| Contents |
Origins of the chalumeau. Antiquity ; The tenth through the seventeenth centuries ; Mock trumpet ; Chalumeaux during the seventeenth and eighteenth centuries ; Jacob Denner's chalumeaux and clarinets ; Chalumeaux built as an organ pipe ; Chalumeau players ; Descriptions from the mid-eighteenth century ; Extant chalumeaux ; Later documented chalumeau makers ; Chalumeau reproductions ; Conclusion -- Music for the chalumeau. Attilio Ariosti ; Antonio Maria Bononcini ; Agostino Steffani ; Johannes Conradus Melchior Pichler ; Johann Joseph Fux ; Antonio Vivaldi ; Antonio Caldara and Nicolas Matteis ; Johann Friedrich Fasch ; Jan Dismas Zelenka ; Johann Adolf Hasse ; Christoph Graupner ; Johann Melchior Molter ; Georg Philipp Telemann ; Giuseppe Antonio Paganelli ; Gregor Joseph Werner ; Christian Cannabich ; Conclusion -- The earliest clarinets. Extant baroque clarinets ; Denners' clarinets: documentation and attribution ; Early clarinets made in Nuremberg, Amsterdam, and Dresden ; Design and construction ; Materials ; Mouthpieces ; Keys ; Specific descriptions of baroque clarinets ; Makers' stamps ; Middle section and the stock-bell ; Composite clarinets ; Third key and additional aspects of design ; Pitch designations and pitch levels ; Denner three-key clarinet ; Keyless clarinets ; Conclusion -- Playing techniques of the baroque clarinet. Compass, reed position, embouchure, and articulation ; Hand position and fingerings ; Tuning and pitch observations ; Conclusion -- Music for the baroque clarinet. Jacques Phillipe Dreux ; Antonio Vivaldi ; Antonio Caldara ; Joannes Adamus Josephus Faber ; Georg Philipp Telemann ; George Frideric Handel ; Giovanni Chinzer ; Johann Valentin Rathgeber ; Joseph Joachim Benedict Münster ; Johann Wendelin Glaser ; Ferdinand Kölbel ; Johann Melchior Molter ; Franz Josef Sparry ; Jean-Philippe Rameau ; Jan (Johann) Zach ; Wenzel Stark (Starck) ; Johann Stamitz ; Christoph Graupner ; Chevalier d'Herbain ; Georg Pasterwiz ; Jean-Benjamin de La Borde ; Franz Joseph Ulbrecht ; Thomas Augustine Arne ; Conclusion -- Baroque clarinet in society. Iconographical representations ; Traveling musicians ; Court and aristocratic music ; Church and civic music ; Military music ; Conclusion. |
| Abstract |
The first edition of the author's book is widely considered the authoritative text on the European clarinet during the first half of the eighteenth century. Since its publication in 1992, its conclusions have influenced the approaches of musicologists, instrument historians, and clarinet performers. Twenty-eight years later, the author has updated his renowned study in a second edition, with new chapters on chalumeau and clarinet music, insights on newly found instruments and additional material on the Baroque clarinet in society. Expanding the volume to include the chalumeau, close cousin and predecessor to the clarinet, the author draws on nearly three decades of new research on the instrument's origins and music. Discoveries include two recently found chalumeaux in a private collection, one by Johann Heinrich Eichentopf of Leipzig, and attributions based on historical evidence for three more chalumeaux. The author furthers the discussion to recently uncovered early instruments and historical scores, which shed light on the clarinet's evolution. Most essentially, the author highlights the chalumeau's substantial late-seventeenth and early-eighteenth century repertory, comprising over 330 works by 66 composers, and includes a more expansive list of surviving Baroque clarinet works, organized by date, composer, and tonality/range. |
