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Clarinet

he clarinet has its roots in early single-reed instruments used in Ancient Greece and Ancient Egypt.[1] The modern clarinet evolved from a Baroque instrument called the chalumeau. This instrument was similar to a recorder, but with a single-reed mouthpiece and a cylindrical bore. Lacking a register key, it was played mainly in its fundamental register, with a limited range of about one and a half octaves. It had eight finger holes, like a recorder, and a written pitch range from F3 to G4. At this time, contrary to modern practice, the reed was placed in contact with the upper lip.[2]

 
Denner clarinet

The clarinet arose at the beginning of the 18th century when the German instrument maker Johann Christoph Denner[3] equipped a chalumeau in the alto register[4] with two keys, one of which enabled access to a higher register. This second register did not begin an octave above the first, as with other woodwind instruments, but started an octave and a perfect fifth higher than the first. A second key, at the top, extended the range of the first register to A4 and, together with the register key, to B♭4. Later, Denner lengthened the bell and provided it with a third key to extend the pitch range down to E3.[3]. The resulting range has remained the standard for clarinets. The lower register from E3 to B♭4 was called the chalumeau register and the second register from B4 to C6 the clarion register.

A third register, the altissimo, developed as unknown clarinetists used special fingerings to play notes up to G6, and later up to D7.

 
Sketch of the basset clarinet used by Anton Stadler since 1789

After Denner's innovations, other makers added keys to improve tuning and facilitate fingerings[2] and the chalumeau fell into disuse. The clarinet of the Classical period, as used by Mozart, typically had five keys.[5] Mozart suggested extending the clarinet downwards by four semitones to C3, which resulted in a special version of the clarinet that was about 18 centimetres longer, made first by Theodor Lotz[6][7] for Anton Stadler. This type of a clarinet was later called a basset clarinet.

In 1789 Mozart composed the Quintet for Clarinet and String Quartet, the first clarinet quintet of its kind. In 1792 he composed the Concerto for Clarinet and Orchestra in A major for this instrument, with passages ranging down to C3.[8] Clarinets were soon accepted into orchestras, and by the time of Beethoven (c. 1780–1820), the clarinet was a fixed member in the orchestra.[9]

The number of keys with felt pads was limited because they did not seal tightly. German clarinetist and master clarinet maker Iwan Müller remedied this by countersinking the tone holes for the keys, surrounding them with raised conical rings (twisters) and covering the pads with soft leather.[10] This made it possible to equip the instrument with considerably more keys. In 1812 Müller presented a clarinet with seven finger holes and thirteen keys, which he called "Clarinet omnitonic" since it was capable of playing in all keys. It was no longer necessary to use differently tuned clarinets for a different keys.[5].

This clarinet gradually became the worldwide standard, especially in the 1820s, and was given more keys by other clarinet makers.[11] Iwan Müller is also considered the inventor of the metal ligature and the thumb rest.[12][13] With the added stability of the thumb rest, clarinetists began to orient the mouthpiece with the reed resting on the lower lip.[14]

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Müller's inventions revolutionised not only clarinet making but also the construction of other woodwind instruments. At the end of the 1830s,[15] the German flute maker Theobald Böhm made a similarly significant invention: the ring and axle key system, which he realised on the transverse flute but which was then also adopted by other woodwind instrument makers. In this system, rings surround the tone holes in such a way that when a finger covers a tone hole, it also pushes down a metal ring that is flush with the top of the hole. There may be a small resonance key on the ring. The ring in turn sits on an axle on which other rings are mounted, which then also close and which may also have resonance keys that close with it.[16]

This key system was first transferred to the clarinet between 1839 and 1843 by the French clarinetist Hyacinthe Klosé in collaboration with the instrument maker Louis Auguste Buffet. In the process they made other significant changes to the clarinet, resulting in a new clarinet with different fingerings and, due to a different inner bore, a different sound. The most striking change with this clarinet (which the inventors called the Boehm clarinet, although Böhm was not involved in its development), was the addition of new keys for the two little fingers on the lower joint, providing redundant fingerings for certain notes. The standard Boehm clarinet has 17 keys and 6 rings.[17]

In 1852, the Belgian Eugène Albert transferred the Boehm ring key system without any further significant changes to the Müller clarinet, so that the fingerings largely corresponded to the traditional fingering system. The sound of the Albert clarinet, however, is more similar to that of the Boehm clarinet.[18] It has 16 keys and 5 rings and twice two rollers on the keys intended for the little fingers. Technical development in detail shows the clarinets in the Edinburgh University Collection of Historic Musical Instruments.[19]

In England and the USA, the Albert system is also called "simple system". From 1920 to 1940 Selmer Paris built an improved Albert clarinet, also called "Full-Albert" versus "Plain-Albert", with very good intonation and extended mechanics with 6 rings, 4 side trill keys, E-flat-lever and F-sharp/G-sharp-trill, which was played by many jazz clarinetists.[20]

Around 1860, the clarinettist Carl Baermann and the instrument maker Georg Ottensteiner jointly developed the patented Baermann/Ottensteiner clarinet,[21] a clarinet with 16 keys, four rings and four rollers (like the Albert clarinet, except that the rings partially surround other tone holes) but in the tradition of the historic sound.[22] This instrument was distinguished above all by its novel connecting levers, which made it possible to press most of the keys from several places. It was used from 1860 until about 1910.[23]

The famous Brahms clarinetist Richard Mühlfeld used this clarinet,[22] and the American clarinet soloist Charles Neidich has used a Baermann-Ottensteiner instrument for playing compositions by Brahms.[24]

At the beginning of the 20th century, the German clarinettist and clarinet maker Oskar Oehler perfected the instrument, and in 1905 presented a clarinet with 22 keys, four rollers, five rings and a blind cover for the right index finger, under which there is no tone hole, but through which two keys on the right side of the lower joint are operated.[25][26]

This marked the end of the further development of the Müller clarinet for the time being. The new clarinet was called the Oehler clarinet or German clarinet, while the Böhm clarinet has since been called the French clarinet. Since the 1950s, most top German clarinets are still equipped with a cup mechanism to improve the intonation of low E and F and are sometimes called "Full-Oehler" clarinets, even though this mechanism was not developed by Oehler.[25][27]

The French clarinet differs from the German not only in fingering but also in sound. The characteristic sound of the clarinet that had fascinated Mozart was lost. After conducting in France, Richard Strauss spoke of the nasal French clarinets.[28] At the end of the 1940s, the German clarinet maker Fritz Wurlitzer, father of Herbert Wurlitzer, built a Boehm clarinet with a sound approximating the the German ideal. The result was the Reform Boehm clarinet, which is still in production.[29]

Today the Boehm clarinet has no longer a nasal sound, because the manufacturers have changed their drilling techniques, - especially since they started using CAD and CNC machines - and also because clarinetists' playing has changed. Its sound has been described as sharper, richer in overtones and more flexible, in comparsion with the sound of the German clarinet that has been called pure, sonorous and warm.[30][31]

The actual sound of a clarinet depends not only on the type of construction, but also to a large extent on the players' ideas of the sound and their ability to realise this idea.

Other modifications to the basic Boehm system, the Full Boehm, Mazzeo, McIntyre,[32] and Benade NX System,[33] could not prevail.

Distribution: Outside Germany and Austria, clarinets with the Boehm system are used almost exclusively today. In Eastern Europe the Oehler system was widespread until the middle of the 20th century, but was largely replaced by the Boehm system in the second half of the 20th century. In the Netherlands, the Reform Boehm system was important for a long time but has gradually been replaced by the classic Boehm system.[34] For reasons relating to sound and intonation , the use of Oehler clarinets has continued in German and Austrian orchestras, including the Vienna Philharmonic and the Berlin Philharmonic),[35] while no German clarinets are used in French symphony orchestras.[36]

The Albert clarinet was in common use in Britain since the second half of the 19th century.[37] This type of clarinet dominated jazz in its early days,[38] is still used in folk music in the Balkans and Turkey.


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Citations

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  1. ^ Lawson 1995a.
  2. ^ a b Karp, Cary (1986). "The early history of the clarinet and chalumeau". Early Music. 14 (4): 545–551. doi:10.1093/earlyj/14.4.545.
  3. ^ a b Hoeprich, T Eric (1981). "A three-key clarinet by J.C. Denner" (PDF). The Galpin Society Journal. 34: 21–32. doi:10.2307/841468. JSTOR 841468.
  4. ^ Pino 1998, pp. 198–199.
  5. ^ a b Shackleton 1995.
  6. ^ Fastl, Christian (2021-06-21). "Theodor Lotz". Austrian Music Encyclopaedia. Retrieved 5 January 2023.
  7. ^ "Clarinets by Theodor Lotz<". Retrieved 5 January 2023.
  8. ^ Hacker, Alan (April 1969). "Mozart and the basset clarinet". The Musical Times. 110 (1514): 359–362. doi:10.2307/951470. JSTOR 951470.
  9. ^ Pino 1998, p. 204.
  10. ^ Bray, Erin (16 November 2004). "The clarinet history". The Clarinet Family. Archived from the original on 2 February 2003. Retrieved 5 January 2023.
  11. ^ Angloher, Stephanie. Das deutsche und französische Klarinettensystem. Eine vergleichende Untersuchung zur Klangästhetik und didaktischen Vermittlung, Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig-Maximilians-Universität München (The German and French clarinet systems. A Comparative Study of Sound Aesthetics and Didactic Mediation) (PDF). Herbert Utz Verlag GmbH, Munic 2007. pp. 18-25 (The Iwan Müller clarinet)..
  12. ^ Stephanie Angloher 2007 PDF-File p. 23
  13. ^ Barrett, Gregory (1999). "Development of the Clarinet". Northern Illinois University. Retrieved 2 January 2023.
  14. ^ "Clarinet didatics, Embouchure 1. Historical sources, 1.2 Reed below - Mandibular Embouchure and 1.3 From Iwan Müller and Carl Baerman to Today's Playing Techniques". Hochschule Luzern. Retrieved 5 January 2023.
  15. ^ Ridley, E. A. K. (1986). "Birth of the 'Boehm' Clarinet". The Galpin Society Journal. 39. JSTOR: 68–76. doi:10.2307/842134. ISSN 0072-0127. JSTOR 842134.
  16. ^ Stephanie Angloher 2007 p. 26-27 (The Boehm clarinet p. 25-30).
  17. ^ Jean Christian Michel. "Histoire de la Clarinette.(History of Clarinet)]". Retrieved 31 December 2022.
  18. ^ Font, Oscar. "Albert Systeme The Jazz Clarinet". Retrieved 4 January 2023.
  19. ^ "Collection of Albert clarinets".
  20. ^ Capion Larsen. "Henri SELMER Klarinetten der 1920/30er Jahre" (in German).
  21. ^ National Music Museum - The University of South Dakota (2016-03-10). "Clarinets in C, B-flat, and A by Georg Ottensteiner, Munich, ca. 1860-1879". Retrieved 5 January 2023.
  22. ^ a b Stephen Fox. "Mühlfeld's Clarinet". Retrieved 5 January 2023.
  23. ^ Stephanie Angloher 2007 PDF-File p. 30-31.
  24. ^ Hans Dieter Grünefeld, Interview with Charles Neidisch, Mirakel klassische Musik (Miracle classical music) (in German)
  25. ^ a b Thomas Reil and Dr. Enrico Weller. "The Clarinets of Oskar Oehler". Retrieved 2022-05-16.
  26. ^ Thomas Reil and Dr. Enrico Weller. Der Klarinettenbauer Oskar Oehler, Markneukirchen 2008, 152 pages (in German).
  27. ^ Thomas Reil and Dr. Enrico Weller. Der Klarinettenbauer Oskar Oehler, p.15.
  28. ^ Hector Berlioz: Instrumentationslehre. Ergänzt und revidiert von Richard Strauss, Frankfurt am Main u. a. 1904, p. 214: "Die französischen Klarinetten haben einen flachen, näselnden Ton, während die deutschen sich der menschlichen Gesangsstimme nähern." (The French clarinets have a flat, nasal tone, while the German ones approach the human singing voice.)
  29. ^ Stephanie Angloher 2007 PDF-File p. 245-246.
  30. ^ Arthur Benade]
  31. ^ Klaus Härtel. "Klarinetten-Kriege, französisch gegen deutsch (Clarinet wars, French vs. German)" (in German).
  32. ^ Ellsworth 2015, p. 68.
  33. ^ Benade, Arthur H.; Keefe, Douglas H. (March 1996). "The physics of a new clarinet design". The Galpin Society Journal. 49: 113–142. doi:10.2307/842396. JSTOR 842396.
  34. ^ Wolfgang Lohff. "Klarinettensysteme" (in German).
  35. ^ "The Structure of the Clarinet [Experiment], The Boehm system and the Oehler system". 2021. Retrieved 8 December 2022.
  36. ^ Artur Lamparter. "Kleine Geschichte der Klarinette (Short history of clarinet)" (in German).
  37. ^ "Future of instrument making - new variants".
  38. ^ Florian Royer, Le son perdu des clarinettes néo-orléanaises (The lost sound of New-Orleans clarinets), 26 December 2017
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