| Contents |
The invention of the clarinet -- The early years. Reinhard Keiser ; J. A. J. Faber ; G. F. Handel ; Antonio Vivaldi ; Jean Philippe Rameau -- The Mannheim school -- The years of acceptance. Thomas Arne ["Thomas and Sally," "Artaxerxes"] ; Francois Joseph Gossec [Sinfonie in C dur] ; Christoph Gluck ["Alceste," "Iphigenie en Tauride"] ; Francois Joseph Gossec ["Requiem mass"] ; Johann Christian Bach ["Orione," "Sinfonia in D dur"] ; Wolfgang Amadeus Mozart [Symphony no. 39, K 543] ; Ludwig van Beethoven [Symphony no. 1, Symphony no. 2]. |
| Summary |
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 18th 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 subsequent 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 18th 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. 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; (c) 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 instrument; 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. The developing concepts of orchestration during the 18th century also were a factor in the clarinet's acceptance; 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 composers of the time. |
| Dissertation note | Ph.D. Michigan State University 1968. |
| Bibliography note | Bibliography: leaves 160-162. |
| Reproduction note | Joyner- Photocopy. Ann Arbor, Mich. : University Microfilms, 1989. 21 cm. |
