THE FIVE-KEYED CLARINET /

Presented by

David A. Glick /

To fulfill the dissertation requirement for the degree of

Doctor of Musical Arts

Department of Music Education

(Clarinet)

Dissertation Director: Professor Everett Gates

Eastman School of Music

of the

University of Rochester

April 1978

ABSTRACT

The purpose of this dissertation is the examination of an

authentic five-keyed clarinet, an instrument that enjoyed widespread use ca. 1770 to 1825. The clarinet was built by Ludwig Embach and

Johann Nicolaus Jehring of Adorf, Germany around 1800, and is pres-

ently in the writer's possession.

Certain conclusions are based on the writer's examination of

approximately three hundred early clarinets in museums and private

collections throughout Europe, Canada, and America, as well as on

his correspondence with more than one hundred musical instrument col-

lectors.

Chapter I deals with the restoration process and those indi-

viduals involved. Chapter II contains a general description of the

"Classic" clarinet along with measurements. The historical develop-

ment of the five-keyed instrument, important tutors and makers, or-

chestral beginnings, and use on the concert stage are outlined in

Chapter III. Chapter IV is an examination of performance problems.

The final chapter is a summary with recommendations for further areas

of research.

Appendices include photographs of the clarinet before and

after restoration, an analysis of the original clarinet mouthpiece,

11

letters froa collectors of early woodwind instruaents, audio tapes

of perfaraances on the five-keyed clarinet with historic European

keyboard instruaents, excerpts of the ausic perfaraed, photographs

and a description of the keyboard instruaents, and a selected list

of literature dating from the time of the fin-keyed clarinet.

iii

VITA

David Alan Glick was born on January 6, 1946, in Pittsburgh, Pennsylvania. He began serious study of the clarinet at age fifteen

with Nestor Koval, presently on the faculty of Duquesne University.

From 1963 to 1968, he attended Carnegie-Mellon University, graduating

with bachelors' degrees in Music Education and Performance. There he

studied with clarinetist Louis Paul.

From 1968 to 1971, he served in the United States Army as a clar-

inetist with the North American Air Defense Command Band, Colorado

Springs, Colorado; and the West Point Band, West Point, New York. While

at West Point, he attended the Manhattan School of Music, New York City.

His clarinet studies at Manhattan were with Herbert Blayman. He re-

ceived the Master of Music degree from the Manhattan School in 1971.

That same year, he began work on the degree of Doctor of Musical

Arts in Music Education at the Eastman School of Music, where he studied

with D. Stanley Hasty and Everett Gates. During his first two years at

Eastman, he served as Solo Clarinetist of the Eastman Wind Ensemble and

Eastman Philharmonia Orchestra.

He has appeared as Solo Clarinetist in the American Symphony

Orchestra League's 1965 summer workshop at Asilomar, Calif., Dr. Richard

Lert, Conductor. Also, he received a scholarship in 1967 from the North

Carolina School of the Arts for summer study in Siena, Italy. As a

iv

national winner of the Anne Gannett Scholarship far Graduate Study,

sponsored by the National Federation of Music Clubs, he pt>eaiered

John La.Montaine's ConTersations for Clarinet and Piano at the Feder-

ation's seventy-fifth anniversary convention. This work was written

for him.

In September 1973 he won the top prize at the International

Clarinet Coapeti tion in Munich, Gerll&lly. He gaTe several concerts

and aade radio broadcasts and teleTision appearances with the Bavar-

ian Radio Orchestra. During 1976 and 1977, he recorded sonatas and

a concerto for the broadcasting corporations of Munich, Stuttgart,

Cologne, Frankfurt, and Bamberg. In the sWilJller of 1975 he performed

and lectured in Holland and Germany on the five-keyed clarinet.

Woodwind World has published three of his articles, "Private

Clarinet Instructions" (September 1972), "Knowing lour Clarinet Through Measurement" (SUllller 1974), and "The Twenty-second Inter-n& tional Music Competition" (Spring 1974)

Presently, he is Instructor of Clarinet and Saxophone at the

State University of New York, Geneseo; and teaches instrumental ausic

in the Greece Central School System, Greece, New York.

v

.PREFACE

Over the last several years there has been a growing interest

in the recovery and performance of early music. This involvement with

the past is especially evident in instrumental music, for many oppor-

tunities now exist for hearing it accurately played on period instru-

ments.

Through the efforts of Thurston Dart, Arnold Schering, Robert

Donington, Hugo Leichtentritt and others, numerous performance prac-

tice misconceptions have been alleviated. Some additional credit for

establishing a modern tradition of pre-Bach interpretation should be

given to Arnold Dolmetsch (1858-1940) for his inspiration and musical contributions.

Recently formed organizations such as the Galpin Society

(founded 1946) and The American Musical Instrument Society (founded 1971) maintain an active involvement with the study and performance of early music. As stated in the by-laws of The American Musical

Instrument Society, formerly known as The Historical Musical Society:

The object of this Society shall be to further the cause of organology. The specific objective shall be the study and collecting of historical musical instruments, and their per-formance, design and production.1

1"By-Laws," Newsletter, of The Historical Musical Society, I (November, 1971), P 3; I.

vi

Vith these two societies and with similar organizations, much

of the thrust has been in the direction of pre-Bach ausical instru-

aents and literature. Recently, though, we have seen a burgeoning of

interest in performing eighteenth and nineteenth-century literature

on period instruments.

The eminent musicologist Curt Sachs gives us a detailed exam-

ination of early woodwinds.2 Books by Anthony Baines and Alexander

Buchner contain beautifully detailed photographs with descriptions of

a wide variety of instruments.3

In 1968, the Galpin Society held an exhibition of European musi-

cal instruments at the Reid School of Music, Edinburgh, Scotland. At

this important international event, a catalogue was issued listing ap-

proximately three hundred brasses and woodwinds in use around 18oo.4

Measurements, pitch and present ownership were also included. The In-

ternational Council of Museums held a seminar in 1960 at The Hague or.

proper maintenance of early musical instruments. Through the combined

efforts of Alfred Berner, J. H. van der Meer, and H. de Chambure (G. Thibault), an important publication resulted in 1967.5 This valuable

2curt Sachs, The History of Musical Instruments (New York: v. W. Norton & Company, Inc., 1940).

3Anthony Baines, European and Allerican Musical Instruments (New Yorks The Viking Press, 1966};Alexander Buchner, Musikinstru-mente im Wandel der Zeiten (Hanau/Main: Verner Dausien, 1960).

~e Galpin Society, An Exhibition of European Musical Instru-aents (Edinburgh: Lorimer & Chalmers, Ltd.--, 1968).

5Altred Berner, J. H. Y&.n der Meer, and G. Thibault, Preservation and Restoration of Musical Instruments (Londona Evelyn, Adams & Mackay, 1967).

vii

document offers recooendations on how to cope with the problems of

preservation and restoration.

Much has been written concerning the history and construction

of early instruaents; soaevhat less on restoration. Of special con-

cern to the author of this dissertation are early nineteenth-century

woodwinds, particularly the five-keyed clarinet in use ca. 1770 to 1825.

Adam Carse and Anthony Baines give a general but important 6 introduction to the early clarinet. Books by Oskar Kroll, F. Geof-

frey Rendall, and Wilhelm Altenburg treat the subject with far greater detail. 7 Valuable articles by Adam Carse and Eric Halfpenny, plus 1m-

portant early tutors, nov published in facsimile by Minkoff of Switzer-

land, add to our in-depth knowledge of the "Classic" five-keyed clarinet.8

The author, a clarinet player, acquired an original, five-keyed,

boxwood clarinet, built in Adorf, Germany around 1800. This instrument

vas previously owned by Norbert Klem, a resident of Rochester, New York.

It was originally the property of Klem's great grandfather, John Beck,

who performed on the instrument in Germany. When John Beck's daughter,

Klem's grandmother, left Germany in 1815 to settle in Rochester, the clar-

6Adam Carse, Musical Wind Instruments (London: Macmillan and Company, 1939); Anthony Baines, Woodwind Instruments and their History (London: Faber and Faber Limited, 1957). -

7oskar Kroll, The Clarinet (New York: Taplinger Publishing Co., 1968)1 F. Geoffrey Rendall, ~Clarinet: Some Notes ~ its History and Construction (London: Ernest Benn Limited, 1954)r Wilhelm Altenburg, Die Klarinette ( Gerll&ny: Heil bronn, 1904)

8Adam Carse, "The Clarinet in the Eighteenth Century," The Sackbut, II (October 1921), 4r Eric Halfpenny, "Early Inglish Clarinets," The Galpin Society Journal, XVIII (March 1965).

viii

tnet was brought along. It was kept in storage until 19'72 when the

writer purchased it.

The instrument was examined by Emanuel Winternitz and the late

Edwin M. Ripin, Curator and Assistant Curator of Musical Instruments

at The Metropolitan Museum of Art, and by Robert w. Sheldon, a re-

storer at the Smithsonian Institute. All found it to be an authentic

early nineteenth-century boxwood clarinet in unusually good condition.

The last point is important, for many early instruments are often so

badly cracked or warped that restoration to a level of performance is

nearly impossible.

This dissertation includes a description of the restoration proc-

ess with an explanation of the problems encountered during restoration

and the method of solution used by the restorer. Also included is an

audio tape of the instrument played by the author, accompanied by peri-

od keyboards from major European museum collections, and photographs of the keyboards and of the restoration process.

In regard to performance on early wind and brass instruments,

one precedent was set at the Eastman School of Music in 1961. Frederick

Fennell and the Eastman Wind Ensemble recordedz The Civil War (its music and its sounds), Mercury (2-901/902). Original Civil War brass instru-ments were used. The restoration was done by Robert w. Sheldon, then an

Eastman student. Eastman's continuing involvement with early musical in-

struments was also made evident in Neill Humfeld's doctoral dissertation.9

9Neill Humfeld, History and Construction of the Cornett, Eastman School of Music of the University of Rochester, (June 1962).

ix

The building of .usieal instruments in music schools dates

back to the first .usic school in North America:

The first school on the North American continent was a music school, organized precisely upon the model of the European ca-thedral school. In response to an urgent appeal from Hernando Cortez, the recent conqueror of Mexico, who had asked far work-ers to convert the Indians to Christianity, Pedro de Gante, a lay-brother of the Franciscan order, landed at Vera Cruz on August 30, 1523. Within a year of his arrival, he had opened a school for the sons of native chiefs at Tezcoco in a build-ing placed at his disposal by Ixlilxochitl, the Aztec emperor. The subjects he taught included reading, writing, singing, play-ing of various instrumenty6 copying musical manuscripts, and constructing instruments. (Italics mine.) .

This dissertation, in a small way, should help to lay the

ground-work for more concentrated efforts in the performance of late

eighteenth and nineteenth-century music on period instruments.

The writer would like to express very special thanks to several

individuals who played a major role in the realization of this project. Without their help, the scope and content of this dissertation would

not have been possible. To all, the author is greatly indebted.

The initial restoration on the author's five-keyed clarinet

was done by Herbert Myers. A former member of the New York Pro Musica

and now on the faculty of Stanford University, Myers is recognized

as a master woodwind craftsman. He has performed and lectured inter-

nationally, and is also the Director of the Stanford Renaissance

Wind Band.

10Allen P. Britton, "Music in Early American Public Education: A Historical Critique," Chapter 8 in Basic Concepts 1n Music Education, edited by Nelson B. Henry (Chicago: The University or-Chicago Press, 1958), P 197.

X

Peter DeVuyst, Wood Specialist within the Greece Central

School System, Greece, New York, hand-shaped the duplicates of the

original clarinet aouthpiece. Countless hours were spent on this

project. James Pyne, Solo Clarinetist of the Buffalo Philharmonic and

mouthpiece refacer, faced the duplicate mouthpieces.

Frederick Koeng, Senior Research Chemist at the Eastman Kodak

Company, prepared the photographs far this dissertation. Because of

the many problems associated with photo image transfer, screening pro-

cedures, and photocopying techniques, his expertise was greatly ap-

preciated.

Christian v'aterlein, Assistant Curator of Musical Instruments

at the Stuttgart LandesJruseum, arranged far performances using the au-

thor's five-keyed clarinet. He also permitted a tape recording to be

made using the Museum's highly prized Johann Andreas Stein Fortepiano.

Fritz Thomas, Chief Restorer at the Deutsches Museum, Munich,

arranged and assisted in the taping of three historic Museum keyboards

in conjunction with the writer's instrument. Research Specialist Schaeffer at the Frankfurt (am Main) City

University Library arranged for the taping of a John Broadwood Piano-

forte in conjunction with the five-keyed clarinet. This instrument is housed at the Frankfurt Library.

Dowell Multer, Head of the Keyboard Division at the State Uni-

Tersity College at Brockport, N~w York, must be giTen special thanks.

Internationally recognized as a performer and lecturer on the subject

xi

of early pianos and founder and coordinator of the Brockport Keyboard

Symposium, Multer was instrumental in arranging for the concerts and

taping sessions previously mentioned. He prepared an analysis of the

keyboards, with photographs, and served as a sonata partner on the en-

closed tape recording. The many months of work necessary far the above

is a testimony to his friendship and belief in the value of this proj-ect.

Finally, a special thanks must be given to the writer's advisor,

Professor Everett Gates of the Music Education Department, Eastman

School of Music. It was solely through his efforts that the author

was able to purchase the five-keyed clarinet which served as the topic

for this dissertation.

xii

TABLE OF CONTENTS

PREFACE

CHAPIER I.

II.

III.

IV.

v.

INTRODUCTION

Restoration Mouthpiece Duplication

THE FIVE-KEYED CLARINET

General Features Key Mechanism The Mouthpiece The Reed

.

I I I I I

HISTORICAL DEVELOFMENT I I I I I I I I I I I I I I I I I I I

Early Tutors and Important Makers Use Within the Orchestra Early Performers The Five-Keyed Clarinet in Concert

SOME ASPECTS OF PERFORMANCE ON THE FIVE-KEYED CLARINET

Acoustical Problems Use With Period Pianos

CONCLUSIONS REC OM~lENDA TI ONS

APPENDIX A. PHOTOGRAPHS OF THE FIVE-KEYED CLARINET BEFORE AND AFTER RESTORATION PLUS AN ANALYSIS OF ITS ORIGINAL MOUTHPIECE , , , , , , , , , . .

APPENDIX B. CORRESPONDENCE FROM MUSICAL INSTRUMENT COLLECTORS

APPENDIX C. TAPE RECORDING OF THE FIVE-KEYED CLARINET WITH HIS-

Page

vi

1

2 4

8

8 10 12 13

15

15 16 18 20

27

27 )6 40 42

44

58

TORIC KEYBOARDS AND LITERATURE PERFORMED , , 97

xiii

TABLE OF CONTENTS (Continued) Page

APPE!iDIX D. PHOT(X;RAPHS AND DESCRIPTION OF HISTORIC KEYBOARDS 112

APPENDIX E. A SELECTIVE LIST OF SONATAS AND CONCERTOS DATING FROM THE TIME OF THE FIVE-KEYED CLARINET 125

BIBLIOGRAPHY 131

xiv

1.

2.

4.

5.

6.

7

8.

PLATES

The Modern Clarinet and Five-Keyed Clarinet

Dimensions of the Five-Keyed Clarinet and Modern Clarinet

Program of a July 13, 1975 Concert at the Haags Gemeentemuseum, The Hague, Netherlands

Program of a July 20, 1975 Concert at the wtirtt-embergisches Landesmuseum, Stuttgart, Germany

Review by the Stuttgarter Nachrichten of the July 20, 1975 Stuttgart Concert

Intonation Profile of Five-Keyed Clarinet Intonation Profile of Buffet Bb Clarinet

A Comparison of the Intonation of Two Clarinets ,

XV

I I I

'Page

9

11

21

23

25

30

31

32

CHAPI'ER I

IN'ffiODUCTION

The "Classic" five-keyed clarinet, usually made of boxwood

and with five brass keys, played a major role in the development of the clarinet. Adam Carse and F. Geoffrey Rendall give detailed in-

formation concerning its development, principal tutors, and makers

ca. 177 5 to 182 5.1 As Adam Carse states:

Credit for "inventing" these last two keys ["tfl / ~#' and f' / s_#" added to the three-keyed clarinet~in or about 1750 1s often given to an organ-builder named Barthold Fritz of Brunswick, but many clarinets made after that year were still without these new keys. The five-keyed clarinet, the instrument which, towards the end of the 18th century, was the standard type, and which just then was establishing itself as a permanent member of the orchestra, was IIIS.de in large numbers by continental makers, and was now also being made in England. It was then made in high F, E (rarely), E flat and D; the normal sizes were inC, B flat and A, more rarely in B and low G. Tutors were provided for the five-keyed clarinet, and Mozart gave it higher musical status by composing a concerto for it. Military bands absorbed large num-bers of these instruments; this no doubt accounts for the many surviving specimens.2

Haydn, Mozart, and the young Beethoven probably heard five-

keyed clarinets in the performance of their own works and those of

others. While many examples of this instrument exist in museums and

private collections, very few are restored to their original condition.

This is a very important point, for to obtain a comprehensive under-

1Adam Carse, Musical Wind Instruments (London: Macmillan and Company, 1939h F. Geoffrey Rendall, The Clarinet: Some Notes .sli}on its History~ Construction (London: Ernest Benn Limited, 19

2carse, P 155.

1

2

standing of the five-keyed clarinet, one should perform on the instru-

aent.

In 1975, a questionnaire (Appendix B) was sent to one hundred North American musical instrument collectors in an attempt to locate

five-keyed clarinets. Thirty-five of the individuals and institutions

contacted had five-keyed instruments in their collections. They stat-

ed that restoration would begin when funds and qualified personnel

are available.

Restoration is one of the aost vital factors in achieving his-

torically authentic performance. Excellent books by Trevor Robinson

and Arthur H. Benade discuss certain aspects of restoration) Still, a detailed, step-by-step, analysis is rarely available.

A number of photographs that provide side-by-side visual com-

parisons have been included. The observer may detect fine details that

the writer has not commented on, some of which might well be the subject of further research. The many problems associated with color repro-

duction have made it impossible to include such photographs.

In the course of this dissertation, the "Classic," late eight-

eenth through early nineteenth-century, five-keyed, boxwood clarinet

will be referred to at times as the "five-keyed" or "Classic" clarinet.

Restoration

Fortunately, the instrument needed minimal restoration. Aside

lrrevor Robinson, The Amateur Wind Instrument Maker (Ailherst: The University of Massachusetts Press, 19'73); Arthur H. Benade, Horns, Strings, and Harmony (New Yorks Doubleday, Anchor Books, 1960),

3

from several s.all cracks, it was playable before any restoration

began (Appendix A, Ex. 1), The clarinet was bull t by the firm of Embach and Jehring of

Adorf, Germany; an area in the eastern part of Germany (the Vogtland) near the Czechoslovakian border. Ludwig Emba.ch was born in Wald Hildes-

heim in 1783 and died in Amsterdam in 1842. In his youth, he went to

Adarf to apprentice with Johann Nicolaus Jehring who died there around

1820.4 The names of the above are found on the upper, middle, and low-

er joints of the clarinet (Appendix A, Ex. 14). The instrument was brought from Germany to Rochester, New York,

in 1815. This is documented by its previous owner, Norbert Klem.

Klem's great-grandfather, John l3eck, played the clarinet until his

death in 1815. John l3eck's daughter, Klem's grandmother, left Germany

during that year to settle in Rochester. Her father's five-keyed clari-

net was brought along.

From the above information, the clarinet probably was built

between 1800 and 1810. At that time, Ludwig Emba.ch would probably

have been experienced enough to be a partner in the firm, not just an apprentice; therefore, allowing his name to be stamped, along with

Jehring's, upon the clarinet.

Not long after the clarinet was purchased, the writer had the

good fortune of meeting the notable woodwind craftsman, Herbert Myers.

4 . Lyndesa.y G. La.ngwill, An Index of Musical Vind Instrument Makers (Great l3ritiana Lindsay& Co., Ltd., 196o),P.47.

4

Active as a perforaer as well as builder and restorer of early instru-

aents, Myers agreed to restore the clarinet. Myers' comments on the

above are found in a personal letter to the writer (Appendix B). The part of the instrument most in need of repair was the clari-

net barrel. It had cracked and was missing an upper ring (Appendix A, Ex. 3). The decision was made that since the bottom ring was made of horn, an upper one should be built from cow horn (Appendix A, Ex. 4) Epoxy was used to seal the cracked barrel.

Replacing the small section of missing wood from the upper joint presented no real problem (Appendix A, Ex. 3). Since the type of box-wood used in the original clarinet was not available to the restorer,

an available hardwood was substituted (Appendix A, Ex. 5). The lower joint had a hairline crack that was also in need of repair (Appendix A, Ex. 6). Additional restoration was limited to the cleaning and oiling of the instrument. During the last few years, no problems have been

J

experienced with the above repairs.

Mouthpiece Duplication

The mouthpiece found with the clarinet had warped and cracked

past the point of repair (Appendix A, Ex's. 7,8). It vas necessary to have it duplicated (Appendix A, Ex's. 9,10). Aging, previous use, and the inability to see any grain configuration made the identification

of its wood difficult. The restorer concluded that it vas probably

grenadilla or ebony because of its black color.

The aouthpiece was carefully examined by the late Edwin M. R i pin,

5

Assistant Curator of Musical Instruments at The Metropolitan Museum of

Art; Robert Sheldon, Musical Instrument Restorer at the Smithsonian

Institute; and, Arthur H. Benade, Woodwind Acoustician, Department of

Physics, Case Western Reserve University. All found it to be an au-

thentic, early nineteenth-century mouthpiece, exceptionally well-matched

to its clarinet. This particular mouthpiece design is further discussed

by Anthony Baines and F. Geoffrey Rendall.5

The original mouthpiece lay w.as lightly sanded to achieve a

flat surface. Reeds were hand-fashioned to produce tones on the orig-

inal mouthpiece which served as an aural guide for the duplicate mouth-

piece. From all indications, the pitch of this combination was approx-

ima.tely A-435 to 440.

There is very little relationship between early clarinet mouth-

pieces and modern ones--design and tonal characteristics are noticeably

different. Early nineteenth-century mouthpieces are generally made of

wood, much smaller, and quite pointed. They also have a very narrow,

tapered window (Appendix A, Ex. 11). The difficult and time consuming task of duplicating the mouth-

piece was done by Peter DeVuyst, Wood Specialist within the Greece

Central School System, Greece, New York. From a 4" x 1 3/8" cylinder

of hard rubber rod, three mouthpieces were fashioned. The best of the

three was used. DeVuyst hand forged his own steel reamer to accurately

5Anthony Baines, Woodwind Instruments and their History (London: Faber & Faber Limited, 1957), P 300; Rendall:Pp. 6-7.

6

duplicate the bore dimensions.

Hard rubber rod was the material used tar the duplicate mouth-

piece. This was done because wooden mouthpieces, in use from the in-

eeption of the clarinet to the beginning of the twentieth-century, have

a tendency to change dimensions.

James Pyne, Solo Clarinetist of the Buffalo Philharmonic, faced

the duplicate mouthpiece. The accurate measurement of the original fac-

ing and the adjustment of reeds to a foreign mouthpiece design caused the greatest difficulty because the formation of the oral cavity for

the early clarinet mouthpiece is very different than far the modern one.

The former seems to require that a greater amount of the mouthpiece tip

be placed into the mouth, and that no teeth or lip pressure be utilized

during performance. This appears necessary for maintaining relative

pitch stability and consistent tone quality in the different registers.

Final examination of the original mouthpiece was prepared by

three dental surgeons. They analyzed the existing teeth marks (Appendix A, Ex. 8) in an attempt to help clarify how the mouthpiece was used in performance.

During the early nineteenth-century, two fundamentally different

embouchure techniques were in use--the older method of the reed against 6 the upper lip and the more modern form of the reed against the lower lip.

Unlike many early clarinet mouthpieces that offer little or no

indication as to how they were played upon, the writer's original mouth-

f..__ .. lieinz Beeker, "Die europaische Klarinette. I Allgemeine Ges-ehiehte." Musik in Gesehiehte und Gegenwart, VII (1958), p. 1015.

7

piece contains several identifying marks. The surgeons, all clarinet

players, prepared a report (Appendix A) for inclusion in this disser-tation. Their objective was to decide what embouchure technique was used with the original mouthpiece. After plaster casts were made of

the mouthpiece and detailed photographs of the tooth marks examined,

they concluded that the mouthpiece was probably played upon by more

than one person, since there are two basic sets of tooth marks. The

first set is located at approximately 7 mm. from the tip of the mouth-

piece and is consistent with playing the instrument in the older

manner. The second mark, located at about 15 mm. from the tip, seems

consistent with the more modern embouchure technique. There are also

other marks toward the ligature end and on the reed side that, most

probably, are not associated with playing the instrument.

CHAPrER II

THE FIVE-KEYED CLARINET

General Features

Information concerning the very early clarinet models of two,

three, and four keys is limited. The instrument had made little prog-

ress artistically, and was still far from being the important member

of the orchestra which it was destined to become by the end of the

eighteenth-century.1 Relatively few specimens of simple clarinets

with two, three, and four keys have survived, nor were they used as

extensively as the five-keyed instrument. It was not until the intro-

duction of the five-keyed clarinet, with a slightly more advanced key

mechanism, that the clarinet achieved a position of importance as an

orchestral voice and as a solo instrument. The "Classic" clarinet,

according to Carse and as seen in Plate 1 on page 9, was generally made

in six piecest

(a) The ebony mouthpiece; rather narrow, with a "table" for a short reed which was tied on, and might be placed either against the upper or lower lip.

(b) The barrel; varying slightly in length, for tuning purposes. (c) The upper middle-piece; with three finger-holes and two keys

mounted in wooden rings or blocks. (d) The lower middle-piece; with the three R.-hand finger-holes. (e) The lower piece; with the R. little-finger-hole and the three

keys mounted in a wooden bulge which went right round the tube. (f) The expanding bell. The usual material was boxwood, and ivory or bone ferrules were generally provided to strengthen the joints and protect the end

1Adam Carse, Musical Wind Instruments (London: Macmillan and Company, 1939), PP 153-1_54.--

8

Plate 1. The Modern Clarinet and Five-Keyed Clarinet.

, .

9

, I.

of the bell. The square keys were of brass, flat, and furnished with a piece of leather as a pad.2

When comparing the modern and five-keyed clarinet, shown in

Plate 1 on page 9, differences in design are apparent. Some addi-

tional facts are revealed by a closer, side-by-side, examination of

their dimensions as shown in Plate 2 on page 11.

Except for certain variations in mouthpiece design, bore di-

mensions, and exterior plan, the instruments are remarkably similar.

10

The five-keyed clarinet's mouthpiece has a larger aperture. The bore

of the instrument is slightly smaller and has less holes than the

modern clarinet. Actual differences in overall length and bore di-

ameter are quite small considering the many developments that had taken

place from the time of the five-keyed clarinet to its modern counter-

part.

The noticeable difference in sound, especially in the upper

register of the "Classic" clarinet with its brilliant, piercing tone

quality, is due to, among other thin~s, the limited number of holes in

the instrument, necessary cross fingerings, and mouthpiece dimensions.

Key Mechanism

To contemporary clarinetists, the key mechanism of the "Classic"

clarinet may seem crude and difficult to operate. It must be remem-

bered that, up until that time, there were no precedents for the trans-

fer of motion over distances of several inches on such small instru-

ments. These keys had to be "invented," or at least worked out at a

2carse, p. 155.

11

PLATE 2. Dimensions of the Five-Keyed Clarinet and Modern Clarinet.

For the following measurements, a Vernier heifht gauge, micrometer, and telescoping gauge were used. Each measurement is an average of three tests at an approximate temperature of 72 derrees Fahr., 50% relative humidity.

Five-keyed clarinet

Houthpiece: 3.515" - 89.3mm. Bottom of window to tip: 1. 320" - 33. 5mm. Barrel: 2.416" - 61.4mm. Up;:,er joint: 8.900" - 226.1mm. lpper half of lower -inint: 4.62Y' - 117.4mm. Bottom half of lower ,loint: _5 91 3" - 150 2P'u"lo Bell: 4.155" - 105.5nr.. Overall length: 26.007" - 660.5mm.

Lencth

Bore diameters Base of mouthpiece: 0.610" - 15.5mm. ToD of barrel:

0.~6& - 14.4~rn. Bottorr. of barrel: 0.560" - 1LL.2f'T"o Upper ,-icint: 0.561" - 14.2rr.m. UnDer section of lower :ioir.t: o:s67" - 14.4l'lY!o Top part of lower-most joint: o._s68" - 14.4m!'l. Lm-rer-rost ,'oint at taper before flare: o.s37" - 13.5mm. End of lower-most joint: 0.735" - 2C.C;;,rn. Ton of bell: 0. P42" - 21 .4nm.

Buffet clarinet No. 1094~9

Mouthpiece: (Large bore, 7P~ 3.510" - 89.2nm . Bottom of window to tip. 1.215"- 30.9mll. Barrel: 2. 642" - 67 .1 mm. Upper :ioint: 8. 777" - 222. 9r:m.

Lower .ioint: 10.046" - 255.2:'ln.

Bell: 4.192"- :tc6.5m:-1. Overall length: 25.657" - 651.7mm.

Base of mouth-:Jiece: o. 6oo" - 1 5. 2;,]. Top of barrel: C. 587" - 14. 9n~r.1. Bottom of barrel: 0. 585" - 14. 9'L-. To? of vp-per .-ioi::l.t: 0.584" - 14.8mm. Botton of U?per .ioint: 0.573" - 14.5J:1.m. Top of loHer :ioint: 0.572" - 14.5r;1T:J. I'Iiddle of louer :ioi~t:

o.65~ - 16.6mm. End of lower .ioint: G. nss" - 21. 7m'. Ton of bell: o.S)O" - 21.6:'nll.

The wc..ll thickness of the five-keyed clarinet is as follmm:

Upper .ioint: o.d. of 1.103"(28.0nm.) less i.d. of 0.561"(14.2nn.) Upper half of lower joint: o.d. of 1.134"(28.8:nm.) less i.d. of 0.567"(1L~.4mm.) Lower-nost joint at thickest part: o.d. of 1.673"(42.5m:n.) less i.d. of 0._568"(14.4mm.)

\lall thickness = 0. 542" ( 13. 8m:c.)

T = 0 567" ( 14. 4:-:m )

?-

= 1.105"(28.1mm.) --=:;::-

12

practical level.

The keys were forged from solid, square-section brass of high

quality. They were beautifully engineered for their purpose--deep at

the fulcrum, and flattened out at the upper end to an uncompromisingly

rounded finger touch. A factor contributing to the stability of these

and other early clarinet keys was the use, from the beginning, of thick

brass wire for the fulcrum pins. They were usually bent into a loop

at one end for their easy removal (Appendix A, Ex. 6).3 When there-storer first examined the five-keyed clarinet, felt pads were found on

two of the keys (Appendix A, Ex. 15).

The Mouthpiece

The early boxwood or ebony mouthpiece was small and quite point-

ed, with a very narrow, tapered aperture and a long lay. The reed was

correspondingly small, narrow and hard. It was generally tied on with

string, as is still the practice in Germany.4 Early mouthpiece design

can be very misleading, since almost any mouthpiece can be made to work,

somehow or other, with almost any instrument. Based on the writer's

observations, it is rare to have a mouthpiece that was probably in use

with its original instrument.

3E:ric Halfpenny, "Early English Clarinets," The Galpin Society Journal, XVIII (March 1965), PP 50-51.

4Anthony Baines, Woodwind Instruments and their History (London: Faber and Faber Limited, 1957), p. 300. -

13

The Reed ---

The early clarinet reed was intended to be tied on with cord,

For that reason, many early mouthpieces had shallow grooves turned just below the slot in the table, Unlike modern reeds, which extend nearly

the entire length of the mouthpiece, early reeds were fitted to a table

that was recessed at the level of the lowest groove (Appendix A, Ex. ?). This limited the total length of the reed, which was cut to fit a par-

ticular mouthpiece recess,5

Eric Halfpenny offers further valuable information on reed

design:

So far as I am aware, no contemporary reeds survive in a fit enough state to give any clear idea of the scrape favoured by the original players. Lays appear to be on the whole rather heavy, which is perhaps understandable since the small reed is expected to drive the instrument at its lowest frequencies. Experiment suggests that the scrape should be flat and sgallow but that the tip should be heavier than the modern norm,

One of the earliest descriptions of the clarinet reed is in

Backofen's tutor of 180), In it, he describes how some clarinetists thinned the reed down towards the tip and others made the reed of

equal thickness directly to the tip.? Muller, writing later (ca. 1825), says that it is wrong to believe that a fine tone comes from a reed that is almost equally thick all along. It makes the pianos

risky, and the high notes piercing. On account of the difficulty of

5Halfpenny, P 46.

6Ibid,, PP 46-4?.

?Baines, p, )00,

bl~wing such a reed, the mouthpiece-lay has to be very close. It is

much better to thin the reed down towards the tip. This will enable

14

a more open lay to be used, making for more expressive playing, finer 8

nuances, and the taking of less breath.

CHAP'IER III

HISTORICAL DEVELOPMENT

Early Tutors and Important Makers

With many musical instruments, it is difficult, if not impossible,

to pinpoint their date of inception and the individuals directly in-

volved. This problem is not so great with the five-keyed clarinet.

As stated above, Barthold Fritz is credited with being one of the

first to add two keys to the three-keyed clarinet around 1750. The

earliest known surviving five-keyed clarinet is housed within the col-

lection of the Keighley Museum. It was built by Thomas Collier of Lon-

don and is actually dated 1770.1

Even before this date, clarinets were available far purchase in

England. During the mid-1750's, such provincial centers as Bath and

Oxford sold English-made instruments.2 According to Carse, principal

tutors and important makers were now beginning to appear:

The five-keyed clarinet remained for some time the standard type; it was for this simple instrument that the following tutors were written:

c. 1780-82. Vanderhagen (Paris). c. 1800. Compleat Instructions (London).

1F. Geoffrey Rendall, The Clarinet: Some Notes upon its History and Construction (London: Ernest Benn Limited, 1954), p. 71; Eric Half-penny, "Early English Clarinets," The Galpin Society Journal, XVIII (March 1965), P 4).

~alfpenny, p. 4).

15

1803. 1811. 1813.

c. 1820.

Backofen (Leipzig). Fr~hlich (Bonn). Antolini (Milan). Clarinet Preceptor (London).

16

The list of makers would be a long one if every name which is found on a five-keyed clarinet were included. The following is a selection from many names which occur on instruments made between 1775 and 1825:

Astor (London) Goulding (London) Cramer (London) Metzler (London) Grenser (London) Embach (Adorf) Eisenbrant (Gottingen) Martin (Paris)

Baumann (Paris) Winnen (Paris) Amlingue (Paris) Rottenburgh (Brussels) Willems (Brussels) Raingo (Mons) Tuerlincks (Malines)3

From the above, the period 1770 to 1825 gives all indication of

being a time when five-keyed clarinets were manufactured and used. It

was also a time when the instrument was becoming recognized for both its

orchestral and soloistic qualities.

Use Within the Orchestra - -

While clarinet parts were becoming common during the last quarter

of the eighteenth-century, they were by no means universal. Parts oc-

cur in most of Mozart's operas, but in only a few of his later sympho-

nies. Haydn's last twelve symphonies contain them as well as operas by

Salieri, Bianchi, Piccinni, and Pa1siello. There was clearly some un-

certainty at first as to whether the clarinets were to be regarded as

additions to the already established group of woodwinds or as substi-

tutes for the oboes. Many composers wrote no oboe parts in the move-

3Adam Carse, Musical Wind Instruments (London: Macmillan and Company, 1939), P 156.

17

ments in which they included clarinets.4

Slowly, the "Classic" clarinet was making inroads into the many

parts of Europe and on the Continent. Rendall describes its ava1la-

bility in England:

It is not improbable that many of the early players were, if not Germans, of German extraction, converted oboists or double-handed players By 1790 probably many provincial towns could pro-duce a local player to support the imported London musician. A London directory of 1794 supplies some statistics of the numbers of wind-players at that date. Clarinets number 26, bassoons 49, flutes 20, oboes 36, serpents 5, and horns 36.5

It was in Mannheim, Germany, that the possibilities of the clar-

inet as an expressive instrument were first realized. By the 1750's,

the Elector's orchestra, under Johann Stamitz, had acquired an immense

reputation for sensitivity and refinement. The Mannheimers did not,

as is speculated, invent the crescendo and diminuendo, for which they

were famed. They did, though, carry gradation of tone and expression

to a degree undreamed of before. The early clarinet was an excellent

instrument for such purposes. Many clarinetists could control dynamic

levels to the point of overshadowing the many imperfections of the

instrument.6

The Mannheim orchestra was particularly distinguished, being

unanimously considered the finest in Europe. It had greater depth in

4Adam Carse, "The Clarinet in the Eighteenth Century," The Sackbut, II (October 1921), p. 20

.5aendall, p. 78. 6 Ibid., P 79.

18

all sections, especially the winds, than was customary. It was here

that Mozart first became acquainted with the clarinet as an orchestral

instrument. "Oh, if we only had clarinetti!" he writes (December 3, 1778). "You cannot think what a splendid effect a symphony makes with flutes, oboes, and clarinets."?

Originally the clarinet was, as the name shows, closely allied

to the trumpet; the soft tones of which, skillfully applied, were al-

most identical to the clarinet. In older scores--even some of Mozart's--

the clarinets were sometimes placed with the brass instruments. Slowly

they were transferred to the woodwinds and finally u~ed independently.8

Early Performers

Two of the first great clarinet virtuosi to perform on the five-

keyed clarinet were Joseph Beer (1744-1811) and Franz Tausch (1762-1817).9 Joseph Beer (sometimes known as Baer) was born in Bohemia. He spent much of his prime in Paris as a clarinetist to the Duke of Orleans.

For him, Karl Stamitz (Johann's son) wrote the majority of his concertos between 1770 and 1784. In addition, Beer wrote a few concertos himself.

His particular importance lies in the use of the clarinet as a brilliant

solo instrument and the formation of a typically French school of playing.

7otto Jahn, Life of Mozart, 3 vols., translated from German by Pauline D. Townsend-rL0ndon: Novello, Ewer & Co., 1891), I, p. 378.

B:rbid.

9Pamela Weston, Clarinet Virtuosi of the Past (London: Robert Hale, 1971), PP 31, 44.

19

There is every evidence that Beer's style was vastly different than

that of Tausch. The latter put beauty, expression, and gradation of

tone first; Beer, we may infer, placed them a good second to brilliance

and facility. 10

' Another virtuoso was Jean Xavier Lefevre, the Parisian clari-

netist/composer who lived from 1763 to 1829. Prolific as a composer

of concertos, sonatas, trios, and duets for the instrument, he also

wrote the official clarinet tutor for the Paris Conservatory in 1802.

Lefevre is credited with being one of the first to add a sixth key

(df'kfl') to the five-keyed clarinet in 1791.11 Even before this date, though, F. de Castillon wrote about a clarinetist who passed through

Berlin in 1779 with a six-keyed clarinet on which he could play all 12

of the scales.

One of the greatest of all early clarinetists was the Austri~1

virtuoso Anton Stadler, for whom it is said that Mozart composed his

Clarinet Quintet (K. 581) and Concerto (K. 622). He was principally known for his beauty of tone and is said to have performed the Mozart

Clarinet Concerto on a slightly modified version of the five-keyed

clarinet.13

1 ~endall, P 80 11 oskar Kroll, The Clarinet (New York: Taplinger Publishing Co.,

1968), P 22. -12Heinz Becker, "Die europS.ische Klarinette. I Allgemeine Ges-

chichte." Musik in Geschichte und Gegenwart, VII (1958), p. 1010. 13weston, P 51.

20

The Five-Keyed Clarinet in Concert

During the summer of 1975, the writer had the unusual opportunity

of giving concerts and lectures at European museums in Germany and Hol-

land. Original clarinet sonatas, dating from the time of the five-keyed

clarinet, were performed. Dowell Multer, Head of Keyboards at the State

University College, Brockport, New York, assisted.

The above concerts were made possible through the help of Clemens

von Gleich, Head of Musical Instruments at the Haags Gemeentemuseum and

Christian Vaterlein, Assistant Curator of Musical Instruments at the

Stuttgart WUrttembergisches Landesmuseum. Programs of the concerts and

a review by the Stuttgarter Nachrichten are shown in Plate 3 on pages

21-22, Plate 4 on pages 23-24 1 and Plate 5 on page 25. At both events,

the writer's five-keyed clarinet was used. For the Gemeentemuseum con-/ /

cert, a Sebastien Erard pianoforte served as the accompanying instrument.

It was built in 1808 for Queen Juliana, wife of Louis Bonaparte. At the Stuttgart Landesmuseum concert, a Johann Andreas Stein fartepiano, dated

1778, was used.

At the completion of the above, the writer was permitted to make

tape recordings with historic European keyboards for inclusion in this

dissertation. Research Specialist Schaeffer at the Frankfurt (am Main) City University Library; Fritz Thomas, Chief Restorer at the Deutsches

Museum, Munich; and, Vaterlein, assisted with the tapings. These gen-

tlemen devoted much time and effort to the author's project; in many in-stances, arranging for the recording equipment, keyboard preparation,

I :i

\1 v

Haegs Gmeentemueeum, Muziekefdeling - Stadhouderslaen 41 ---------------------------------------------------------

Muziek op historische instrumenten

13 juli 1975, om 15.00 uur

Muziek voor klerinet en hamerklevier rand 1600 door:

David Glick klarinet

Dowell Multer hamerklevier

(Dit programma is tevens bewijs van toegangl

. ' ' ~ l

\.

- 2 -

P r o g r a m m a

Xavier Lef~vre (1763-1629)

Johann Wanhal (1767 - 1613)

Samuel Friedrich Heine (1764-1821 J

Senate nr. 5 voor klarinet Allegro ma non troppo Adagio Rondo Pastorale

Senate in Bes gr. voor klerinet en hamerklavier Allegro moderato Adagio cantabile Rondo allegretto

Sonata voor klarinet en hamerklavier Allegro Andante Rondo

X ~

nq rn C) (1)

= (1) (1) ::i c+ (1)

~ rn (1) c = .

1-3 ::r (1)

X PI ~ (1) .

z (1) c+ ::r (1) li

~ PI ::i p..-rn .

~ ~ 1...,.)

~ 0 ~ PI = 0 1-iJ PI y c ~

.......

1...,.)

.....

'\0 .....,

1...1'1

0 0 ::i 0 (1) li c+

PI c+

c+ ::r (1)

'j'

1\)

-

I

I,)

'. l:

,, \',!' ,,

.,.

" ---

~ - --

- 3 -

o e i n s t r u m a n t e n

Vleugel ven Erard Freres, Parijs 1808 Br~leen Koninklijk Paleis, Amsterdam De vleugel die bespeeld wordt, is een instrument dat op spe-cials bestelling van Lodewijk Napoleon in 1808 werd vervaardigd door de gebroeder Jean-Baptiste en Sebastien Erard te Parijs. Hun pianofabriek, opgaricht in 1777, 1as een van de bekendste ter wereld. Bij dit zeer fraai uit~evoerde empire-instrument vallen de bronzen medaillons en endere ornamenten op die aan de zijwanden, de drie paten en de pedaallier zijn eangebracht. Speciale eendacht trekt de uitvoering van de frontwand achter het toetsenbord. De ingelegde glasp~aat is voorzien van een rijke beschildering van de hand van Antoine Rascalon, die oak decoreties van diversa keizerlijke meubelstukken op zijn naam hoeft steen. De in goud uitgovoerde voorstellingen (griffioenen en plentmotievenl omlijsten het naambord Ererd Freres. De vleugel bezit vier pedalen en een kniehevel. Afgezien van het gabruikelijka dempings- en una corda-pedaal kunnen hicrdoor spe-cials luit-, pianissimo- en fagoteffecten worden gerealiseerd. Hoewel deze vleugel waarschijnlijk voor Hortense de Beauharn~is, de echtgenote van Lodewijk Napoleo~ is besteld, heeft zij er geen plezier meer van gehad. Teen hij werd efgeleverd had zij Nederland reeds verlaten. Hear instrument bleef vrijwel onge-bruikt echter in het Paleis op de Dam. Door restauretie is de vleugal thans weer bespeelbear geworden. Klarinet, Adorf ca. 1800 Hct instrument bezit vijf kleppen en werd rend 1800 in Adorf !Vogtlendl verveardigd.

- 4 -

U i t v o a r e n d e n

David Glick

Bij het internationael muziekconcours 1973 in Munchen ontving Oavid Glick de eerste prijs voor klarinet, Dok als musicoloog heeft Glick bekendheid weten te verwerven. Het thema voor zijn proefschrift is de historische ontwikke-ling van de klerinet.

Dr. Dowell Multer

Dowell Multer is leraar voor piano aan het State University College in Brockport (V.S.l. Zijn speciale interesse op het gebied van de muziekweten-schap gaat uit near de pedelen bij het hemerklavier en de piano in de 19e eeuw.

~ \,_.) .--..

0 0 ::s c+ t-J ::s s::: (1) p..

..........

~~'

I'

if. I o

I I,

i ~~ I

N N

.,,

I, tl

~.

.~. -~ ---h----.. ------ ------- -

,;

Wiirttembergischcs LandtsmusPum Stuttgart Altes Schloll

MUSJK AUF HISTORJSCI!F.N INSTRUMENTEN

20 .. Ju I i 1975

II Uhr

Musik auf Klarinctte unci HammPrklavier um 1800

David Glick Dowell Multer

Klarinettc Hammerklavier

Dieses Programm herechtigt zum Eintritt.

: ~ '

f" \,

~-------------

-r- ---- ---~-- .. . .. ~ , - '""~..,.,w~ ~ "l"' I I

P r og r a m m

Xavier Lcf~vre (1763 - 1829)

.Johann W;mhal (1767- 1813)

Samuel Friedncl} Heine (1764- 1821)

- . -lo.,..

5. Sonate fiir Klarinette

Allegro rna non troppo Adaf:iO Rondo Pastorale

Sonate fiir Klarinette und Hamnll'rklavier

AIIPgro moderato Adagio cantabile Rondo allegretto

Sonatl' fiir Klarinette und Hammelklavier

Allegro Andante Rondo

--~- _.............._ _____ _

1

1 t

:c ~ ~= c+ ~ c+

~-~--;-:.;_'!-.,.._.-~.~--- --:::-...

-----------... --...... ---'--------...... ____ _

Instrument

Hammerflti~:cl, Inv. -Nr. 4.185

Der Hammerf!U~cl hedeutet tinc WPitcrentwicldung dC's Cembalos. F.r wurdc Pl''-'imals 1709 von Cristofori in Florenz konstruicssert. Diese "Deutsche" oder "\\'itncr 1\lerhanik" i>chcrrschte den Pianufortebnu in Deutschlancl his zur Mitte cfps 19. Jahrhunderts. in Wiln sogar bis ins frlihe 20 .. Jahr-hundett, und ist rlamit in .qr in Augsi>ur~: t:itig;, wo Mr;zart hei seinem Bcsuch .1777 seinP Instrunwntc kenr11'n und au11erordentliclt seh:itzf'n lr:rntc. :"~itch seincm Tocle \"vrlr gt(' scinr, Tochter Nannette (:cr-heiratet mit dem Pianisten Strf.'ichcr. und Schillers) 1793 die Firma Sl

PLATE 5 Review by the Stuttgarter Nachrichten of a July 20, 1975 Stuttgart Concert.

Empfindsames auf alten lnstrumenten

Auch wihrend der Sommerferienzeit er-freuen sich die Sonntagvormittagskonzerte im Alten SchloB gro.Ber Beliebtheit. Mu-sikexperten, Liebhaber und vor allem viele Touristen. Besucher .:les Wiirttem-bergischen Landesmuseums, fanden sich in der Musikinstrumentenabteilung ein. Ein Hammerfliigel, von Jean Andre Stein in Augsburl 1778 konstruiert, und eine Kla-rinetta mit fUnf Klappen aus Adorf im Vogtland vom Jahre 1800 wurden gegen-

~hrichten

stindlic:be Zeugniue vergangener Zeiten. DowP.Jl Multer von der Universitit Brodl-port (USA), mit einer Studentengruppe auf Studienfahrt in Europa, spielte auf dem Hammerklavier, David Glick begleitete ihn auf der K.larinette. Die Werke, zwei Kla-rinettensonaten aus der Beethovenzeit mit gediegen kantablen Melodien, vermittelten das Fluidum der empfindsamen Musik-epoche und erinnerteo an bekannte Vor-bilder zwischen Dittersdorf und Weber. Die Komponistennamen, so gut wie un-bekannt: Samuel Friedrich Heine aus Sachsen und Johann Wanhal aus Bohmen. Interessant: Die belden Klarinettensona-ten, die zur Auffilhrung kamen, liegen im Druck, von amerikanischen Editoren nach. 1946 verlegt, vor. Tedmische Auffiihrungs-probleme wurden zu :aeginn von den Aus-fi.ihrenden diskutiert, lier Fliigel stand in der historischen alten Stimmung, also einen Halbton zu tief; di!Sbalb mW3te tran-

sonil~rt werden. Die natiirlicbe, aufgelok-kertP. ~ ameribDtsche Art der Prii-sentation wurde vom Publikum gefeiert.

ArnoFuchs

EXPRESSION ON OLD INSTRUMENTS

\

l l I

' , ~

I During summer vacation the Sunday morning concerts in the Old Castle enjoy great popularity. Music experts, lovers and above all many

" tourists, visitors to the Wurttemberg State Museum, find themselves

25

in the Musical Instrument Department. A grand piano, constructed by Jean Andre Stein in Augsburg in 1778, and a clarinet with five keys, built in 1800 in Adorf in Vogtland, became the objective witnesses of past times. Dowell Multer, from the University of Brockport (USA) on a study trip to Europe with a student group, played the piano, David Glick accompanied him on the clarinet. The works, two clarinet sona-tas from Beethoven's time with pure cantabile melodies, transmitted the atmosphere of the sensitive [empf'ind.samen] era and brought to mind well-known model-composers between Dittersdorf and Weber. The com-posers' names, almost unknownz Samuel Friedrich Heine of Saxony and Johann Wanhal of Bohemia. Interestingz both of the clarinet sonatas, which were performed, were presented in the press by American editors after 1946. Technical performance problems were discussed by the per-formers; the piano was in the historical old tones, thus a half-tone too low; therefore, the pieces had to be transposed. The natural, loose, typically American kind of presentation was enjoyed by the public.

Arno Fuchs

26

and taping sessions before and after museum hours. The following Key-

boards were used: 1) A Grand Pianoforte built by John Broadwood of London and owned by Felix Mendelssohn. It is dated 1820 and housed

at the City University Library of Frankfurt (am Main), Germany. 2) A Tangentenflugel (Tangent Grand Piano) built by Frederic Schmahl of Regensberg, Germany. It dates ca. 1800 and is housed within the col-

lection of the Deutsches Museum, Munich, Germany. 3) A Grand Forte-piano built by A. Ziegler of Regensberg, Germany. It dates ca. 1800

and is housed at the Deutsches Museum. 4) A Single Manual Italian Harpsichord built by F.rancisci Patari from the Dukedom of Ongaro. It

dates 1506 and is housed at the Deutsches Museum. 5) A Grand Forte-piano built by Johann Andreas Stein of Augsburg, Germany. It is dated

" 1778 and housed within the collection of the Wurttembergisches Landes-

museum, Stuttgart, Germany.

The above instruments were adjusted and tuned as well as their condition allowed. Photographs of the keyboards and a detailed analy-

sis, prepared by Multer, is included (Appendix D) plus a tape record-ing of the author and excerpts of the literature performed (Appendix c).

CHAPTER IV

I

SOME ASPECTS OF PERFORMANCE ON THE FIVE-KEYED CLARINET

Acoustical Problems

Clarinet literature written during the last quarter of the

eighteenth through first quarter of the nineteenth-century can be

successfully performed on modern instruments. It is principally

through the work of scholars and concerned publishers that much of

the music is now easily obtainable.

To many musical societies and organizations, a return to this

literature in a modern context is not enough. These groups contin-

ually create and support the necessary conditions for a return to

earlier music on original instruments or accurate copies of the period.

In this chapter, the writer will offer some suggestions rela-

tive to performance on the "Classic" clarinet and its connection with

ca. 1800 keyboard instruments. It must be kept in mind that many of

the following comments are of a highly subjective nature. Probably the greatest challenge on any early instrument is that

of intonation. An exceptional amount of effort is required to control

its many variations. While different opinions exist regarding early

clarinets, one point remains a fact: by our modern standards, these

instruments had poor intonation in the low (chalumeau) register and were generally acceptable in the middle and high registers. Quality tone and expressive playing was possible and could be pleasing when

27

28

done well.

Not every critic or musician had the opportunity of hearing out-

standing clarinetists. In many instances, quality and standards greatly

varied. An anonymous author {said to have been c. L. Junker), in his Musikalischer Almanach of 1783 wrote of a clarinet player named Wagner

and his instrument as follows: "Playing this instrument, which can sound

so softly and sweetly, is beset with difficulties which if not overcome

can result in the most indescribable coos and squeaks!" According to

Burney {1772), pure intonation was not to be expected from the wind in-struments of the 18th century: "I know it is natural to those instruments

to be out of tune."1

Tuning problems seem to occur with the greatest frequency in the

low register of the "Classic" clarinet. Here, the available number of

cross-fingerings and ability to manipulate pitch is limited. Pitch

problems are generally much more manageable in the middle and upper reg-

ister where more than one fingering is usually possible for a given note.

Lef~vre described, in 1802, the following tones on his six-keyed clarinet as impure: b too high, natural too low, #' too high, b' too

../If ....H' high, too low, f too high, ~ too high, and~ too high. Al thOUf'h his instrument had six keys, its design was basically that of the five-

keyed clarinet.2 Even the great Anton Stadler complained about diffi-

1Adam Carse, Musical Wind Instruments {London: Macmillan and Company, 1939), P 157. ----

2Heinz Becker, "Die europS.ische Klarinette. I Allgemeine Ges-chichte." Musik in Geschichte und Gegenwart, VII {1958), p. 1010.

29

cult and awkward passages to Mozart. To this, Mozart replied: "Have

you the notes on your instrument? To be sure they are on it. Provided

they exist it is your concern to produce them.") For the,performer on early clarinets, a careful analysis of

pitch inconsistencies is a crucial step in achieving quality perfor-

mance. A close examination and comparison of the Conn Clarinet Test

for the five-keyed and modern clarinet, shown in Plate 6 on page 30

and Plate 7 on page 31, plus the Intonation Chart, shown in Plate 8

on page 32, will hopefully assist. The above tuning problems experi-enced by Lef~vre were found to be nearly identical to those on the

' writer's five-keyed clarinet. The only difference was on the ~

' Lefevre found this pitch to be flat, while the writer found it to be

in-tune. A further examination of the Intonation Chart in Plate 8

shows that pitch variations generally follow a similar pattern for

the modern and "Classic" clarinet, with the five-keyed instrument

obviously deviating to the greatest degree from the norm.

Careful reed adjustment is one of the methods by which quality in-tonation can be achieved. It is critical in mastering the "Classic"

clarinet and developing its distinctive tone quality. Reeds must be

hand-fashioned and follow the exact contour and size of the earlier

mouthpieces. They should also be sufficiently flexible for the nee-

essary pitch adjustments on the problem notes.

3P.amela Weston, Clarinet Virtuosi of the Past (London: Robert Hale, 1971), P 51.

U(S __ WEJ.c.: FW 5 iW . . . ~ - . ---

a . l = .a ~!.. - -- .!' ....... ____

PLATE 6. Intonation Profile of Five-Keyed Clarinet.

CLARINET TEST C. G. Conn, Ltd.

.,hke Boxwood Clarinet Model 5-Keyed, ca. 1800 Serial Number Date1~ctl6Time 3130

Test 1 r,::.;:..;:.;,=~~===-~ Test 2 ~:...:,..;;~"-!.~!~~~ Test 3 ~""'-.....,.."'"""'"-'-__._~

Temperature 72 Degrees Hum1dity 53 % Loudness Approximate M. F. Chromatic Stroboscope ~ Observer Lynn Krenzer Mouthpiece CoPY of Original Barrel 61 rnm with 2-b.m iHr Remarks: Miss Lynn Krenzer, a senior in the Rush-Henrietta Schoo District, assisted in the above tests.

The performer did not ob-serve the Stroboconn Scan-ning Unit during the testa.

Pitches not tested were not on the instrument or could not be produced by the per-former,

Measurements

Mus1c1an David A. Glick No M

2 liioco,.,ooo 1 -1-=-1 -+-~..;lii;.:o;..;;.o o:-...;;o..:o..:o-~1 ~ -

3 illlo oo.5:lo oo 1 ~-4 iiooo ooo 1 1 :!> eo oo o oo ? e 7

8

10

II

0 00 00 ~

000 I ,

3 .. .. DCI' I

3 ..1 ~w 1

3 ..J ~ I

12~~t7 .1 3 .l

'!ll 14~~~4 . 22 .. 1 t..U.

0 ... 0 OOJil !I ~ 1!1~~. 3 'IIi

~w 0 e 0 OOJil :!> \U..

18 .-. ~ 3 -~-w I

0 0 0 HJ :!> til 17 .-.. 3 .....-;

- "00' I o ~FR :!> U 18~, 3 ~

-oo I 0 OOfR :!> U

10 ~ 3 -vt I

o om ~ tL zo- 3 ,..

yotf I _,.

21 --- 3

CENTS Avr RtdRta

1+2 f+-15 +1t 1+40

l 50 +SC 'iO f+-11 +2ff+-10 +10

f+-1 c; +2' 24 +21 F' !+-SO +5C !+-50

+1S

B ~.+~~0 +1? E 1 0 1 0

IB E

E IB E

I e 1+46 +'iCf+-'iO +45

F'\ LFll.9 l'!. 1.1 o ~ 0 t!}_2 +2 tt")O

F' F' 1-9 -12 10 I~ f+-24 +1 5ft24

+ti 1+45 +30 -10 +22

l C. 16 +2Cft24 +20 0\

... ~+4 -2 -'i "\ 10 -~ 1'5

... B 13 -1 18 ~ -JL +~ '{!_ F' ~ 24 +21 2.5

E 11 +11 12 Itt ... l 2} +2 11-25 ID\ 0 +2 2

l'r. I GIJ fl-2 +4 1+4 l D ftq +1 11-1 IT' c lt-21 +2 lt-20

I~ ~12 +CJ lt-12

1m F' 11 -9 12 t- B ro -1 7 tTn E..-Jtl -;;:;~

-1 -33 -1 +J~ +2 1+4' +2L +1 +2 +1 +3 +10 +21 11 +11 -3 -11 -7 -2

s CIJ ... ~

5 ltu .as .!e I". Jlli--- ... llfb!2 - - sa PIIJ e - 1-

PLATE 7. Intonation Profile of Buffet Bb Clarinet,

,... I

CLARJNtT TEST C. G. Conn, Ltd.

Wake Buffet Model R. c. Serial Number 15605 Daft1l/2Q?l1ime 1t oo P.M.

Test 1 Test 2 t-=-:...L::~"-7"~::.::...~~ Test 3 1-""~~"-7"-=..L.~~

Temperature 72 Degrees Hum1dity 52 % Loudness Approximate M,F. Chromatic Stroboscope 2490 Observer Lynn Krenzer Mouthpiece 7-P Large Bore Barrel 64 ITIITI Remarks:

Pitches not tested were not on the instrument or could not be produced by the per-former.

Measurements Musician David A, Glick No.-----

M COlTS AvE RtL Rta 2 liiio oo.,..ooo 1 -I Rliiio 00 000 I ~ -

.. l~~iiiO;_;O::;.:O:;:_M!J.;.0..:::0.;.0-.,:1~ ~-~4~~iiio-o~o~~o~o~o--~1~ 1 ~~~~eo~o~o~o~o~o~~~~~f ~~~~0;..:0~0::....~0..:::0~0--~1~ ,

7 e 00 000 I .-oo

I

I

10

3 W I

10 o eom ! ~

L..c.- ---21 ""Df1 I

a. -101-10-9 ~ -1 1-1 -1 BHt-1 1 1+1

+2 I+ 44 +iol+9 1+10 +2 ~2 +2

c l+o ~11 +O

B +101+11 12 IE. +101+0 +O '9 +121+10 10 E +26 +24 +26

"B .:ro ;;a- ;:n E -16 20 1 'i 9 1+1 +4 2 E 0 +1 1

E~o~-+?

c . ? .A _r, r-.;~12 141+12

It 0~!+:1 ~ f - - -

r. 8 2 2 [Mil-lO 1011-il F'\0 1 0 r. a,. 1 r'i lt-'i

IDa 10 11 10

11 ~ 1 +6 I +6 lei 11 +O +11

m. f(l. 'i + + 1 0 .. 1+8 + + rr. c +~ +2 44 ft\~ 1+2 f-:+4

rm r -10-8 -8 ~ e .. -1 -1 -1 m. E:.l-10 -8 -o

-10 -1

0

+7

+10 +2

I..J.J.

+11 +0 +11

+2~ -10 -1 +2

0

l ... i

+1 +2

+1~

0 +6 +

... ,,

f !;:" c+ .... g !; () !J It * :?

~ ~ '! ,_.

'< c+ II

t OJ

~ Cl 0

i 1-'-(/) 0 ::s

0 H) c+ :::r (l) H ::s c+ 0 ::s Ill c+ 1-'-0 ::s 0 H)

'i 0 Cl .....

~ 1-'-::s (l) c+ (/)

. ' ...

l:l

I~ I

i '

' i 1,, i

~ N

33

Whatever fingering chart is used, whether from a source book

or early tutor, it should serve only as a guide. Since there was no

standardization in early 1800 clarinet design, suggested fingerings

may not necessarily be the best. This is especially true for the upper-

middle and upper register. Experimentation with a Stroboconn Tuning

Unit or similar device will help the performer arrive at his/her own

set of fingerings.

While five-keyed clarinets vary, their mouthpieces do so to an

even greater degree. Many craftsmen built mouthpieces to meet the

specifications of a particular instrument, performer, or ensemble. It

is essential, therefore, that the player respect the mouthpiece dimen-

sions when making the reed. Without this consideration, the distinc-

tive tone quality of the instrument will, most likely, not be realized.

The following can be expected from an original five-keyed clarinet in

playing condition:

The tone should speak easily and clearly in the middle and upper

register. There will be some lack of clarity, or definition, in the b #' low register. This will be most noticeable on the ~ ~ E , E ,

b' ..JI' ~ , and e;, After about one month of practice, the characteristic

sound of the instrument will begin to develop. As compared to the mod-

ern clarinet, the tone will be quite "reedy" and penetrating. The low-

est tones of the five-keyed clarinet will be virtually indistinguish-

able from those on the modern instrument. The middle and upper regis-

ter will be light in texture, quite compact, and brilliant.

The small finger holes and absence of rings necessitate a

quick, accurate finger motion for developing technical proficiency.

Legato playing and phrasing, as it is generally known, is impossible

on the five-keyed clarinet. If the finger motion is not rapid and

precise, the notes will not speak.

Thumb-rests were not common on clarinets during the early nine-

teenth century. The performer may wish to carve one out of cork or a

similar material and glue it on to the instrument. If this method is

used, it can be easily removed at a later date.

Regardless of the type of embouchure used with the five-keyed

clarinet, it must remain relaxed but supported. There should be no

excessive lip or teeth pressure on the reed or mouthpiece. It may be

necessary to place more of the mouthpiece tip into the mouth when blow-

ing. This seems to improve the intonation and make for a smoother

connection between the different registers.

Composers generally wrote for the "Classic" clarinet in keys

through two sharps and two flats. Obviously, technical and mechan-

ical limitations on the instrument were a restricting factor. It was

not until about the time of the thirteen-keyed clarinet, with its

more sophisticated key mechanism, that the clarinet could play flu-

ently in nearly every tonality. In many instances, earlier clarinet

parts are diatonic and stay within the middle and upper register.

Because of objectionable pitches, especially in the low register, composers tended to stay away f'rom chromatic writing. The sonata

35

excerpts (Appendix C) demonstrate how early clarinet parts are con-fined to the middle and upper register. This is generally true of

clarinet literature dating ca. 1800.

The question as to whether early clarinets were meant to be

played in mean-tone temperament, equal temperament, or both, cannot

be definitely answered. It is well-known that the mean-tone system

existed well into the nineteenth-century throughout Europe and England,

and that it was well-adapted to simple keys, limited chromaticism, and

simple modulations. In discussing the above with several museum

curators who specialize in early instruments, no definite answers

were given. It seems that, under the best of circumstances, the

"Classic" clarinet can be made to play in both temperaments. If the

reed is properly adjusted and made flexible, one's ability to manip-ulate the many problem and out-of-tune notes is far greater than on

the modern clarinet.

It is obvious that performers experienced difficulties with

early clarinets. During the first quarter of the nineteenth-century,

improvements began appearing in instrument design. Although these

technical advancements were generally for the better, the commission

at the Paris Conservatory refused, in 1812, the more sophisticated in-

struments because they did not want to miss the "different character

of the tones" of the clarinets then in use. The commission consisted , ' 4 of Mehul, Cherubini, Gossec, Sarretti, Catel, Lefevre, and Duvernay.

4 Becker, p. 1010-1011.

36

That men of such stature would insist on the use of five-and-six-

keyed clarinets, instead of the more advanced models, may give some

indication of the uniqueness and charm of the early "Classic" clarinet.

Use With Period Pianos

When the five-keyed clarinet is accompanied by period instru-

ments, its most desirable qualities can be genuinely appreciated.

This'is particularly true in the case of early pianos. Throughout

Europe and America, many museums and private collections own excellent

examples or fine copies of period keyboard instruments. In many in-

stances, they are restored to their original playing condition and

are accessible for some type of limited use.

If the modern piano is the only available instrument to ac-

company the five-keyed clarinet, it is best not to perform at all.

Regardless of the experience of pianist and clarinetist, the sound

of the "Classic" clarinet will generally be very dry, lifeless, and

brittle. The tone will seem dead, constricted, and small. The abil-

ity to project the sound will also be nearly impossible. When music for the "Classic" clarinet is performed with period

instruments, the result is generally quite different. This is partic-

ularly noticeable if English grand pianofortes, Viennese (German) fortepianos, or harpsichords are used.

On the English grand pianoforte, the middle and upper registers are

quite weak as compared to those of the modern piano. This, however, blends

extremely well with the five-keyed clarinet. Neither instrument

really "sings" in the treble register, but when combined, they both

seem to sing. This is probably why the "Classic" clarinet comes

across as dull and lifeless when accompanied by the modern piano.

Long after the clarinet attack has been heard and lost, the tone

on the modern piano persists. Since the pianoforte's tone ceases

soon after sounding, this problem does not exist. Also, the out-

of-tuneness usually experienced on the five-keyed clarinet is not

nearly as obvious with earlier pianos.

Both the English grand pianoforte and Viennese fortepiano

have a certain clarity and roundness of tone that enhances the sound

of the five-keyed clarinet. This sound quality exists, to a large

degree, because of their peculiar actions.

37

In the Viennese action, the hammer is mounted upon the key

itself and swings in a nearly perfect arc striking the strings with

a glancing blow. The pianoforte (English) hammer, which is mounted on a separate rail, delivers a less circular blow than the Viennese

action. This directness is responsible for the more sudden accentu-

ation of the English pianoforte. Also, on the Viennese fortepiano,

the lowest two octaves (usually FF - f) are universally noted for their "reedy," bassoon-like dryness and penetration. This tone qual-

ity is a perfect match for the low-register nasality of the five-

keyed clarinet.

38

Like historic pianos, the harpsichord makes for an excellent

accompanying instrument. In many instances, a plucked string tends

to sing longer than a struck one, This is because the plucking ele-

ment does not exert a partial damping effect upon the string, as in

the case of the piano hammer. A plucked sound has a directness of

attack not heard on the piano. This type of attack is characteristic

of the five-keyed clarinet, The bass of the harpsichord is also

"reedy," like the fortepiano, Here again, the qualities of reediness

and nasality make for an excellent blend,

Early clarinets can be played very softly. Historic pianos

can accurately match this softness to dynamic levels of ]QEE! This is achieved by two different techniques,

Viennese fortepianos often have a stop called pianozug which

inserts a strip of soft leather or felt between the hammers and strings.

Hammers hitting soft leather/felt create a very soft, muted effect.

English pianofortes often have true una corda (hammers striking one string) and due corde (hammers striking two strings) foot pedals that shift the action and create a lovely, ethereal sound which blends beau-

tifully with the softest tones on the early clarinet, Even though the

two instruments are different in timbre, the softness of one tends to

sympathize with the softness of the other,

Live performance on any earlier instrument is difficult under

the best of circumstances. A major problem for the schooled musician

39

is to eradicate the many prejudices and misconceptions associated with these instruments. To compare the merits of the "Classic" clarinet

with its modern counterpart is unfair and unrealistic. The serious

performer/educator must make an effort to understand and appreciate

the five-keyed clarinet on its own merits if quality performance is

to be realized. It is the writer's hope that the ideas discussed in

this chapter will assist those interested in performance on earlier

clarinets; specifically, five-keyed instruments.

CHAP'IER V

CONCLUSIONS

The five-keyed clarinet enjoyed widespread use for approximately fifty years. During the last quarter of the eighteenth through the

first quarter of the nineteenth-century, it was available in many parts

of Europe, England, North America and even China.

Certain woodwind craftsmen manufactured the "Classic" clarinet

as late as the mid-nineteenth century. This was probably due to the

fact that many performers were reluctant to change to the newer models,

being quite content with their five-keyed instruments.

The very early clarinets of two, three, and four keys were crude

by our modern standards. Far from popular, they contained numerous tech-

nical problems in design. It was not until the introduction of the five-

keyed clarinet, with its relatively high degree of sophistication, that

the clarinet secured a position of importance in the orchestra and as a

solo instrument. This first took place in Mannheim and continued through-

out Europe and England.

With the increasing popularity of the five-keyed clarinet, con-

certos, sonatas, and chamber works began to appear. Also, touring clar-

inet virtuosi performed in England and Europe.

The "Classic" clarinet remained the standard instrument for some

time. Several important tutors were written for it and craftsmen began

to manufacture the instrument in large numbers. It had poor intonation

40

41

in the low register and was generally acceptable in the middle and high

registers. Two of the reasons usually given for its long popularity was

the charm of its tone quality and the different character of its pitches;

characteristics not found on the later, more complex, models.

While the five-keyed clarinet has received extensive literary at-

tention in the past, little has been written concerning the problems of

preservation and restoration. Very few of the specimens that exist in

museums and private collections are restored to their original playing

condition. This is a very important point, for the writer believes that

to obtain a comprehensive understanding of the five-keyed clarinet one

must perform on the instrument. Proper restoration is essential in

achieving this. Without it, any attempt at quality performance will,

most likely, be futile.

In the course of the writer's research, several authorities have

alluded to the widespread availability of five-keyed clarinets in both

museums and private collections. While the writer has seen excellent

examples of this historically important instrument, its accessibility

seems not to be as great as generally assumed.

During the last few years, the author had the unusual opportu-

nity of examining approximately three hundred early clarinets in private

and museum collections in Europe, England, and North America. From this

observation, it seems that much of the interest regarding early clari-

nets has been with the models of two, three, and four keys; also, the

later specimens of six through thirteen keys. Even within the depots

of some internationally known museum collections containing as many as

42

one hundred unrestored early clarinets, few five-keyed instruments were

available.

With the ever-increasing attention given to the performance of

early nineteenth-century literature on original instruments, it is the

author's hope that the five-keyed clarinet will not be neglected.

The value of live performance on original instruments can be far-

reaching for both performer and listener. Among some of the educational

values are: 1) Advancing the appreciation of a historically important musical instrument that has had minimal live exposure in the past. 2) Developing one of our vital artistic resources. Although early clari-

nets had their origin in Europe, many outstanding craftsmen were build-

ing five-keyed clarinets in early nineteenth-century America. 3) Dis-playing original literature written at the time of the five-keyed clari-

net. 4) Attempting to capture a feeling for the times. Up until now, much of the past interest has been in the direc-

tion of pre-Bach musical instruments and literature. It is the author's

hope that this dissertation will, in a small way, arouse the interest of

the performer, craftsman, historian, and music educator. The personal

rewards and knowledge gained through performance and examination of a

much neglected musical instrument of major historical significance can be of inestimable value.

Recommendations

Several recommendations are as follows: 1) Many museums contain excellent examples of early clarinets. Funds for restoration are some-

43

times limited, if not completely unavailable. On more than one occa-

sion, the writer has spoken with private collectors and museum curators

who would welcome qualified help with the restoration of their woodwinds,

2) Many instrument collectors share the author's interest in live per-formance on period instruments. In many cases, it is not difficult to

arrange for the purchase or use of an early clarinet. 3) Libraries in America, England, and Europe contain unpublished manuscripts of original

clarinet literature dating from the time of the five-keyed clarinet,

Many of these works are of high quality and would make an important con-

tribution to the clarinet repertory, 4) Performance on the early clari-net necessitates, among other things, making reeds by hand, an embouchure

adjustment, and a comprehensive understanding of the many problems asso-ciated with the instrument, One must, in the truest sense of the word,

learn to "play the instrument"; favoring the problem notes, and produc-

the distinctive sound of each clarinet, No two early clarinets play or

sound the same, Each has its own unique personality. The writer cannot

think of a better means by which performer/educators can broaden their

insights, and those of others, than by live performance on an original,

early clarinet; especially, the five-keyed instrument, 5) The detailed examination of existing teeth marks on the original clarinet mouthpiece

(Appendix A) by highly qualified dental surgeons can give some new in-sights into early performance techniques,

APPENDIX A

PHOTOGRAPHS OF THE FIVE-KEYED CLARINET BEFORE AND AFTER RESTORATION

PLUS AN ANALYSIS OF ITS ORIGinAL MOUTHPIECE

The following photographs are of both the five-keyed and modern

clarinet. Those of the five-keyed instrument date before and after res-

toration,

The negatives were processed by Frederick Koeng, Senior Research

Chemist at the Eastman Kodak Company. Kodak Plus-Xpan film and Poly-

contrast Rapid R. c. Kodabrom paper were used in the processing. Samuel

Montesanto, Head Printer for the Greece Central School System, screened

the photographs in a half-tone dot pattern. This was done to increase

the quality of image transfer for photocopying.

A detailed examination of the original clarinet mouthpiece was

prepared by three dental surgeons. They analyzed the existing teeth

marks (see above, Ex. 8) in an attempt to help clarify how the mouth-piece was actually used in performance.

44

PRACTICE LIMITED TO PERIODONTICS

FREDERICK .J. HALIK, D.D.S. AND .JOHN R. BILLEN. D.D.S .. P. C.

ALAN M. POLSON. D.D.S. 705 TEMPLE BUILDING

ROCHESTER, N.Y. 14604

(716) 4541494

Septcnbcr 7, l9?7

AN ANALYSIS OF AN ANTIQUE CLAR1NET MOUTHPIECE

The tooth marks evident in the mouthpiece are difficult of analysis because they represent a g1eat number of contacts rather than the typical problem o a single incisor mark.

The basic question to be acidressed is whether this mouthpiece was used in the traditional manner with the reed against the lower lip and top of the mouthpiece in contact with the upper teeth or whether it could have been played inversely, that is the lower teeth in contact with the side opposite the reed. In essence are the toothmarks upper or lower incisor teeth?

There are of all the n1arks evident, two basic sets: a group horizontally placed about 7 mm. from. the tip and what looks to be a single one about 15 mm. from the tip. Those closest to the t~p f'Cem divided into three segments each of which is about the width of the incisal edge of a mandibular tooth. These marks could be consir;tent with playing the instrument inverted. It is also likely that using the inverse method would require a shorter amount of the tip in the mouth.

There is a groove leading from the right side of thi.s grouping fading of to the tip which may not be related to the ma.d

FREDERICK .J. HALIK. D.D.S. AND .JOHN R. BILLEN. D.D.S .. P. C.

ALLAN M. POLSON. B. D. S .. M.S.

-2-

57

possibility that the instrument could be played wilh the teeth in contact with both sides of the nwuthpiece, that is in contact with the reed then that lateral toothmark can be explained by contact with the long later

APPENDIX B

CORRESPONDENCE FROM MUSICAL INSTRUMENT COLLECTORS

In the early spring of 1975, a questionnaire was sent to one

hundred North American musical instrument collectors and collections

in an attempt to locate five-keyed clarinets. The names were drawn

from a recently published survey.1 Data relating to the state of res-

toration, physical condition, and history of the instruments was re-

quested.

Of the one hundred institutions and individuals contacted, sixty-

eight responded. Thirty-five of the sixty-eight had five-keyed clarinets.

Many of the collectors said that they are planning on restor-

ing their instruments when funds and qualified individuals are avail-

able. Nearly all expressed an interest in the final results.

The author found it gratifying that busy and knowledgeable peo-

ple from many different walks of life would take the time to write de-

tailed and informative letters in response to his inquiries. The large

percentage of returns to the questionnaire is another indicator of the

very high level of interest in the subject of this dissertation. Many of the responses were sent within a few weeks, and no two

people replied in the same way. Certain private collectors volun-

1 ~ William Lichtenwanger, Chairman and Compiler, and others,

A suaa~ of Musical Instrument Collections in the United States and 'O"ana Ann Arbor, Michigan: Music Library Association, 1974]. -

58

teered much more information than was originally solicited. One

collector gave events in our American history that included his

specific clarinets.

The list of five-keyed instruments and their makers was nu-

merous and diverse. The following American clarinet makers appeared

on more than one occasion: Graves & Company, Winchester, New Hamp-

shire, 1849-1863; Asa Hopkins, Litchfield, Connecticut, 1779-1838;

Edward Riley, New York, 1814-1831; and, Wm. Whiteley, Uti