tutti) ( 211.2310.) pp; 51 ("I I 1211. 231 (2..) (f) 52 211.231 (2.2.) ff) Eli-ll 53 60 r. 11.210 (L 5) 54 mun ('an / . ' 57 250 r. 11.341 < 2.9) a 56 l7N9 — "ZOROASTRE" — Opera — Jean Philippe Rameau 1751 — "ACANTE ET CEPHISE" - Opera - Jean Philippe Rameau Jean Philippe Rameau made important contributions to the art of orchestration. "It was not until the advent of Rameau that French orchestration made its first real advance on the beginning so favourably inaugurated by Lulli in the 17th century."37 "Perhaps the first composer to give each instrument a distinct part of its own was Rameau . . . he opened the path to the coloristic treatment of the modern orchestra."38 Included among his contributions was the first use of clarinets in French opera in "Zoroastre" (l7U9). Here phey were not given independent parts but doubled other instru— ments. Mr. Laurencie states: We will observe in all cases that neither the score of "Zoroastre" printed in 1749 nor the orchestral score of this opera dating 1756 that is in the National Library contain any indications bearing witness to the participation of clarinets in the performance of "Zoroastre." The orchestra is composed, besides strings, of two flutes, two horns, and two oboes. It follows that the two clarinetists "very unusually used" either doubled the oboes or replaced them conforming to the usage of the times . . . .3 How can we be certain that clarinets were used in this opera? Research has helped prove that they were. Lionel de la Laurencie's article is again quoted from: 37Ibid., p. 128. 38Apel, o . cit., p. 521. 39Laurencie, op. cit., 85-90. . ....u. . Ilvflfllllli..ufl.hlulunl .. . . I 57 Research recently effected in the Archives of the Opera has enabled us to discover a creditable document which proves that clarinetists were employed at the Royal Academy of Music before 1751, that is to say before the time when Rameau called for their use in "Acante et Cephise." It resulted in the document in question that Rameau introduced some clarinets in "Zoroastre," given for the first time December S, 1749. This document is called "Unusual Instruments employed at the Opera"—-State of Payments which were made to several after named subjects employed at the Opera since August 29, I749. The two following are named Jean Schieffer and Francois Raiffer and receive together I68 Livres "for having played the clarinet in three rehearsals and twenty—five performances of the Opera "Zoroastre" for reason of 6 livres each time." Of the two artists we know the second, Raiffer, who was employed as the clarinetist at the Concert Spiritual in 1775 . . . The aforementioned document, in demonstrating the presence of clarinets in the orchestra at the Opera for the rehearsals and presentations of "Zoroastre" permits the advance by two years of the first official mention of these instruments in Paris.Ll0 The above verifies the presence of clarinets in the orchestra for this opera in 1749. A more important contribution of Rameau's was his writing of imaginative, independent parts for the clarinet in his opera ”Acante et Cephise" (1751). Here again, how— ever, we encounter differing views as to what instrument is actually intended. Earlier the term "chalumeau" con— fused the issue; here the word "clarinette" is actually used, but then an authority like Mennicke casts doubt upon what instrument that word intends. uOIbid. 58 ' I Regarding some alleged clarinet parts in Rameau's "Acante et Cephise" (1751) Mennicke in his "Hasse und die Bruder Graun als Symphoniker" has pointed out that every note of the part could be played on an eight— foot natural trumpet, and concludes that the parts were written for clarino (trumpet) and not for clarinet.ul Other authors differ with this view. Mr. Girdlestone states that "'Acante et Cephise' is the first French opera in which clarinets were given individual parts."u2 In Le Guide Musical of May, 1903, Michel Brenet takes 'the side of the clarinets in his series of three articles entitled "Rameau, Gossec, et les clarinettes." He quotes a note Rameau himself pencilled in the margin of the manuscript of "Acante et Cephise" saying, "On reprend ce premier rigaudon aprés le deuxieme, mais pour lors trés doux, parce que les clarinettes le jouent en meme temps."u3 Rameau would hardly have cautioned the orchestra to play softer when the clari- nets enter if by that word he meant trumpets. Beyond this, in a more general way, we have evidence of the presence of clarinets in France around this time in an article in the April, 1919 issue of the Bulletin de la Société francaise de Musicoloque wherein the following is 7 written: ulCarse, The History of Orchestration, p. 179. M2Cuthbert Girdlestone, Jean Philippe Rameau: His Life and Work (London: Cassell and Co., Ltd., 1957), p. M3Brenet, o . cit. lath-3'. 4.. .- 5."; 59 The notes of the archives are a new confirmation that there were clarinets used in a bygone epoque. In carton 03008 of the National Archives one finds different papers relating to the parties of the court given at Choisy in the month of June, 1763 under the orders of the Duke of Duras . . . . In the first place a memoire of Cailot's "for a pair of clarinets ordered by the Duke of Duras, 10 louis," was 240 livres. Then a memoire of Chiqulier, in the course of which one reads: M. Demonville ordered me to take two cofgfirs to pay two clarinets for this: 24 livres. The above confirm the presence of clarinets in France around the middle of the century. They were used on more than one occasion and must have been a known quantity . . . we have noted confirmation of the fact that Rameau used them in "Zoroastre" in 1749. (It is interesting and per- haps significant that Mr. Laurencie's research confirming use of clarinets in "Zoroastre" came seven years after the publication of Mr. Mennicke's book.) All in all, it is unlikely that there would have been confusion over termi— nology of a kind that would have permitted the use of the word clarinette to mean a trumpet. I believe there is strong argument for taking the word clarinette in the "Acante" score at face value. A further confirmation of this view is given my Mr. G. Cucuel when he states: . . the word clarinette is employed sometimes to designate trumpets as in "Caio Mario" by Jommelli in I7A6, but it is fairly rare and one generally makes use of the words clarino or tromba.Ll uuBulletin de la Societe francaise de Musicoloque; op. cit. A5 Cucuel, o . cit., p. 16. 60 As for the trumpet (clarino) of this date (1751), it was a natural instrument able to produce only the natural tones of its overtone series. Prior to 1800 the trumpet existed only in the form known as the natural trumpet, i.e., as a plain tube without any devices such as side- holes, crooks, slides, valves, designed to bridge the gaps of the natural scale of harmonics. Clarin trumpet = the natural trumpet of the 17th and 18th centuries, a low-pitch and long tube instrument but played on trumpeters trained specially and exclusively in the art of producing the highest harmonics, ie. from the third octave onward, where they form a continuous scale. The normal B-flat trumpet has a tubing of about four feet in length. Its third octave is shown below: The 18th century low pitch trumpet that Mr. Mennicke referred to was eight feet in length. Its third octave, where the overtones begin to form a continuous scale, is shown below: u6Apel, 0p. cit., p. 771. u7Ibid., p. 15A. 61 This would make diatonic music on the upper part of the treble clef playable; however, the diatonic scale work required by this opera goes below, even an octave below, the third octave of this instrument (see examples). To conclude, Michel Brenet states: All hesitation (regarding use of clarinets in "Acante et Cephise") was erased by the testimony of the Mercure de France, which, in the month of December in 1751, reporting on the first performance of Rameau's pastorale, indicated as having been greatly enjoyed, the airs played by the clarinets in the episode of the hunter's feastJ1t A final quote from G. Cucuel shows this scholar's conclusion on the matter: We hold for certain that Rameau used clarinettes in "Acante et Cephise" which he had come to know about thru La Poupliniere‘s concerts.u9 48 Brenet, o . cit. A9 Cucuel, o . cit. 62 (La Poupliniere's Orchestra had 2 clarinets in 17M8.)5° In looking at the music itself, Michel Brenet has the following to comment: The clarinets appear in the overture in, as many musicologists have already noted, a very curious piece of descriptive music. Rameau, who wasn't writing a prologue of circumstances for his opera and placed, only at the end, the allusions neces- sitated by the birth of an heir to the throne, imagined painting in a symphonic tableau the fire— works set off in honor of the new born prince and the cries of joy of the people. In a short intro- duction, slow, in c minor, in which the short rapid scales of the wind and string instruments represent the radiant ascension of the rockets, the orchestra— tion calls for a small flute, lst and 2nd flutes, lst and 2nd violins, lst and 2nd clarinets, lst and 2nd horns, one tenor part, lst and 2nd bassoons, basses with kettle drums (cannon). A third movement entitled "Fanfare in C major" is linked with the description of the fireworks; the same instruments, with 2 parts for trumpets in addition, imitate the desire to shout (Vive 1e roi) and the joyous sounds of the military bands. In all this long piece, the 2 clarinets take on a special role and the lst, above all, a very important one. At the beginning of the fireworks, after having descended in brokenfiappeggios the extent of 2.90taves, the notes of the perfect chord of C major, it performs an ornamental design for several measures in double quavers; a little farther on, after the 2nd clarinet has played some accessory passages with it, the first comes back to a solo in its initial arpeggio, then it joins the violin in brilliant scales, in the fanfare, it is the lst clarinet which makes the imitative design resonate, to which for clarity are added the words (Vive 1e roi). Thus even when the word clarinet wouldn't be written out in full at the head of the staves, it would be rather difficult to attribute to "clarini," bugles, or trumpets, what Rameau noted in the afore— mentioned parts for clarinets.5l 50 51 Girdlestone, o . cit., p. 293. Brenet, o . cit., p. 184. 63 11¢ ”me“? are 6.3 re a-.. Yr“ ~ I -1 I“? .N Q . .«xEokN Q.» N as 1...... its. .N 2&1 >89 woe.» 0.x \UcS. .3 .ocxdnweflmw‘ N ha 235mm 3m - weekends Q 64 Q23 335» \U <3 .333:an \. 46.x mew. \ wages 2.8 . 1. .33» l.\ /.. It l1 .Q.~%.QW.V¢ 3.6K. \rm. N. 29.... E m a... we. 1 m. m 5 kdeQ . . Bx§w flatwasfifimucz .Sxeoioéfix. 1le . .... . ,. u. ‘T: 65 And 66 y ‘~11> -___ _-_§ .. c~ J ———_ ———u- Emma. w A Q 67 I .... .. .. . c y .. 1m... . I A 1. ., . .1. u a .. .. (.... .. p ... . x .\ . _ :3 ... .. . [.1 11...... L x . . .» IE..- u 3.3mm? Rim .. 'IKOL r A .. . .. -w .-c... 3N y _ A, 1" - ’ \4 Mn _ a _ . _ . 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TI m. ...“); 1H“? . wl....._:lzr F _ fir. d...» n on . A. a! -aHaJI --. 1119M”. a. ...r I . .I.. .. ALQ‘WS Ia ...I . Q\b\ .-.93 o- .‘I JJ .I. . b ”Jul - .... l.|.~ r ___ JIr _ H _ 1 a .....J a ._ I JII . zflumva...§_h~_—D— I _ —’_ 5.1% L J u ___ J _ ... _._ _NLL. ¢ .... L ...—LLwh — D~.rI/. 1. _.I .4 :_ a. _ _fifi JI. ~\_n_.. .Ir( I. r. _FLC__1—€L.1 I — I. _ k1ohflg _ _ _ :4 L _ :2 P h rt .I.? {r— — = F T Q _ Q . ._ r I Q _J ... _ CU A .t. I9. lolua . 9 o o o o o ( ....le 4....-5... _ H u .1 ___~L64]_ _ 11.110rl711310rt. _ JI _ C :fi~___:_ _. IF- _ — \J “1% a JQLIQ I rrI .\ LA. .I ... I _ t in. ulalunbl 4 . I c3 . ... _———. —.—.—_. _— uni—_— 69 At an interlude in Act II, clarinets and horns are combined. The music calls for diatonic scale work over a wide range (pages 70-72). On the aira "L'Amour est heureux" clarinets and horns are again combined, this time to accompany a vocal solo. (A high trumpet would overpower a voice.) (See page 73.) Clarinets and horns are again used together for the Entr'Acte to Act II (page 74). In the Contre—Dance, clarinets are used with violins and oboes-—a choir joins them on page 133 (see pages 75-77). Summary I would like to note the following things about these Rameau scores: (1) all authorities with the sole exception of G. Mennicke agree that Rameau intended that clarinets be used in "Acante et Cephise"; (2) these scores mark the first appearance of the clarinet in the French Opera Orchestra; (3) the combination of clarinets and horns, noted as occuring before, is again evident here; (u) the clarinet, ideal for accompanying a voice, is used for that purpose in the air "L'amour est heureux"; (5) the sizes of clarinet used are clarinet in C, D, and B—flat, and most probably the 3—key model. In the first fifty years of its existence the clarinet was improved by John Denner but remained a primitive instrument with only three keys. It appeared 7O L (om . .wakaS» RN VKSSQD _EN o ox. 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(49) 88 In Christian Cannabich's "Sinfonia a 12" and "Ouverture a 15" we find writing for the clarinet that is both a necessary part of the score, and is characteristic for the instrument. In "Sinfonia a 12" the clarinets are combined with two instruments with which they had fre- quently been paired previously, the bassoon and horn. Solo parts feature the clarinet throughout the piece (pages 89-93). In "Ouverture a 15" we have the complete woodwind choir for the first time (that I have been able to find) since Vivaldi used it in his Concerto No. 14. The clarinet is not used here as a soli instrument but as an ensemble one, in full partnership with the flute, oboe, and bassoon. Another point to note is the liberal use of chromatics (pages 94—96). Summary With the exception of Cannabich's writing (and a short excerpt from Holzbauer's opera) the orchestral use of the clarinet at Mannheim had nothing to distinguish it from what was common practice of the time—-it was either ignored or was notated as a doubling instrument. The evi— dence is not enough to warrant a final conclusion in this matter, but based on the scores available, we cannot say that the Mannheim school saw the emergence of the clarinet as an expressive instrument. If this is true at . ’-".__,'_.,.".I.,._ It . I on... ugh . _ . ...-.. - 2 Corni in B. | . 2 Clarinetti in B) obligati 2 Fagotti. Violino I. Violino II. Viola I. II. Violoncello e ntrabasso. Klavicrauszug. G) \O Sinfonia a 12. 0 PI In L" p D 0 g a U‘ .- O 5‘ Allegro . _ _- a _— — __— _— — _— l x _.——___ .... 5-. 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XIv.(€‘o) ll 9‘ >5 N o l 94 {2 Ouverture a 15. molto. C. Cannabich. 2 Corni in C. \/ 2 Flauti. \/2 Oboi. \/ \ 2 Clarinett'i in B.) \/2 Fagotti. Violino I. Violino II. Viola. I. II. Violoncello e Contrabasso. Klavierwszug. D.d.T.i.B.x1v. (w) dl 95 43 D.d.'I‘.i.B.xw (5-1) r 3. law.» CNS 1» ___.1 ...... i, {p crcs ”‘va | "__L-L’ . ‘ . I . , 9i) 5“ I . rr‘ 91" | l. p. 9 a 3 2- a : L V3. 52:- L.- I, 3 vi}: iI/iazt— _ I” ‘ ___ng (I =_'____' — _’__—___ . .______ . 1|.“ I P0 Cl 08 P0 . *_iA._?____.a__LH ... 5 pm— “...—- ' ‘ o crcs I 1| :1: 2/\o 4,. P (.6 L‘ ‘ l-a -____. L., .-..L....._ __ .,_. .. - -___ 'L_'(.FJ_—:_‘f:g_—an__:'_ ”:___I JHL“ ’31—— . _ . ll. - ' n W "LL 5_ -*- - tron: . _' - [709 f1’ ck D.d.'l‘. i. ll. xxv. (5‘3) 97 all, it must be based solely on their writing for it as a' solo instrument. The Mannheim composers deserve credit, however, for adding its tone to the orchestra on a more regular basis than it had previously enjoyed, even if merely as a doubling instrument for the most part. It was here that the clarinet made such a profound impression on the young Mozart, who, after hearing the orchestra wrote his father, "Ah, if we had clarinets, too. You cannot imagine the splendid effect of a symphony with flutes, oboes, and clarinets."5Ll 5MOtto Jahn, Life of Mozart, trans. Pauline D. Townsend (London: Novello, Ewer and Co., 1882), p. 378. CHAPTER IV THE YEARS OF ACCEPTANCE In the last half of the 18th century the clarinet appeared in ever more numerous scores in England, France, and Germany. For a time it was still most common in the opera orchestra but the example of the Mannheim orchestra, of including the clarinet more often in the instrumentation of purely instrumental works, began to be followed else— where. Johann Stamitz, who served for a year (175“) as leader of La Poupliniere's orchestra, propagated the instrument in that organization. F. J. Gossec, who suc- ceeded Rameau in that post (1752—1762, one year excepted) made use of it in many of his symphonic works. "No one did more to propagate the use of the new instrument than Gossec. . . . He began to write parts for it in his sym- "55 (It will be remembered that phonies from 1760—1 on. Gossec might have made contact with the instrument years earlier during his employment under Faber at the Antwerp Cathedral.) Mozart, extremely impressed with its possi— bilities, included it in his scores whenever he could do so; Haydn began to write for it, including his oratorio "The Creation" as well as symphonic works; and Beethoven 55Rendall, op. cit., p. 78. 98 CHAPTER IV THE YEARS OF ACCEPTANCE In the last half of the l8th century the clarinet appeared in ever more numerous scores in England, France, and Germany. For a time it was still most common in the opera orchestra but the example of the Mannheim orchestra, of including the clarinet more often in the instrumentation of purely instrumental works, began to be followed else— where. Johann Stamitz, who served for a year (175A) as leader of La Poupliniere's orchestra, propagated the instrument in that organization. F. J. Gossec, who suc— ceeded Rameau in that post (1752—1762, one year excepted) made use of it in many of his symphonic works. "No one did more to propagate the use of the new instrument than Gossec. . . . He began to write parts for it in his sym— phonies from 1760-1 on."55 (It will be remembered that Gossec might have made contact with the instrument years earlier during his employment under Faber at the Antwerp Cathedral.) Mozart, extremely impressed with its possi— bilities, included it in his scores whenever he could do so; Haydn began to write for it, including his oratorio ”The Creation” as well as symphonic works; and Beethoven 55Rendall, o . cit., p. 78. 98 '+.T""1_ . 2 it as part of the standard instr'.r~ '_f.orchestra. In these two operas by the English compoSer Arne the clarinet is paired with the horn. It is chosen for its blending qualities with the horn and for its ability to accompany the human voice. 10 1 I . ‘6 (fli Off/[AS ahdgvALCBY 0(1?fl1e@A1L(O’R‘S Stuffi. c/ICT the 1.“.5' 013m 131/1 00 UNTRY SEA T. «189% Me fl/flmuzz‘y L/iliz/I/I'ony 1,} [z/az/h/Jelyhzi fife Lfi'me. (It . 2953 flrfier and We]; 7%! (firm 84' (744?! ha? cmgze an zfima’zfz/Z/m [rear/”fife %”y 1% dew) II/M’lffl/Ml/{IY/mvKlilfl‘fl/[f‘l/f/a/yafl/k. Ift' HORN d ’\ ‘ and \/ CLARINET. {ll/Ht]: Pint . Clarinets algae. 2‘! HORN ’ \ and \/CI.ARINET. /-\ é hp arinet . 2 . Clarinet. \ Is} and 2'! HORNS. Pia. 3’0 1‘ . Is} and 2‘! 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[1‘ A ’v I! Lki 'd our h. I: Avil- nr1Ur . A111 11111 “111. rwlll w1uv PIII 1n :11‘s has t w 1n Oill‘ mperyc Impcsand fears were to each other knowu and friend {hip l J .' L 11 n l-q 1'] 1 [Irmfiu l . t- L" IP13 FOI‘V I (4‘1) oar. 111111; 1 III ‘- vnnuu -. n.1- jlni‘li l 111 rrnnn 2 For I: .- I'm 1. 105 01' «... h l 1‘ i 111 g 5 PM Pin J r.»- .I I 1 F0! .1 I d I 1 1:»- For a I) v Prove restore h r) v mei. F0 L1 mez For I me u'-hL A“ a. For vvv v 0“ /1 n 1 *1 *1 a; 1r-r'1 X! n 1 fence thy ‘Iove thyd 11 -t A pr >1 ‘9' 1 (98) m .1 ,. I I I I I n I I one—___hnc t’win'd onrhenrh in p 501' - fl 1' fl .4 n 1', I A I Oh dear him then from this of a ' .41 .1 "V‘l P111 V 1 hearts in 144L111} vvvv Fwy-... rx 0 WA A II .J j—T‘IGUC 106 1760 - SINFONIE IN C DUR — Francois Joseph Gossec Around this time the clarinet appears ever more often in symphonic scores. F. J. Gossec included a part for a clarinet in the 2nd movement of this symphony. It is featured as a soloist at letter A. Later on, on page ll, it is used in unison with the oboe on a part that goes up to d"' and e"'. It is a part that is quite idiomatic and requires some agility; it is more in keeping with the nature of the instrument than most scores we have talked about to date. Gossec doesn't use the full woodwind choir but it is interesting to note that the oboe is included with the clarinet; one is no longer thought of as a replacement for the other, but rather, both are accepted (pages lO7—lO8). 107 7 II. Andante. ‘ Violinel .... Vlollne2 “olemello :2._—-—--_.__-—____ —— Solo ===—_—-==;;__=—= ...,” ...... ___.-- “ii-QQQ!!! a." :_._._.:._:____.=_-_ ..._ =1— _ _ =-:::-;...7 --——- ___ -_=== was ‘2_ ' ' I==l__gfll--me§u-= - n- _— w..- ___—._—==u—_-=——-_———--.—-.— —--——_ ___— —--'-— ___ q5=!;!—— E—fi_——- EE===E u.- _'_hu—‘E— v-1- 0 ——-——~.—-__ _— _-- .- v m——_— (9‘1) -——---_ ___—___— —; ___—— .__F.__ ___: ..._-___.— — -‘--‘—: _‘w—_ __I—I-_-i-.--‘-'_-_=. ___. l"!-_—-I-- - 108 A l .w - _ _ ..— _ 1.. ‘ -(_ n.— a"— ? . fia— sm— —I I: 5—“ — — ._.. n_ ___ .... V .. . ..= E —w— .5 .“TH_-wm__ ..1. _ r: pace 0. pow 109 1763 — ORIONE - Opera - J. C. Bach Many sources mention J. C. Bach's use of the clarinet in his opera "Orione" (1763) but I have been unable to locate a score to this work. However, Mr. Terry includes some information about it in his work on Bach's life. Produced (opera "Orione"——l763) upon a scale of unusual lavishness, the advertisements in the "Public Advertiser" drew particular attention to the "grand chorus's" and to the fact that "several Vocal and Instrumental Performers" were engaged outside the normal establishment. The employment otherwise consisting of strings, flutes, oboes, corni da caccia, and bassoons. Burney observed that this was "the first time that clarinets had admission in our opera orchestra" (Bur. iv. A81) (((what about Arne's operas?))) Bach's employment of them, however, was neither adventurous nor remarkable: in the overture they are prominent in the first movement only in a single passage of four bars, which occurs twice: n)? u I A 1 A 1 v II kI}I I\lnI 1 I (A I [IV] ‘II I 1 |lI)l I II I I l ‘A II I l IIIA I II I A d l '1;AA.I'DAI-O' vv 7 Otherwise the clarinets are grouped with the horns and third oboe ("Tallie"). In the middle movement (Andante) they are silent, and in the Finale (Allegro) are conspicuous only in a short passage: In the arias Bach's use of them is equally tentative: they are employed only in Enopioneh "Frema crudello sdegno" and Candiope's "Di quest alma desolata."56 56Charles Sanford Terry, John Christian Bach (London: Oxford University Press, 1929), pp. 68—69. 110 1767 - "ALCESTE" - Opera — Christoph Gluck 1779 - "IPHIGENIE EN TAURIDE" - Opera — Christoph Gluck In Gluck's "Alceste" the clarinets and oboes double on the same parts in the Overture; later, on page 1A5 of the score, they are used with bassoons, and strings to accompany an aria. The clarinets double somewhat the lst violin part and the solo voice part. On page 208 the clarinets again double the lst violin part. On page 210 the clarinets are used alone with the strings to accompany a solo voice; there is very little independence of part, the instrument entering and leaving often, coloring and strengthening the violins (pages 111—116). In "Iphigenie en Tauride" Gluck gives the clarinets some rapid scale work on pages l2 and 29 of the score. These require a smooth negotiating of the ”break," cross— fingerings, and several accidentals. On page 153 the clarinets are combined with bassoons and trombones to work with the strings. The bassoons merely reinforce the cello part, the trombones provide a chordal background, and the clarinets basically double the violin parts. The same type of scoring again occurs in the section marked "Hymne." The clarinet is used to enrich the woodwind section tone and to bolster the string parts. 111 0 U VhLK'L‘ UIUL‘ ’- '\ PT' 2‘? 2’79'24 41;. W 5 [Vader J I ('1' lermvé‘r , C 0'] '11 l I’M/2J2)!” . 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'F" n-—— ___— ram/111412722; ,.'1wL.Ze [szi_.-J"en/I/i¢4.r.p mmvymin . ~P-I—-1 ' Il¥ltijl (74:7):ch lv’vw/on afwabw Cord (Illa W'omlmd Ham/1w rail/M rt {MIN .30 V I (“Aaw’ azvflir/{Jj / i I ~ ' I 1' I "r— I _. h—n—l HH-F 115 1.0.31»; 2' vial-d 4.7/10 1 yum/m I rd! men (es?) 116 ‘2'} ('2 (be) . : ' 117 The most important thing about this score from the clarinet's standpoint is that the instrument is used as a regular member of the ensemble throughout the opera; it is omitted in a few spots only. This is a 100% turn-around from its use in most other scores I have been able to locate and study up to this date (1779) with the excep— tions of Vivaldi's Concertos and Cannabich's "Ouverture a 15" (pages ll8—122). 118 I2 PlaciOLo FLHTE: n f STRING-5 . _301339 0:- 1 ‘ “TEE-779;: ‘ V : 119 ._-.—.0 u 1'71 \. ('4) 120 Lent. Fillies. Hauibois. ‘ Clan-invites ’ on 11f. Bassons. Trombones. Yiuluns I. Violuns U. Altos. Iphigénie. iapranos I. SOpranos \in‘uncolles :Uanscs. 122 220 Hymne. 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On page 9 of the score clarinets in b—flat accom— pany the soprano and alto solo voices in exact rhythm and pitch. This is another instance of the use of clarinets with the human voice. In the ”Tuba Mirum," page 51, they are used with horns and trombones. The Tuba Mirum includes three trombones, four clarinets, four trumpets, four horns, and eight bassoons, the first complete use, as Cucuel observes, of wood and brass.57 On page 163, in the ”Pie Jesu," clarinets are used with flutes, oboes, and bassoons; a full woodwind choir (pages 12M—127). 57Rendall, opo cit., p. 789 124 cg. , ‘13,...,,,,,_5j" Car/u C. ”Iv/(I'M I! f/zblzha 27 filter f/t'a/a (”yd/*2 £1" E1~——.' flrwvo 2151?} _‘: 'rm‘r‘ - \u o 77/11/112/20 125 ,\".' III. ‘1 I ‘.’1' \. XIII/(17!! 117-111 13' ’ / .1; -/1/1.' 11' , .. . 1 .-.-/m.’ 22' .1”... ”1%: “r .1 / tum: rt [‘1’ 1/6- — alt/51111 ‘IIIIJYA’ — 71;r II; \/..' 1."! '.l/(.' .'/. {Z1 — b' gfl'vrzt '."l'J/Io' awn/(.1 LI'M/Z ‘///.'..1.'/'1l/1’ (er) 3"} «*va m. u n . , . ..._... . . .. . -- . . . . 1 1- . -'v .I.-- ... 1 .1 , . . ., 126 T T. 1)T'Rf VUL TDB‘A :‘L‘I l‘f‘ 3-1/4“. zin'lfv 7 ._..: ._.. ‘1, _. ~.._. - is 7’1 ’ ‘1 ,- . (”'01 ’L' [1.11.11 9' (61) N? XXII. [Zdz‘w‘ Zmyo Emliau' imyo Clannedzw [gr/ya (our '6 K512)”: 11 [Vi/1110 2’ (1/121 .ft'J/v'a/m (011(17sz T 137117115 5M0 Ezzom flwfl ['le 1m an 5 PM]. A 127 JESU (7c) 128 1774 — "SINFONIA IN D DUR" - Johann Christian Bach In the 2nd movement of this work Bach uses the clarinet in an essential role. They support the lst violin part; they take sole responsibility for the music beginning in measure 12; they are used to sustain harmony to support the more active strings as on page 18 of the score. This is making intelligent use of the qualities of this instru- ment. The pitch of these clarinets is D. Anthony Baines states, "An older instrument, and one most used by German composers before Mahler, is the D clarinet, built a semi— tone lower . . . [than the E—flat soprano clarinet]. . ."58 The bass clef used for Clarinette III I cannot explain. (See Table of Clarinets in the Appendix.) (Pages 129—131.) 58Baines, op. cit., p. 124. ___ ..._ ____ __ ____.___ __ ____ ___ .... ____ __1. h —- 'r—— u.- _— —-..—— — ___- — ___—- — — — _— — — / \' _ I... =' = ;_1= ___ “..._ _ ..._... A _ H ) n09 E. E. .... E. m 1 ___. ___ ___. ___ _ fir=F_E/E e — ____ ___— m .... _ m ._.. ..._. A In I“ I. S 1 u an. o. e c Mn. c :u d .n o noD a. n n s n ... n r I rm 0 i i o. o f. u o. F .9. n a II ll I 1.. «I n . . . 1...- ...” .... .m m .... .1 . ...... .. _ c... v v v K K 5 x .... ..u. a. [\II\( —————————— n—..___————--___-______..____—_-_ ..-—__—————-————--————-——————-- ___—_———————————————-———————- I ‘ — . . .. i’L Innm——un-_ 131 18 (70) =,' . 1. ___. 11 .1. .11 (i *1’771—73' , 11.1 r: _ .... —_‘ 11r“. 11.11., (EFT :—: 1' :__ 1._‘ . T): (7a) 132 1788 — "SYMPHONY No. 39, K 543" — Wolfgang Amadeus Mozart This work is sometimes referred to as the "Clarinet Symphony" (oboes are omitted). Willi Apel states: "Mozart used [the clarinet] in some of his later symphonies, notably that in E—flat (K 543), in which prominent parts covering a wide range are given to the pair of clarinets. From that time, two clarinets are to be found in every normal orchestra."59 The clarinets blend with the entire ensemble for a few measures in the Adagio opening; they are used with the bassoons and horns and clarini to sustain harmony as on page 2; they participate, with the bassoons and flutes, in woodwind ensemble work on pages 28 and 29; they participate in blended woodwind and brass work in the Minuet, page 37; in the Trio they play a very important role, the lst clarinet carrying the melody and the 2nd clarinet accom— panying it with Alberti—type figures in the chalumeau register, pages 40 and Ml. This symphony might be said to have "capped" the clarinet's journey from obscurity to permanent acceptance into the orchestra (pages l33—l39). 59Apel, op. cit., p. 153. Vollendet Wien, 26. Iuni 1788' KV 543 133 WAMOZ. .RT Sinfonie in Es Adagio l_ Clarinet" in Sir/B Corm‘ in Nib/Es Clan'm' in MiWE: \ . l... 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E. u! . r y w .. .... ..._ (7") I v-. _—-——_-——_ ___— ___—___—-—.—- “gag; (2o) ' \‘J Da Capo 140 1799 - "SYMPHONY No. 1" - Ludwig van Beethoven 1802 - "SYMPHONY No. 2" — Ludwig van Beethoven When Beethoven began writing symphonic music the clarinet was in the woodwind choir in his scores from the first. In Symphony No. 1 (C clarinet is used) the instru— ment is used as an ensemble one. It is interesting to note on page 35 that the clarinet is paired with the horns; this century—old use of the two instruments is still valid here and even so today. The affinity of the clarinet to blend with the well—established horn (and other instruments) recommended it to composers from the beginning. In Symphony No. 2 (A clarinet is used) the clarinet is more than an ensemble instrument when it carries the melody, above the orchestra, in the 2nd movement. In this full acceptance by the master symphonist, the clarinet has "arrived" (pages 1u1—1uu). 141 3 . Q ._‘r ' No 4; w.) 2015 oyrr ignome ; L. 1. ' '7‘- ..- I ._... r‘ A: C our. L “333.... u midor. Dem Baron van Swicten gewidmet. moltthss. L.van Beezhoven, Op. 21. A‘ a ; «315:: \/ Flauti. \f 0501. . f " Ciqrinctti V Fagotti. Corni in C. Trombc in C. l Timpani in C. . \‘iolino I. Violino II. Viola. \‘zolonccllo c Basso. molto. .5 :35. Piano, 12.2.3011 Cmnz. C. 45012 (8 !) 1.42 0.1.5012 (92.) 143 30 JFlauti. VOboi. Clarinetti m A. \I Fagotti. Corni in E. Violino I. Violino II. Viola. Violoncello e Basso. Larghetto. .5. 92. Piano. arose. 27> 1’ c. 45013 (33) 144 c. 45013 (54.1) 145 Summary The composers who used the clarinet are most directly responsible for its eventual acceptance as a permanent member of the orchestra's woodwind choir.’ In re—tracing its path through the 18th century, innovators such as Reinhard Keiser and others would have to receive credit for first "breaking the ground." The chalumeau/clarinet's appearance as a color instrument (or maybe more accurately as a novelty instrument) in operatic scores in Italy, Germany, England, and France paved the way for further acceptance. Antonio Vivaldi's use of the clarinet in a purely instrumental work is a landmark in the clarinet's history; not only this, but the writing for the instrument is so true to its real character; and its use side by side with the oboe pointed the way for the eventual resolution of this problem. Georg Frederic Handel made a tentative use of the clarinet in no way as important as that of Vivaldi and Rameau. Jean Philipp Rameau's introduction of the clarinet into the Paris Opera orchestra is another contribution of the utmost importance. We are fortunate to have documented proof of its use in "Zoroastre”; this also helps establish the clarinet's presence in "Acante et Cephise" in the face of some doubt. With this master's use of the instrument in - ___AA- . 1o . - new 215:: .2 ‘. ."-F .'_'. ' ... . ‘1 r. u..-—.—.-—-. —- — - -- “"3519!!!" - p. _ . s 146 Paris, a major center of the arts, and in the world famous Paris Opera orchestra, the instrument has stepped "on stage" so to speak, and its period of relative obscurity has ended. Johann Stamitz and some other composers of the Mannheim school, most especially Christian Cannabich, must receive credit as a group for merely adding the clari- net to the orchestra on a fairly regular basis. This type of acceptance did not go unnoticed and the instrument's virtues, such as its ability to blend well with other instru— ments, and to produce a variance of dynamics ranging from a tone as soft as a whisper to a triple forte, came to the attention of a wider audience. Francois Joseph Gossec's use of the clarinet in La Poupliniere's orchestra in purely instrumental works kept the instrument in the public eye. In England the instrument appeared in operatic works. Johann Christian Bach used it in his opera "Orione" and some symphonic works. Christoph Gluck included clarinets in some of his operas and especially in "Iphigenie en Tauride," where they are part of the ensemble on a full—time basis. This must be one of the first uses of the clarinet in this manner; most usually they were given only occasional entrances in operatic works to inject color or to strengthen the ensemble. 147 Wolfgang Amadeus Mozart, who turned almost everything he put his hand to into beauty, unreservedly accepted the clarinet. His later operas include the instrument and his Symphony No. 39 was a "full—blown" use of the instrument by a major composer. Franz Joseph Haydn's use of it was much more tentative and reserved; he used it to "give additional body to the woodwind tutti, to supply essential harmony, or to double melodic phrases played by one or other of the "60 woodwinds . . Ludwig van Beethoven, because of his prominence and his use of the clarinet in all his symphonic works, deserves credit for helping to firmly establish the instrument's newly won membership in the orchestra. In searching for reasons why the clarinet was taken into the orchestra, I have noted its use as a color instru— ment in operatic scores of the first half of the 18th century. Improvements in the design and construction of the instrument, occurring approximately between 1750 and 1770, were no doubt a crucial factor in its increased popularity at Mannheim and other centers in subsequent years. The note b‘ was no longer awkward and chromatic tones were more easily produced (see fingering chart for the 5—6 keyed Classical clarinet). Another reason for its increased use was that these improvements were followed by the appearance of specialists 6OCarse, History of Orchestration, p. 190. 148 Fmamw CHMW FOR we: Fw: on Sm- «rs/co CLANNET“ e 3‘ J“ . . a3 - - ' - u’ ,_ As 091705115 (wrru 5mm: an) S 8" a .o: oooEb 8% 000 000 End bbolo 001(0) i” an: :00 b a a: 90‘? fw* o: o O_oo c' a II o oo 3” o! o o co C‘#O'D ... 3'? .10 to: d1 too 009 q” one 000 5'” :0: (Ion b'b 00' coo 8. 0C70 0 0:: 6‘ a co 0 co f, O I(o\ 0 co c‘“ coo coo : 5; 0 0° 0 0° Tmme o" 3' O OO 0 DO Twang eFI' I o oo o oo Twne on HOLz 33%? 0° ° 0 0 7mm on Svsmec- Kev mm ' oo oooTuume err WM) 0 o o oo Tums 0N $95M“ Km mm DO 000 Cmfi{g o 03 o I a m A0 a o a o 0 Tmme orF d{oooflcoo(gb) 3‘” 0:08 '90 Eb em a 00 000 5' fl” ' CO 000 filmy o 00 000 g!” ' 0° 0 II 61Baines, op. cit., p. 301. " :I'F-‘r-ir' ‘ iflh-p— MINI-u.- F—__A 149 on the clarinet. No longer was it a mere ”doubling" instru- ment of oboe players; it could command a following of its own. Gaspard Procksch and Flieger were soloists active in 62 Paris in the mid—18th century. In Germany there were two outstanding virtuosi; Joseph Beer, for whom Karl Stamitz wrote several concertos, and Anton Stadler, the artist Mozart favored with his famous concerto.63 Two British players active in the last quarter of the 18th century were John and William Mahon.6u The use of clarinets in the military band also un— doubtedly helped the instrument gain a firmer footing and a wider base of acceptance. "The military musician played no small part in popularizing the clarinet."65 "There is some evidence that clarinets were used in military bands during the first half of the 18th century."66 Other sources put the data a little later. "The Gardes Suisses were allowed to form a band of 4 bassoons, "67 "The clarinet 68 4 horns, 4 oboes, and 4 clarinets in 1762. was introduced into British military bands around 1763." 62 63 64 Rendall, op. cit., p. 78. Ibid. p. 83. Ibid p. 81. 65Ibid.: p. 82. 6Carse, History of Orchestration, p. 178. 67Rendall, o . cit., p. 79. 68Ibid., p. 82. 150 Stanley Sadie writes: The change from oboes to clarinets as the principal instrument of the military band probably took place gradually between 1755 and 1785. Oboes were still in use in 1777, for in that year Samuel Wesley wrote a march for two oboes, two horns, two bassoons, and a serpent, which is believed to have been intended for one of the Guards Bands. Mr. Sadie then quotes from another source: One year later, "half a dozen lads of the militia were sent up to London to be taught various instru- ments to form a military band. The German master Baumgarten put into their hands a new instrument called a 'clarionet' which, with its fiery tone, was better adapted to lead armies into the field of battle than the meek and feeble oboe." 9 In 1783 the Honourable Artillery Company band con— sisted of four clarinets, two horns, two bassoons, and a trumpet.70 In a London Directory of 1763 of players and teachers of wind instruments, no clarinetists are mentioned. In the Directory of 1794, however, 24 clarinetists are listed. The chart for this year is below: Bassoon . . . . . . . . 49 teachers and/or performers Bag and Union Pipes " Clarinet . . . . . . . 24 " Flute . . . . . . . . 20 " Horn . . . . . . . . . 36 ” Oboe . . . . . . . . . 36 " Serpent . . .y. . . . . 5 " Trumpet . . . . . . . . l9 " Trombone. . . . . . . . 6 " 69 W. Gardner, an article in Music and Friends, III (London, 1853), p. 7. 70Stanley Sadie, The Wind Music of J. C. Bach, Music and Letters, Vol. 36, No. 4 (October, 1955), pp. 107— 117. ‘ summon“... 7 WI:?£‘1£:"‘: ad? ‘?0‘ .. 1 ' hrv: ”amt-3:66“ . .I. _ . H -.'I - "1"; a 1.513.495 _'_rg _- . .'.:-.'_ owl: ---'- '.- wan" 151 "It is remarkable that bassoon players outnumbered the other players, that oboes and horns came next, and that clarinets had established themselves in excess even of flutes."71 I believe the clarinet's acceptance into the wind band is reflected in these figures. The evolution taking place in orchestration also contributed to the success of the clarinet. The use of woodwind instruments in a body to supply harmonic backing to the more busy work of the strings was one of the most important of the progressive features in the orchestration of the transition composers. The addition of clarinets to the orchestra was, of course, a distinct gain to the substance of the woodwind harmony, and their readiness to blend with the tone of other instruments was clearly in favor of the newcomers where only harmonic cohesion was required.72 Thus we can see that the search for coloristic effects in the opera orchestra, improvements in the design of the clarinet, the appearance of specialists on the instrument, its acceptance into the military band, and the changes occurring in orchestration all helped the clarinet win a permanent place in the orchestra. This ends my paper. It doesn't pretend to be a com— plete report, because the subject is open—ended, but I have endeavoured to give the salient facts pertaining to the clarinet's apprenticeship in the orchestra. 71Lyndesay G. Langwill, ”Two Rare 18th Century London Dictionaries,” Music and Letters, edited by Eric Blom, Bol. xxx, No. 1 (January, 1949), pp. 37—43. 72 Carse, History of Orchestration, p. 158. APPENDIX 152 CHRONOLOGICAL LIST OF SCORES USING THE CLARINET This list is meant to be nothing more than repre- sentative of the period being studied. Scores with an * in front of their dates have been located and studied. 1704 1707 1707 *1711 1716 *1720 1722 *1724 *1727 17 ? 1737 *17 ? *17 ? *17 ? *1749 *1751 *1755 *17 ? "Caio Pompilio" — opera - Marc Antonio Ziani (parts marked "chalumeau") "Conquista delle Spagne” — opera — M. A. Bononcini (parts marked "chalumeau") "Marte placato" — opera — A. Ariosti "Croesus" — opera — Reinhard Keiser "Airs a deux clarinettes ou deux chalumeaux" — published by Roger ”Maria Ass "Sieg der ”Tamerlane ”Riccardo "Overture” ”La Virtu "Concerto "Concerto "Concerto ”Zoroastre ”Acante et ”Sinfonia umpta" Mass — J. A. J. Faber (excerpt only) Schondeit" — Georg Philipp Telemann " — opera — Georg Frederic Handel Primo" — opera - Georg Frederic Handel — Georg Frederic Handel appie della Croce" — opera — J. Hasse in C Major, F XII, NO. 1 — A. Vivaldi in C Major, F XII, No. 2 — A. Vivaldi in C Major, F XII, No. 14 - A. Vivaldi ” — opera — Jean Philipp Rameau Cephise” — opera — Jean Philipp Rameau a 8" (La Melodia Germanica No. 1) — Johann Stamitz ”Sinfonia a 8” (La Melodia Germanica No. 3) — Johann Stamitz 153 II I . I. ...-lfllll‘l. i w,_2j’ *1760 *1760 *1762 1763 *1767 *1774 *1779 *1782 *1788 *1799 *1802 I In, I I} l-Hfl-Ih _ .v .- "Sinfonia a mark. in. '-I "Ouverture a 15" - Christian Cannabich‘ "Sinfonie in C Dur“ - Francois Joseph Gossec "Thomas and Sally" — opera - Thomas Arne "Artaxerxes" - opera - Thomas Arne "Orione" — opera — Johann Christian Bach "Alceste" — opera - Christoph Gluck "Sinfonia in D Dur" - Johann Christian Bach "Iphigenie en Tauride" — opera - Christoph Gluck "Requiem Mass" — Francois Joseph Gossec "Symphony No. 39, K 543" - Wolfgang Amadeus Mozart "Symphony No. l" - Ludwig van Beethoven "Symphony No. 2" — Ludwig van Beethoven CHRONOLOGICAL LIST OF 18th CENTURY ORCHESTRAS USING CLARINETSa The dates indicate when the clarinets were first adopted as permanent members of the instrumentation; a * indicates the most famous and largest orchestras of the century. 1762 — Paris: La Poupliniere‘s orchestra 1770 — Milan: Opera orchestra* 1773 - Paris: Opera orchestra* 1773 — Paris: Concert Spiritual orchestra* 1777 — Mannheim: Court orchestra* 1778 — Munich: Elector‘s orchestra 1781 — Vienna: Opera orchestra* 1782 — Ansbach: Chamber and Church orchestras 1782 — Coblenz: Hof—musik orchestra 1782 — Mayence: Hof—musik orchestra 1783 — Bentheim—Steinfurt: Court orchestra 1783 — Bonn: Hof—musik orchestra 1783 — Pressburg: Cardinal's orchestra 1783 — Regensburg: Court orchestra 1787 — Berlin: King of Prussia's orchestra* 1790 — Paris: Theatre de Monsieur orchestra aCarse, Orchestra in the 18th Century, pp. 18—27. 155 1776-77 ENCYCLOPEDIA ARTICLE ON THE 4—KEY CLARINET* This is a translation of the article on clarinet in the 1776—77 edition of the Diderot and d‘Alembert Encyclopedie published in Paris. The article is by F. D. Castilon. It is included for the contemporary information it gives on the clarinet in the last quarter of the 18th century. Clarinet . . . Reed instrument, invented, it is said, at the beginning of this century by a Nurem— burger . . . . The instrument illustrated is ap— parently of the earliest type, but that shown in our Plate is more complicated. Nowadays the clarinet is made in four pieces: the head, the two middle joints, and the foot. There are twelve lateral holes, of which seven in front and one at the back are closed by the fingers; the other four are closed by keys. The head is made of boxwood like the rest. It terminates in a beak somewhat resembling that of a "flute clouee." But instead of the mouthpiece, this beak has on its upper flat part a triangular hole. The beak is pierced obliquely so that the interior profile exactly corresponds to the outline shown in Fig- 20. The triangular orifice is covered by a tongue of cane, suitably shaped and adapted, and tied on with thread; so that the embouchure of the clarinet is something like the tongue of brass that one finds on a child's wooden trumpet. Inci— dently, the tone of the clarinet closely resembles that of the trumpet. The clarinet is held like the recorder. Holes 2, 3, and 4 are closed by the three fingers of the left hand. The thumb covers hole 11 and manages the key 12 (these two dorsal holes are numbered in the tabula— ture and drawing after the front holes, and not in their correct order from the top of the instrument.) Besides hole 2, the index finger controls key 1. The little finger serves to open and close keys 9 and 10. It is important to bear in mind this double duty of the thumb, index and little fingers when writing music for the clarinet, otherwise one may create insur— mountable difficulties. The three fingers of the 156 157 right hand close holes 5, 6, 7, and the little finger hole 8, while the thumb helps to hold the instrument. The clarinet as described above has a compass of 3 octaves and 2 tones, for the most part chromatic. One observation must be made, which is that the clarinet is a minor third lower than other instru- ments; that is, its lowest C is in unison with the lowest A of the violin. By this reckoning the compass of the clarinet extends from 4 ft. C#, the first C# of the cello to E, the triple octave of the minor third of this C# or the fingered E on the top string of the violin. This is why, when the clarinet plays with other instruments, the part is written a minor third higher than theirs. For example, if the piece is in A major, the part is in C; if in D, it is in F. Owing to fingering difficulties, obbligato passages are only written for the clarinet in C (the A of other instruments) and in F major (the D of other instruments). To remedy this want of variety, the middle joints containing the holes 2, 3, 4, 5, 6, and 7 are now made in duplicate. With these new pieces the clarinet is raised a major semitone, giving two more tonalities, B—flat and E—flat major. In preparing a piece of music in A major for the clarinet, one writes it in C major, and for D major in F, marking the part as one does for the horns ”Clarinet in A," so that the player will know which middle joints to take. If the music is in B—flat or E-flat, the clarinet part will be in C for B— flat and in F for E—flat, and will be marked ”Clarinet in B—flat.” As regards filling-up passages, where the clarinet has no obblagato or plays only simple parts, they can be managed in all keys by careful attention to fingering and breath-control, upon which this instru— ment makes considerable demands. The two things to remember are that the clarinet is usually a minor third below other instruments, but that one should state which middle joints the player must select. At the time of writing, there is in Berlin a musician who plays a clarinet with six keys, on which he obtains all the modes. It has already been shown that four keys cause difficulties. How much worse it must be with six! 96 Halfpenny, o . cit., pp. 332—336. TABLE OF CLARINETS* (Extinct or very rare sizes in brackets) A-flat clarinet [F clarinet] E-flat clarinet D clarinet C clarinet B—flat clarinet A clarinet [Clarinet d'amour in A—flat or G] Basset horn in F [F alto clarinet] E-flat alto clarinet B—flat bass clarinet [A bass clarinet] E-flat contrabass clarinet B-flat contrabass clarinet B—flat sub—contrabass clarinet 14.0 inches 17.3 19.3 20.5 23.5 26.5 27.8 31.0 H H H H H H H Continental military bands Bands of 150 years ago German orchestras German orchestras Extinct Formerly in continen— tal bands Military bands Occasionally still in Germany *Baines, Op. cit., p. 125. 158 BIBLIOGRAPHY BIBLIOGRAPHY Altenburg, Wilhelm. Die Klarinette. Hielbronn: 1904. (Translation in Woodwind Magazine, Vol. 2, No. 6, February, 1950). Baines, Anthony. Woodwind Instrpments and their History. (New York: Norton and Co., 1961. Berlioz, Hector. Instrumentation and Orchestration. Translated by T. Front. New York: Kalmus and Co., 1948. Bonanni. 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