From the Clarinet D'Amour to the Contra Bass: A History of Large Size Clarinets, 1740-1860

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From the Clarinet d’Amour to the Contra Bass

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From the Clarinet d’Amour to the Contra Bass A History of Large Size Clarinets, 1740–1860

Albert R. Rice

1 2009

1 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With ofﬁces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam

Copyright © 2009 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Rice, Albert R. From the clarinet d’amour to the contra bass : a history of large size clarinets, 1740–1860 / Albert R. Rice. p. cm. Includes bibliographical references and index. ISBN 978-0-19-534328-1 1. Clarinette d’amour—History. 2. Alto clarinet—History. 3. Basset horn—History. 4. Bass clarinet—History. 5. Contrabass clarinet—History. I. Title. ML945.R525 2008 788.6'1909—dc22 2008004616

Additional illustrations are available online at www.oup.com/us/clarinetdamour

1 3 5 7 9 8 6 4 2 Printed in the United States of America on acid-free paper

To the memory of Sir Nicholas Shackleton and William Waterhouse; both were consummate collectors and superb scholars. To the members and activities of the American Musical Instrument Society and The Galpin Society.

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Acknowledgments

First and foremost i would like to acknowledge the continual help in editing, prodding, and acting as a sounding board from my lovely wife, Eleanor Montague. Without her patience, understanding, and intelligence, I could never have written this book. I am also very grateful to Lora Dunn and Norman Hirschy of Oxford University Press and the various editors who have been so patient with my correspondence and requests. Among the many researchers, enthusiasts, collectors, curators, and restorers who have helped me, I would like to thank ﬁrst Jean Jeltsch for sharing the fruits of his research on French basset horn makers and instruments, as well as various other kindnesses. His suggestions have always been very thoughtful and often provocative. Frédéric Courquin has been unfailing in sending much information and many photos of basset horns around the world. Jörn Öierstedt has contributed greatly concerning basset horn music and instruments in Scandinavia. Luigi Magistrelli has been very generous in sharing information about the basset horn repertory in Italy and recordings of basset horn music. The late Sir Nicholas Shackleton was an inspiration in many ways and very helpful to me over several years. The following players, researchers, makers, and collectors have also been helpful in sharing their knowledge: Christian Ahrens, Charles Aurand, Frank Bär, Tony Bingham, Kurt Birsak, Michael Bryant, Francesco Carreras, Stewart Carter, Phillipe Castejon, Nophachai Cholhitchanta, Jeremy Commons, Frédéric de La Grandville, Anthony DelDonna, Dietrich Demus, Günther Dullat, Michael Finkelman, Francis Firth, Stephen Fox, Thomas Grass, Martin Harlow, Herbert Heyde, Eric Hoeprich, Michael Hubbert, Kostas Kardamis, Thomas Kiefer, Marketta Kivimäki, James Kopp, Jirˇi Krejcˇí, Colin Lawson, Graham Melville-Mason, Janet Page, Ingrid Pearson, Robert Pickup, Melanie Piddocke, Harrison Powley, Thomas Reil, Gili Rinot, Gabriele Rossi-Rognoni, Xavier Sallaberry, Ernst Schlader, Robert Sebesta, Andreas Schöni, David Smith, Hans Rudolf Stalder, Gerhard Stradner, Denis Watel, the late William Waterhouse, Kelly White, Guntram Wolf, the late Phillip Young, Mickie Zekley, and Benoît Zimmermann. I would like to thank William Maynard for the generous gift of his

viii Acknowledgments research ﬁles of photos and letters concerning the clarinet d’amour and, for their support and encouragement, Jane Ellsworth and Deborah Reeves. I would like to thank the following for translations: Dominique Bocquet-Moir (French), Carol Pixton (French), Robert Adelson (French), Richard Scheirich (German), Freiderike Schwerin-Hall (German), Cecelia Cloughly (German), Elise Magistro (Italian), Jane Dobija (Polish), and Boris Korinman (Russian). Curators, restorers and museum personnel who have been very helpful include Robert Adelson (F-Nice), Frank Bär (D-Nürnberg), Silke Berdux (D-MünchenDM), Otto Biba (A-Wien-GM), Kurt Birsak (A-Salzburg), Leonora Brown (USNY-Castile), Douglas Copeley (US-NH-Concord), Christopher Dempsey (US-MI, Ann Arbor), Peter Donhauser (A-Wien-T), Joël Dugot (F-Paris), Géry Dumoulin (B-Bruxelles), Simon Egan (B-Bruxelles), Nicholas Eastop (S-Stockholm), Eszter Fontana (D-Leipzig), Heike Fricke (D-Berlin), Hans Olav Gorset (N-Oslo-N), Herbert Heyde (US-NY-New York), David Huntley (US-Il-Edwardsville), Gunther Joppig (D-München-S), Ignace de Keyser (B-Tervuren, formerly B-Bruxelles), Martin Kirnbauer (CH-Basel, formerly D-Nürnberg), Else Krüger, (D-Lübeck), Darcy Kuronen (US-MA-Boston), Andrew Lamb (GB-Oxford), Jeannine LambrechtsDouillez (formerly B-Antwerpen), André Larson (US-SD-Vermillion), Michael Latcham (NG-Den Haag), Tom Lerch (D-Berlin), Laurence Libin (formerly USNY-New York), Monica Lustig (D-Michaelstein), J. Kenneth Moore (US-NY-New York), Arnold Myers (GB-Edinburgh); Brenda Neece (US-NC-Durham), Hans Riben (S-Stockholm), Jean-Michel Roudier (F-Varzy), Gerhard Stradner (formerly A-Wien), Bradley Strauchen (GB-London-H), Stéphane Vandenberghe (B-Brugge), Bradley C. Wells (US-MA-Williamstown), and Elizabeth Wells (formerly GB-London-RCM). Several private collectors have been most helpful in allowing me access to their instruments or sending me photos and information. They include Charles Aurand (US-AZ-Tucson), Thomas Reil (D-Uhingen), Marlowe Sigal (US-MANewton Centre), David Smith (NZ), Rudolf Tutz (A-Innsbruck), and Denis Watel (F-Arnouville-Lès-Gonesse). Finally, librarians who have been especially helpful are the interlibrary loan staff of the Honnold Library of the Claremont Colleges; Peter Ward Jones of the Bodleian Library; John Roberts, former head of the University of California at Berkeley Music Library; Manuel Ervirti of the UC Berkeley Music Library; David McLachlan and Andra Patterson of the British Library; and Robert Sutherland, chief librarian, the Metropolitan Opera.

Contents

List of Illustrations xi Abbreviations, Conventions, Deﬁnitions, and Musical Notation xiii Introduction

3

1. Clarinet d’Amour and Alto Clarinet and Their Music 9 2. Basset Horn 95 3. Basset Horn Music 169 4. Bass, Contra Bass, and Contra Alto Clarinets 249 5. Bass Clarinet, Contra Bass, and Contra Alto Music 339 Appendix 1. Extant Clarinets d’Amour, ca. 1740–1850 387 Appendix 2. Extant Alto Clarinets, ca. 1740–1860 394 Appendix 3. Checklist of Extant Basset Horns, ca. 1760–1860 Appendix 4. Checklist of Extant Bass Clarinets and Contra Bass Clarinets, ca. 1750–1860 407 Bibliography

411

Index of Instrument Makers and Dealers General Index

455

449

401

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Illustrations

I.1 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 1.10a 1.10b 1.11 1.12 1.13 1.14 2.1 2.2 2.3 2.4 2.5 3.1 3.2 3.3 3.4

Timeline of the development of the large-size clarinet family 7 Principes de Clarinette (ca. 1775) 16 “Inventarium,” Regensburg Court (ca. 1790) 18 I. Dotzell, southern Germany, 3-key G clarinet d’amour (ca. 1740) 30 Stinglwagners (IS TW), Triftern, 4-key G clarinet d’amour (ca. 1770) 34 Jeremias Schlegel, Basel, 4-key G clarinet d’amour (ca. 1775) 37 Anonymous, German, 5-key G alto clarinet (ca. 1800) 46 Cramer & Son, London, 12-key F clarinet d’amour (ca. 1810) 48 Thomas Key, London, 13-key F alto clarinet (ca. 1825) 52 François-Joseph Gossec, Messe des Morts, Introduction (1780) 74 “Concertante” (ca. 1790) for two G clarinets and orchestra, ﬁrst clarinet part 78 “Concertante” (ca. 1790) for two G clarinets and orchestra, second clarinet part 79 Henri Joseph de Croes, “Partia con due clarinetti in G, due viole et violone” (1788) 81 Jean Jacques Rousseau, “Second Air pour la Musique” (1827) 83 Alto clarinet part from collection of opera aria arrangements (1820s–1830s) 86 Simon Mayr, “Gloria Patri” (1830s) 90 John Mahon, A New and Complete Preceptor, for the Clarinet (ca. 1803) 112 Johann Backofen, Neue teoretisch prachtische Klarinett Schule (ca. 1812) 113 A.S., 8-key basset horn (ca. 1765) 118 Theodor Lotz, Vienna, 10-key basset horn (ca. 1790) 133 Thomas Key, London, 15-key basset horn (ca. 1830) 162 Johann Christian Bach, “Ah si resta”(1772) 173 Wolfgang Amadeus Mozart, “Non più di ﬁori” (1791) 177 Beethoven, no. 14, Die Geschöpfe des Prometheus, op. 43 (1800–1801) 186 Michael William Balfe, “The Heart Bowed Down” (1843) 196 xi

xii 3.5 3.6 3.7 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.9 4.10 4.11 5.1 5.2 5.3

5.4 5.5 5.6 5.7

Illustrations Georg Augustin Holler, Serenata in C (1778) 201 Girolamo Salieri, Andante con Variazioni per Corno-Bassetto sopra un Tema dell’ Opera I Crociati in Telemaide del Mro. [1829] 215 Wolfgang Amadeus Mozart, Trio I from Menuetto I in Serenade in B K. 361 (ca. 1783–1784) 229 Anton and Michael Mayrhofer, Passau, 7-key B bass clarinet (ca. 1765), front view 255 Anton and Michael Mayrhofer, Passau, 7-key B bass clarinet (ca. 1765), side view 256 Heinrich Grenser, Dresden, 8-key C bass clarinet (1793) 259 François Antoine Sautermeister, 10-key bass clarinet, French patent (1812) 264 Johann Heinrich Gottlieb Streitwolf, Anweisung, die Bass-Clarinette kennen und blasen zu lernen (1833) 273 Louis Muller, 19-key bass clarinet, French patent (1846) 281 1826 Parish register, Chiravalle (near Ancona), showing Nicola Papalini and his family 284 Adolphe Sax, 21-key bass clarinet, Belgian patent (1838) 291 Wilhelm Friedrich Wieprecht and Eduard Skorra, 18-key C batyphon or contra bass clarinet (ca. 1840) 330 Adolphe Sax, E contra alto clarinet in Kastner, Manuel général de musique militaire (1848) 334 Adolphe Sax, contra alto clarinet in Sax, prospectus (1867) 337 Saverio Mercadante, Emma d’Antiochia, (1834) 344 Giacomo Meyerbeer, Trio, “Interrogatoire,” act 5, Les Hougenots (1836) 353 Sigismund Ritter von Neukomm, “Make haste, O God, to deliver me, Psalm 70, 1.2.4.5. for a Counter-Tenor-Lady’s-voice with the Bass-Clarionet concertant” (1836) 358 Hector Berlioz, “Marche Funèbre,” Grande Symphonie Funèbre et Triomphale 361 Gaetano Donizetti, Dom Sébastien, Roi de Portugal 365 Franz Liszt, Eine Symphonie zu Dantes Divina commedia (1920) 371 Luigi Maria Viviani, “Il Fausto” (1849) 373

Abbreviations, Conventions, Deﬁnitions, and Musical Notation

Abbreviations: Musical Instruments Abbreviations are adapted from Fricke, Historic Musical Instruments, vol. 2, pt. F, fasc. i: Clarinets. The orientation is from the top of the instrument downward. S B-C A–B A G f/c f/c E/B C/G B/F B/F A/E F/C F/C E/B E D C C BB BB LT L1 L2

speaker key b1–c2 trill key a1–b1 trill key a1 key g1 key f1/c3 key f1/c3 key e1/b2 key c1/g2 key b/f2 key b/f2 key a/e2 key f/c2 key f/c2 key e/b1 key e key d key c key c key BB key BB key left hand thumb left hand index ﬁnger left hand middle ﬁnger xiii

xiv Abbreviations, Conventions, Deﬁnitions, and Musical Notation L3 L4 RT R1 R2 R3 R4

left hand ring ﬁnger left hand little ﬁnger right hand thumb right hand index ﬁnger right hand middle ﬁnger right hand ring ﬁnger right hand little ﬁnger

Abbreviations: Journals and Dictionaries AMZ Bär, Verzeichnis, Band 5

Bär, Verzeichnis, Band 6

EM FoMHRI 4900 Grove Music Online GSJ JAMIS Melville-Mason, Appendix 2 MGG MGG2 NAMIS New Grove, 2nd ed. NLI NZM Shackleton Catalogue

ST

WWV

Allgemeine musikalische Zeitung Bär, Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseums Nürnberg. Band 5 Bär, Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseums Nürnberg. Band 6 Early Music Bulletin of the Fellowship of Makers and Restorers of Musical Instruments Young, 4900 historical woodwind instruments: An inventory of 200 makers in international collections The new Grove dictionary of music and musicians, online version The Galpin Society Journal Journal of the American Musical Instrument Society Melville-Mason, “A Study,” Appendix 2: Basset horn makers and extant early instruments Die Musik in Geschichte und Gegenwart Die Musik in Geschichte und Gegenwart, 2nd ed. Newsletter of the American Musical Instrument Society The new Grove dictionary of music and musicians, 2nd ed. Waterhouse, The new Langwill index: A dictionary of musical wind-instrument makers and inventors Neue Zeitschrift für Musik Historic musical instruments in the Edinburgh University Collection: Catalogue of the Sir Nicholas Shackleton Collection Sherman and Thomas, Johann Michael Haydn (1737–1806): A Chronological Thematic Catalogue of his Works Wagner Werk Verzeichnis

Abbreviations, Conventions, Deﬁnitions, and Musical Notation xv Abbreviations: General Abb. ca. cf. cm d. diss. ed. fasc(s). ﬂ. Hz ill(s). mm MS(S). no(s). op. pl(s) trans. r v vol(s).

Abbildung about compare with centimeters died dissertation edition, editor, edited by fascicle(s) ﬂourished hertz illustration(s) millimeter(s) manuscript(s) number(s) opus plate(s) translation, translated by recto, the front part of a manuscript page verso, the back part of a manuscript page volume(s)

Abbreviations: Museums and Collections Abbreviations are based on those in NLI.

Austria A-Graz A-Innsbruck A-Kremsmünster A-Linz A-P A-Salzburg A-Salzburg-C A-Wien A-Wien-GM A-Wien-T

Landesmuseum Joanneum Tutz Collection Stift Kremsmünster Oberösterreichisches Landesmuseum Private Collection Museum Carolino Augusteum Museum Carolino Augusteum, Cubasch Collection Sammlung alter Musikinstrumente, Kunsthistorisches Museum Gesellschaft der Musikfreunde [on deposit at A-Wien] Technisches Museum

xvi Abbreviations, Conventions, Deﬁnitions, and Musical Notation

Belgium B-Antwerpen B-Brugge B-Bruxelles B-Tervuren

Museum Vleeshuis Stedelijk Gruuthusemuseum Muziekinstrumentenmuseum Royal Museum for Central Africa

Brazil BR-Rio de Janeiro

Museo Nacional de Belas Artes

Switzerland CH-Basel CH-Bern CH-Burgdorf CH-Einsiedeln CH-Genève-AH CH-Neuchâtel CH-Sonogno CH-Zürich-AMG CH-Zürich-B CH-Zürich-H CH-Zürich-L CH-Zumikon

Historisches Museum Schöni Collection Historisches Museum des Rittersaalvereins Burgdorf Stift Einsiedeln Musée d’art et d’histoire Musée d’art et d’histoire Museo di Val Verzasca Allgemeine Musikgesellschaft Museum Bellerive Hug & Co. Schweizerisches Landesmuseum Stalder Collection

Czech Republic CR-Brno CR-Jihlava CR-Praha CR-Praha-M CR-Praha-P

Moravske Zemske Muzeum Museum Vysocˇiny Národni Muzeum Muzeum hlavního mesta Prahy Pražská konzervatorˇ

Germany D-Augsburg D-Berlin D-Berlin-M D-Biebrich

Maximilianmuseum Musikinstrumenten-Museum, Staatliches Institut für Musikforschung Museum der Musikhochschule Wiesbaden-Biebrich, Musikhistorisches Museum Heckel

Abbreviations, Conventions, Deﬁnitions, and Musical Notation xvii D-Bochum D-Bonn D-Braunschweig-S D-Darmstadt D-Frankfurt(O) D-Gaggenau D-Goch D-Göttingen-U

D-Gotha D-Halle D-Hamburg D-Konstanz D-Kronach D-Lautlingen D-Leipzig D-Lübeck D-Markneukirchen D-Michaelstein D-München-BNM D-München-DM D-München-S D-Nienburg D-Nürnberg D-P D-Rostock D-Sigmaringen D-Sondershausen D-Uhingen

Städisches Musikinstrumentensammlung, Schloss Kemnade Beethoven-Haus Städtisches Museum Hessiches Landesmuseum Frankfurt an der Oder, Viadrina Museum Rieger Collection Heimatmuseum Goch (Niederrhein) Musikinstrumentensammlung des Musikwissenschaftlichen Seminars der Georg-August-Universität Göttingen Museum für Regionalgeschichte und Volkskunde Händel-Haus Museum für Hamburgische Geschichte Rosgartenmuseum Wolf Collection Jehle Collection Museum für Musikinstrumenten der Universität Leipzig St Annen-Museum Musikinstrumenten-Museum Museum im Kloster Michaelstein, Blankenburg Bayerisches Nationalmuseum Deutsches Museum Münchner Stadtmuseum Museum Nienburg (Weser) Germanisches Nationalmuseum Private Collection Kulturhistorisches Museum Schloss Schlossmuseum Reil Collection

Denmark DK-Brøndy DK-København DK-København-P

Møller Collection Musikhistorisk Museum Private Collection

Spain ES-Barcelona

Museu de la Música

xviii Abbreviations, Conventions, Deﬁnitions, and Musical Notation

France F-Arnouville-Lès Gonesse F-Estissac F-Mantes la Jolie F-Nice F-Paris F-Paris-K F-Paris-L F-Paris-S F-Toulouse F-Varzy

Watel Collection Rousselet Collection Buffet-Crampon Collection Musée de la musique de Nice Musée de la Musique Kampmann Collection Laurent Collection Selmer Collection Musée Paul Dupuy Musée municipale

Great Britain GB-Brighton GB-Edinburgh GB-London-H GB-London-L GB-London-M GB-London-P GB-London-Pr GB-London-Pri GB-London-RCM GB-London-VA GB-Oxford GB-Oxford-PR GB-Totternhoe

Art Gallery and Museum Edinburgh University Collection of Historic Musical Instruments Horniman Museum Lear Collection Ex MacGillivray (Sotheby’s 1979) Puddy Collection Private Collection (Sotheby’s Sussex, 1991) Private Collection Royal College of Music Museum Victoria and Albert Museum Bate Collection of Musical Instruments, University of Oxford Pitt Rivers Museum, University of Oxford Hoeprich Collection

Hungary H-Budapest H-Budapest-H

Magyar Nemzeti Múzeum Liszt Ferenc Zeneakadémia

Italy I-Bergamo I-Bologna I-Firenze

Museo Donizettiano Museo Civico Museo degli Strumenti Musicali del Conservatorio “L. Cherubini”

Abbreviations, Conventions, Deﬁnitions, and Musical Notation xix I-Milano I-Milano-C I-Milano-Con I-Milano-MTS I-Modena I-Padova-Con I-Roma I-Roma-ASC I-Trieste I-Torino

Museo degli Strumenti Musicali Castello Sforzesco Carbonara Collection Conservatorio “Guiseppe Verdi” Museo Teatrale alla Scala Museo Civico di Storia e di Arte Mediovale e Moderna Conservatorio “Cesare Pollini” Museo Nazionale degli Strumenti Musicali Accademia Nazionale di Santa Cecilia, Museo Strumentale Civico Museo Teatrale “Carlo Schmidl” Conservatorio Statale di Musica “Giuseppe Verdi”

Japan J-Hamamatsu J-Tokyo

Hamamatsu Museum of Musical Instruments Musashino Academia Musicae

The Netherlands NL-Den Haag

Haags Gemeentemuseum

New Zealand NZ- Smith

Smith Collection

Norway N-Oslo-N

Norges musikkhøgskole

Poland PL-Wrocłau (Breslau)

Schlesisches Museum für Kunstgewerbe und Altertümer (lost in World War II)

Portugal P-Lisboa

Museo Instrumental do Conservatorio Nacional

Russian Federation RU-St Petersburg

State Museum of Theatre and Music

xx Abbreviations, Conventions, Deﬁnitions, and Musical Notation

Sweden S-Göteborg S-Hälsingborg S-Linköping S-Stockholm S-Stockholm-D S-Stockholm-N S-Stockholm-Ny

Göteborgs Historiska Museum Hälsingborgs museum (in S-Stockholm, instruments marked F). Östergötlands Länsmuseum Musikmuseet Dalarö Tullmuseum (now dispersed) Nordiska Museet (in S-Stockholm, instruments marked N) Nydahl Collection

Finland SF-Turku

Sibeliusmuseum

Slovakia SK-Betliar

Museum Betliar

United States of America US-AZ-Phoenix US-AZ-Tucson US-CA-Claremont US-CT-Farmington US-DC-Washington-S US-IL-Edwardsville US-MA-Boston US-MA-Newton Centre US-MA-Wilbraham US-MA-Williamstown US-MI-Ann Arbor US-MI-Dearborn US-NC-Durham US-NH-Concord US-NY-Buffalo US-NY-Castile US-NY-New York US-NY-Poughkeepsie

The Musical Instrument Museum Aurand Collection Fiske Museum, Claremont Colleges (now US-AZPhoenix) Stanley-Whitman House Smithsonian Institution Museum, Southern Illinois University, Edwardsville Museum of Fine Arts, Boston Sigal Collection Howe Collection Music Department, Williams College Stearns Collection, University of Michigan Henry Ford Museum and Greenﬁeld Village Duke University Musical Instrument Collections New Hampshire Historical Society Buffalo & Erie County Historical Society William Pryor Letchworth Museum Metropolitan Museum of Art Historical Musical Instrument Collection, Department of Music, Vassar College

Abbreviations, Conventions, Deﬁnitions, and Musical Notation xxi US-P US-PA-Franklin US-SD-Vermillion US-WV

Private Collection Abel Collection National Music Museum, University of South Dakota Private Collection

Deﬁnition Corps de rechange

Length of instrument

Musical notation

C−B

Two longer or shorter ﬁnger hole joints for altering the instrument’s pitch, occasionally with a barrel and mouthpiece. A measurement referring to sounding length, that is, the length the air travels through the bore, particularly relevant in regard to bassoon-or ophicleide-shaped instruments. The following system of musical notation is used throughout:

c−b

c 1 − b1

c 2 − b2

c 3 − b3

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From the Clarinet d’Amour to the Contra Bass

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Introduction

T

his book continues the stories begun in my Baroque Clarinet and The Clarinet in the Classical Period books. In both, the familiar soprano clarinet in C, B, and A and its small-size relatives in D, E, and F were the main subjects. Both books reviewed makers and their instruments, performance practices, a broad selection of music, and a discussion of performers and the use of the instruments in ensembles. This book is about the origins, instruments, makers, music, and performers of a subset of the clarinet family, called here large-size clarinets. The largesize clarinets include the clarinet d’amour, alto clarinet, basset horn, bass clarinet, contra alto clarinet, and contra bass clarinet. Makers and their instruments are reviewed; classiﬁcation, terminology, and notation puzzles are unraveled; and the remarkable music created for these instruments is examined. The music includes opera, sacred, and stage works; orchestral music; concertos; chamber music; and wind band music. Important relationships between and among composers, performers, and instrument makers are illuminated, including Mozart with Anton and Johann Stadler, Franz Süssmayr with Anton Stadler, Beethoven with Johann Stadler, Felix Mendelssohn with Heinrich and Carl Bärmann, Saverio Mercadante with Catterino Catterini, Giacomo Meyerbeer with Franco Dacosta, Sigismund von Neukomm with Thomas Willman, and Michael Balfe with John Maycock. The work reported here is motivated by an intense curiosity about these largesize clarinets, knowledge of which is limited and often unreliable. My purpose is to establish a deﬁnition for each large-size clarinet, clarify terminology, trace previously unknown or little known history, interpret notation practices, identify makers and instrument characteristics, reveal the music that utilized these instruments, and explore their use in various types of ensembles. The time frame is 1740 to 1860, dates selected because they encompass the period when the two earliest large-size clarinets (clarinet d’amour and alto clarinet) initially appeared and incorporate the development and musical use of the two later large-size clarinets (basset horn and bass clarinet). The terminal date was chosen 3

4

From the Clarient d'Amour to the Contra Bass

for two particular reasons: First, it ensures discussion of a substantial amount of surviving music for the bass clarinet, the latest of the large-size clarinets to be developed and used in concert music. Second, it enables us to capture information on the contra bass and contra alto clarinets during their prototype phases. Concert music for the contra bass clarinet was not written until the late nineteenth century, after the period covered by this book. By the seventh decade of the eighteenth century, the classical soprano clarinet had established a ﬁrm foothold in European musical life, coinciding with a general upsurge of interest in all wind instruments and the development of a variety of large-size instruments. Throughout the eighteenth century, there was a steady demand for stronger, large-size woodwind instruments by players willing to learn to play them and composers ready to utilize their special attributes. For makers, the creation of the large-size clarinets was a matter of trial and error, informed by feedback from players and composers. Chronologically, the earliest large-size clarinet is the clarinet d’amour, which appeared by 1740. Our deﬁnition is a large-size clarinet, predominantly constructed in G but also in F, often with a brass crook, sometimes with a curved wooden barrel, and always with a bulb-shaped bell. Some clarinets d’amour have been designated in A, although it is possible they were considered in G at the time they were constructed because of the variability of historic pitch standards. There are also a few examples of small-size clarinets d’amour in C and A, and examples of music for the clarinet d’amour in B. Its long, straight body normally requires a curved brass crook or a curved wooden barrel. Based on our knowledge of makers and the construction characteristics of extant instruments, the earliest clarinets d’amour were made about 1740 in southern Germany. During the eighteenth and early nineteenth centuries, they were played in chamber music, table music for entertainment during dinners, and wind band music, and as accompanying instruments in vocal music, until about 1850. Some music has been preserved, most of it written by German composers. The instrument is now obsolete. It never had a revival in twentieth-century music and after 1850 was not used. Because this instrument’s tone quality is not as distinctive as the basset horn or bass clarinet, its music could be played by other types of clarinets. The alto clarinet was played primarily in wind and military bands and in chamber music, beginning in the 1740s. The earliest alto clarinets share the G and F pitches of the clarinet d’amour but use a ﬂared rather than a bulb-shaped bell. Some alto clarinets are designated in A, although it is possible they were considered in G at the time they were constructed because of the variability of historic pitch standards. However, the majority of altos are constructed in G, and during the nineteenth century, predominantly in F and E. They were made in a straight form and occasionally in bassoon and ophicleide shape. During the second decade of the nineteenth century, the inventor and player Iwan Müller had alto clarinets made with thirteen keys according to his design, as found on the most advanced soprano

Introduction

5

clarinets. Müller was the earliest to perform solos on his alto clarinet during the 1810s. Eventually, a somewhat simpliﬁed alto clarinet based on Müller’s design was used in wind bands during the nineteenth century and sometimes as a substitute for the basset horn when that instrument was not available. It continues to be used in the band music of the twenty-ﬁrst century. The basset horn was the most popular large-size clarinet during the late eighteenth and early nineteenth centuries. Our deﬁnition is a large-size clarinet, predominantly constructed in F but also in G, E, and D. A size in E is also mentioned in late-eighteenth-century sources. The basset horn was ﬁrst made about 1760 with a curved or sickle-shaped body that places the ﬁnger holes in a comfortable position for the player. It includes a brass or wooden bell. By the 1780s, most basset horns were made in an angular form with a bent knee joint inserted between the left- and right-hand sections, although some were made in a curved form. During the eighteenth and nineteenth centuries, basset horns were made in bassoon and clarinet shapes and were commonly made with eight keys. Beginning in the 1780s, some makers included a chromatic lower or basset range from E to low C. During the eighteenth century, the basset horn was initially introduced into wind and military bands, popularized by touring soloists in chamber music, and used as a solo instrument with orchestra. The instrument has a long and signiﬁcant musical history beginning in the 1760s in orchestral works, chamber music, operas, stage works, and wind bands through the nineteenth century. Some of the most memorable uses of the basset horn are in Mozart’s works, including the Requiem (1791); the obbligato part to “Non piú di ﬁori” from La clemenza di Tito (1791); the Six Notturni for soprano, alto, bass, and three basset horns (1787–1788); and especially the Serenade in B (ca. 1783–1784). There were many other notable works written for the instrument during the nineteenth century by Beethoven, Mendelssohn, Danzi, and a host of forgotten nineteenth-century composers. It is valued for its unique musical timbre and continues to contribute its special tone color to music of the twenty-ﬁrst century. The bass clarinet was used in military and civic bands, beginning in the late eighteenth century; its special timbre and large compass made it useful as an obbligato instrument, mainly in opera and stage works beginning in the early nineteenth century. By 1860, it was considered an integral part of orchestral woodwinds. Our deﬁnition is a large-size clarinet constructed in C, B, or A, one octave lower than soprano clarinets in the same pitches. The earliest bass clarinets were made during the 1750s as prototypes; a playable example emerged during the 1790s. This instrument was constructed in a variety of shapes: plank (or prototype), curved basset horn, bassoon, straight, ophicleide, and straight with butt joint. They include a brass or wooden bell pointing downward or upward. Beginning in the 1790s, bassoon-shaped bass clarinets were constructed to play as low as BB. By the 1830s, successful straight-shaped instruments were constructed with a lowest note of E. Bassoon- or ophicleide-shaped bass clarinets were also made during the nineteenth century with a lowest note of

6

From the Clarient d'Amour to the Contra Bass

C. The earliest recorded musical use is in 1815, but the earliest surviving music dates from 1834. Signiﬁcant parts for the bass clarinet appear in works of several major composers such as Meyerbeer, Berlioz, Donizetti, Verdi, Wagner, Liszt, and Smetana. Later throughout the nineteenth and twentieth centuries, many composers wrote signiﬁcant orchestral and band music for the bass clarinet, and it continues to be in demand by composers of the twenty-ﬁrst century. Successful contra alto and contra bass clarinets emerged by the late nineteenth century and increased because of the proliferation of military and school bands, particularly during the twentieth century. Our deﬁnition of contra alto clarinet is a large-size clarinet constructed in F or E, one octave lower than alto clarinets in F or E. These instruments were ﬁrst made about 1830 and met with limited success as ensemble instruments. Our deﬁnition of contra bass clarinets is a large-size clarinet in C or B, one octave lower than bass clarinets in C or B. The earliest contra bass clarinets were made during the ﬁrst decade of the 1800s; they were entirely experimental and not used in ensembles. Both the contra alto and contra bass instruments were not adopted by players during the ﬁrst half of the nineteenth century, although playable instruments were offered by Sax in Paris, Wieprecht and Skorra in Berlin, and Kruspe in Erfurt. Perhaps there wasn’t enough interest by players in wind bands and the instruments’ design needed improvement. The ﬁrst successful contra bass clarinets were made during the 1890s, and the earliest signiﬁcant musical use occurred in an 1897 opera by Vincent d’Indy. The instrument has been successfully employed during the twentieth century and continues in use during the twenty-ﬁrst century. Modern contra bass clarinets can be played very softly in their lowest registers and are technically ﬂuent, as compared with the contra bassoon. By the early twentieth century, contra alto clarinets were redesigned with modern mechanisms and slowly were adopted in wind ensembles. During the twentieth and twenty-ﬁrst centuries, both the contra alto and contra bass clarinets have been occasionally called for in ensemble and orchestral works. Figure I.1 illustrates the lifespan of each instrument, based on extant instruments and published documentation. The clarinet d’amour and alto clarinets are the earliest of the group, from about 1740; the basset horn appeared about 1760; the bass clarinet about 1750, with a usable instrument in 1793; the contra bass clarinet in 1808; and the contra alto clarinet in 1829. Sources Sources of inspiration for this book are many. They include recordings of basset horn works by Mozart, Rolla, and other composers by players of historic instruments such as Hans Rudolf Stalder, Keith Puddy, and Eric Hoeprich. The concerts and commissions of active performers on the bass clarinet such as Josef Horák and Harry Spaarnay have also inspired me to research the historical development and music

7

Introduction 1700 1740 baroque clarinet

1800 classical clarinet

1740

1750 clarinet d’amour

1740

1750 alto clarinet

1850 romantic clarinet

>

>

1750 1760 >

basset horn 1750

1793 ..................

bass clarinet

>

1829 contra alto clarinet > 1808 contra bass clarinet

>

Figure I.1. Timeline of the development of the large-size clarinet family.

of this instrument. Mercadante’s opera Emma d’Antiochia (1834), with its extensive bass clarinet solo, was sensitively performed by Richard Addison of the London Philharmonic on a 2004 recording. Other sources are the instruments in the important musical instrument museums throughout the world. Private collections with largesize clarinets include those of the late Sir Nicholas Shackleton (a collection now at the University of Edinburgh), Thomas Reil, Denis Watel, and Marlowe Sigal. The literature concerning the history of the large-size clarinet includes chapters in two classic studies by Oskar Kroll (1965; rev. English ed. 1968) and F. Geoffrey Rendall (rev. ed. 1971). Nicholas Shackleton’s articles for the New Grove Dictionary of Music and Musicians (2001) on each of the large-size clarinets also include good summaries of the main points concerning the organological development and musical history of these instruments. Important detailed studies include Josef Saam’s book on the basset horn (1971), David Kalina’s dissertation on the structural development of the bass clarinet (1972), Graham Melville-Mason’s master’s thesis on the music for the basset horn (1984) and his speciﬁc articles, Jürgen Eppelsheim’s article on the development of the basset horn (1987), Nicholas Shackleton’s article on the earliest basset horns (1987), John Henry Van der Meer’s article on the typology and history of the bass clarinet (1987), and Piera Federici’s thesis on eighteenthcentury music and players of the basset horn (1990–1991). Recent books by the late William Waterhouse (1993), Phillip T. Young (1993), Erich Tremmel (1993), Kurt Birsak (1992; English trans. 1994), Günter Dullat (2001), and Eric Hoeprich (2008) provide important information on many makers, instruments, and patents. Books on the basset horn by John Newhill (3rd ed., 2003) and

8

From the Clarient d'Amour to the Contra Bass

Thomas Grass and Dietrich Demus (2nd ed., 2004) and their subsequent articles include a wealth of information on music and the makers of basset horns. Geoffrey Rendall’s article (1941–1942) on English performers during the eighteenth and nineteenth centuries and Pamela Weston’s books on clarinet performers (1971, 1977, 2002) were also quite useful in tracing the activities of performers. This book assumes a modest amount of technical musical knowledge, but the text is accessible to the general reader as well as to players, composers, instrument makers, and organologists. The book can be read from start to ﬁnish to acquire a comprehensive view of the history of the large-size clarinets. The reader can also use the volume as a reference, dipping into speciﬁc chapters for selected information. Extensive footnotes are supplied to enable the interested reader to follow the thread of research underpinning the work. The original texts of non-English sources of more than one sentence are provided in the footnotes. Throughout the book, readers will notice callouts (indicated by the icon ) to the website http://www.oup.com/us/clarinetdamour, where they will ﬁnd full-color illustrations of the most important instruments discussed in this book.

1

Clarinet d’Amour and Alto Clarinet and Their Music

Chapter Purposes and Definitions The histories of the clarinet d’amour and the alto clarinet are a bit of a mystery because the record contains so little speciﬁc information about them. The information we have blurs the distinctions between the two instruments, and clear deﬁnitions are lacking. In addition, a variety of different names are used for the clarinet d’amour, alto clarinet, and other large-size family members. The purposes of this chapter are to resolve the confusion between the clarinet d’amour and the alto clarinet in order to derive a clear deﬁnition for each, describe major design features, clarify the history of these instruments, analyze early documentation, study the major makers of the instruments, and examine music that employs them. Simply stated, the clarinet d’amour is a large-size clarinet, a major third below the C clarinet pitched in G.1 They were also made in F and during the nineteenth

1. Some extant eighteenth-century clarinets d’amour and alto clarinets have been assigned a modern pitch reading of A. Because this unusual pitch is not discussed in any historical source and there is no eighteenth-century music for the A clarinet d’amour or A alto clarinet, it seems unlikely that eighteenth-century makers purposely constructed these instruments to play in the remote pitch of A rather than the more useful pitch of G. It happened because during the eighteenth and early nineteenth centuries, wind instrument pitches were not regularized among cities and countries, and there was no standard to which makers could refer. Makers had to ask out-of-town customers to specify the desired pitch. For example, in 1789 a Viennese woodwind maker, Friedrich Lempp, advertised in the Wiener Zeitung that his customers from abroad should request a speciﬁc pitch for their instrument, such as “Vienna pitch, Kammerton, or even French pitch, or to send him a tuning fork.” Thus, a modern reading of A seems more likely to have been intended to be high-pitched G or low-pitched A, using the pitch standard available to the maker. See Maunder, “Viennese wind instrument makers, 1700–1800,” 185. In addition, the collector and clarinetist William Maynard shared his reservations with me during the 1980s about the accuracy of assigning a nominal pitch of A to eighteenth-century clarinets d’amour.

9

10

From the Clarinet d'Amour to the Contra Bass

century also in A2 and very occasionally in the smaller sizes of C, B, or A.3 In this book, the pitch assigned to an instrument is the nominal or named pitch of the time and place of manufacture, as far as can be determined.4 The pitch of clarinets d’amour is determined by total body length, 69.3 to 89 cm with mouthpiece and crook or barrel, and bore size, which varies from 12.8 to about 15.5 cm, usually measured at the top of the upper joint. Its long body always requires a curved brass crook or a curved wooden barrel.5 Most clarinets d’amour are made with a straight body, and the bell is always pear- or bulb-shaped.6 It has a normal clarinet compass, with a lowest note of E. The alto clarinet is a large-size clarinet in G for eighteenth-century examples and, after 1800, primarily in F or E. Some alto clarinets have been designated in A, although it is possible they were considered in G at the time they were constructed. As with the clarinet d’amour, its pitch is determined by the total body length, 70 to 124 cm with mouthpiece and crook or barrel, and bore size, 13.8 to about 16 cm, usually measured at the top of the upper joint. Its long body requires a curved brass crook or curved wooden barrel. Most alto clarinets are constructed with a straight body, and the bell is always ﬂared or clarinet-shaped. It has a normal clarinet compass, with the lowest note of E, except for three nineteenth-century instruments, one with the lowest note of F and two with a lowest note of BB.7 The most important distinction between the clarinet d’amour and the alto clarinet is bell shape. What may not be obvious to the twenty-ﬁrst-century observer is that eighteenth- and nineteenth-century makers constructed clarinets with either a bulb-shaped (sometimes pear-shaped) or ﬂared bell simply as the maker’s choice unless ﬁlling a customer’s order. The effect of the bell shape on the sound is only evident with fully or nearly closed ﬁnger holes, and then the difference is subtle.8 There was a deﬁnite vogue for building and using bulb-shaped bells on oboes d’amour, English horns, and clarinets d’amour during the eighteenth and early nineteenth centuries.

2. The existence of an A clarinet d’amour in Italy is shown by a single work written during the 1830s entitled “Gloria Patri” by Simon Mayr (see text). 3. For the purposes of this chapter, these last instruments are called small-size clarinets d’amour and are discussed in a separate section. 4. In some cases, a modern reading of the sounding pitch in hertz is given for some instruments when available, for example, A about 405 Hz for a clarinet d’amour by Kraus (D-München-DM, Mu 107). 5. Three C clarinets d’amour by Tuerlinckx, Raingo, and Schürer have straight wooden barrels. 6. One early-nineteenth-century clarinet d’amour (F-Paris, E.2195) by Jeantet is built with a curved right-hand joint, the only exception known to me. 7. Two of these alto clarinets are bassoon shaped made by Catlin (attributed, US-NY-New York, 1994.365.1), and Tuerlinckx (attributed, B-Bruxelles, 933). The third alto clarinet is ophicleide shaped made by Seelhofer (F-Paris, E.956, C.549). 8. See Dahlqvist, “Taille,” 59, 68. The bell shape may raise or lower the pitch or brighten or darken the tone quality of some notes.

Clarinet d’Amour and Alto Clarinet and Their Music 11 Design Features The clarinet d’amour and alto clarinet are usually constructed with a straight body (not including mouthpiece, crook, or barrel) of boxwood; maple, pear, cherry, plum, and ebony were also used. As found on contemporary clarinets, makers commonly utilize horn or ivory ferrules and brass keys. A typical eighteenth-century clarinet d’amour features ﬁve sections: mouthpiece (with a socket), brass crook or curved wooden barrel, two ﬁnger hole sections, and a stock-bell with bulbshaped bell.9 Mouthpieces are often made of boxwood or a harder wood, such as ebony or African black wood. The alto clarinet is identical in overall construction, except that it has a ﬂared or clarinet-type bell. The brass crook on both instruments is always slightly bent to place the mouthpiece in a convenient playing position. A few eighteenth-century clarinets d’amour and several alto clarinets feature curved wooden barrels, presumably because some makers did not have the tools to construct a metal crook or preferred working with wood. There seems to be no discernible effect on the sound produced by using either a wooden barrel or a brass crook; however, there is a difference in playing response for the advanced or discriminating performer. Two early-nineteenth-century alto clarinets were made in a bassoon shape; a more advanced nineteenth-century alto was made in an ophicleide form. These three instruments appear to be experimental. History and Documentation The time line in the introduction indicates that the clarinet d’amour and the alto clarinet appeared about 1740. The earliest extant clarinets d’amour were made in Germany and Vienna from about 1740 to 1760 and have three keys for S, A, and E/B (positioned for the thumb). From 1760 to 1800, four- and ﬁve-key examples were made in Germany, Austria, Belgium, and Switzerland. From 1800 to about 1850, clarinets d’amour were made with six to fourteen keys in Germany, Belgium, Italy, France, and England. Overall, three to ﬁve keys are most common. Several surviving instruments were initially built with ﬁve or six keys but were later modernized by the addition of saddle or pillar-mounted keys. After 1850, the clarinet d’amour was seldom made.10 Among the earliest extant examples are some instruments evidently made to be played in pairs and probably played in wind music for the amusement of the instruments’ owners. Examples include pairs of three-key clarinets d’amour made by 9. Sachs named the distinctive bell “Liebefuß” (love foot), probably deriving it from the French “pavillon d’amour” (bell of love). This German name is not found in eighteenth- or nineteenth-century sources. See Sachs, Real-Lexikon, 241b; cf. Bate, The oboe, 102. 10. The Heckel company in Biebrich made a few clarinets d’amour during the late nineteenth and early twentieth centuries.

12

From the Clarinet d'Amour to the Contra Bass

Kraus (D-Sigmaringen, 319, 296) of southern Germany or Switzerland and by R. Paur (Mathias Rockobaur; A-Wien-GM, 130, 131) of Vienna. Additional extant clarinet d’amour pairs that were most likely originally made to be played together were by Kraus, the Stinglwagners of Triftern, and IP, a maker from southern Germany (see appendix 1). Later instruments made as pairs include two ﬁve-key clarinets d’amour (A-Wien-GM, 132, 133) by Scholl. Similar to many three-key clarinets d’amour, most four-key clarinets d’amour include a second or alternate ﬁnger hole for the little ﬁnger of the hand placed on the lower section. The maker or player plugged the hole that was not needed with wax or a wooden or ivory peg. No eighteenth-century clarinets d’amour made in France are known. Except for their bell shape, the earliest alto clarinets are practically identical to the earliest clarinets d’amour. There are eight extant three-key alto clarinets. Seven of these were made with brass crooks; one has only the ﬁnger hole joints. Eleven extant late-eighteenth-century alto clarinets were made with four and ﬁve keys, four include brass crooks, six have straight or curved wooden barrels, and one is missing its crook. All of these eighteenth-century instruments were made in G (some are now assigned a modern pitch of A) and aside from being longer, are identical to contemporary soprano clarinets. Two three-key alto clarinets (CR-Jihlava, Ji-13/B/22, Ji-13/B/23, ca. 1740) by M. Deper were probably made as a pair.11 From 1800 to 1860, alto clarinets were made with six to nineteen keys in America, Belgium, Holland, Germany, France, England, Austria, and Switzerland.12 Later alto clarinets were also made in pairs, particularly for use in wind bands. Examples include two alto clarinets by Knockenhauer (D-Leipzig, 1524, 1525) and two by Wernicke (US-NY-New York, 89.4.2279; S-Stockholm, F328). By the mid-nineteenth century, the use and popularity of the alto clarinet had increased, and it continues to be used in the band music of the twenty-ﬁrst century.13 Why were instruments like the clarinet d’amour and the alto clarinet developed and subsequently constructed? The tone quality of these instruments is noticeably different—fuller, richer, and darker than the soprano clarinet. They were immediately appreciated for their unique sounds. There was a pattern of making instruments in families during the late seventeenth and early eighteenth centuries, when

11. Three- to ﬁve-key clarinets d’amour and three- to ﬁve-key alto clarinets continued to be played throughout most of the eighteenth century, along with more advanced clarinets. 12. Only three eighteenth-century makers made clarinets d’amour and alto clarinets: Dotzell, the Stinglwagners, and Löhner. 13. Twentieth-century G brass alto clarinets (GB-Edinburgh, 4788, 4992, Ex Shackleton) and (D-Bochum, SGK 45, Ex Van Kalker), all with simple system keywork, were made after about 1950 by Cenkman of Lugano. See Shackleton Collection, 708; Ahrens and Klinke, Musikinstrumentensammlung Hans und Hede Grumbt, 56. During the 1980s, the music instrument dealer Mickie Zekley informed me that G clarinets with brass bells were available for purchase and that they are used for playing Turkish folk music.

Clarinet d’Amour and Alto Clarinet and Their Music 13 makers constructed several large-size oboes such as the oboe d’amour in A with a bulb-shaped bell, the tenor oboe (or taille) with a ﬂaring bell,14 and the English horn in G or F with a bulb-shaped bell.15 During the early eighteenth century, a sizable repertoire for these double-reed instruments emerged.16 It is likely that around 1740, double-reed oboes d’amour served as models for the earliest clarinets d’amour.17 At the same time, double-reed tenor oboes with ﬂaring bells served as models for the earliest alto clarinets.18 A pattern of constructing instruments in family groups thus began for single-reed instruments, prompted by the technical limitations of two- and three-key baroque clarinets. During the eighteenth century, clarinets d’amour and alto clarinets were made by only a few makers, and they were available to only a limited number of players and composers. As a result, the clarinet d’amour repertoire is small; the alto clarinet repertoire is even smaller. Documentation concerning the term G clarinet is confusing on two counts: First, it is not clear whether the reference is to the clarinet d’amour or to the alto clarinet because bell shapes are not mentioned; second, a variety of terms are employed. We must be cautious about assuming one instrument or the other because none of the documents includes a detailed description of individual instruments, and we cannot be sure what instrument a term might be referring to. A recently discovered document indicates that large clarinets (clarinets d’amour or alto clarinets) were played during the 1740s. It is found in a 1742 inventory from the Gotha Court Orchestra, containing a voucher listing clarinets in D and F assumed to be clarinets d’amour or alto clarinets, so identiﬁed because of their prices higher than C clarinets. The voucher includes three pairs of clarinets and an oboe d’amore in a ledger entry including all the expenses for the court orchestra for that year. An entry for the band of “hautboists” or musicians lists “3 further clarinets” and an oboe d’amore with their prices. These instruments were supplied to the Gotha court by a musician at the court orchestra of Meiningen. The text reads as follows: 14. The earliest extant example of an oboe d’amore is by Johann Gottfried Bauer of Leipzig dated 1719; see Haynes, The eloquent oboe, 362–363, pl. 6.1; the earliest examples of tenor oboes are by Johann Christoph Denner, Nuremberg, ca. 1700; see The eloquent oboe, 379; Young, University of Victoria loan exhibition of historic double reed instruments, no. 44 for a description and photo of the tenor oboe by J. C. Denner in the Leipzig museum. The oboe d’amour may have been given its name in appreciation of the beautiful and rich quality of the viola d’amour, a stringed instrument constructed during the seventeenth and eighteenth centuries with additional sympathetic strings. 15. For descriptions and photographs of instruments, see Young, University of Victoria loan exhibition of historic double reed instruments; Kirnbauer, Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg, 146–155; Wackernagel, Holzblasinstrumente, 178–187. 16. See the discussions of the history and repertoire of the large-size oboes by Haynes in The eloquent oboe, 367–379; Wackernagel, Holzblasinstrumente, 174–177. 17. Among oboe d’amour makers identiﬁed by Young and Waterhouse, three makers also constructed clarinets d’amour: Dotzell, Mathias Rockobauer, and Johann Wolfgang Königsberger. See 4900, 265; NLI, 24, 94, 211. 18. An early maker, M. Deper, who constructed a tenor oboe, also made an alto clarinet. See NLI, 87.

14 From the Clarinet d'Amour to the Contra Bass 1 Paar D Clarinetten à 4 thlr [Thaler] 12 gl [Groschen] [two clarinets d’amour or alto clarinets in D at 4 thalers, 12 guldens] 1 paar F Clarinetten à 3 thlr [Two clarinets d’amour or alto clarinets in F at 3 thalers] 1 paar C Clarinetten à 1 thlr 8 gl [two C clarinets at 1 thaler, 8 groschens] 1 Oboe d’amore à 1 thlr 16 gl [one oboe d’amore at 1 thaler, 16 groschens] Summa: 10 thlr 12 gl [Total: 10 thalers, 12 groschens]19 Prices of other instruments purchased for the Gotha court show that larger instruments (basson and fagot) were more expensive than the smaller ones (hautbois d’amour and hautbois). For example, invoices from 1720 and 1721 list the following: 1 Basson (1720) 6 ﬂ [Bassoon, 6 ﬂorens] 1 Fagot (1721) 6 ﬂ [Bassoon, 6 ﬂorens] 2 Hautbois d’amour (1721) 7 ﬂ 9 gl [1 oboes d’amour at 3 ﬂorens, 6 guldens each] 3 Hautbois (1725) 17 ﬂ 3 gl [one oboe at 5 ﬂorens, 15 guldens each]20 The high price of the oboes may be explained by the use of expensive material such as ivory. The ﬁrst voucher is intriguing because it indicates that pairs of large clarinets in D and F were purchased at higher prices than the pair of C clarinets. The C clarinets in the 1742 list were very inexpensive, and the D and F clarinets were more than the oboe d’amore in the 1742 list but less than the bassoons from 1720 and 1721. Unfortunately, further evidence, such as music from the Gotha court during this period, to establish the precise identity of these instruments is lacking. Clarinets were used in the military band in Gotha since the 1730s.21 Note that all extant earlyeighteenth-century clarinets d’amour and alto clarinets were constructed in A or G; none are in D or F (see appendices 1 and 2).22 The clarinet d’amour and alto clarinet rapidly spread from their birthplaces in southern Germany and Vienna to Paris during the 1760s, where the earliest surviving documentation originates. Writing in Paris, the German composer and player Valentin Roeser (ca. 1735–ca. 1782) lists in his 1764 instrumentation treatise all the clarinets available at the time, beginning with the largest: G, A, B, C, D, and E. He was the ﬁrst to 19. Thüringisches Staatsarchiv Gotha/Thuringian, public record ofﬁce, Bills 1741/42; nr. 2576, 13 March 1742. I am grateful to Christian Ahrens for providing this information in 2005. 20. Monetary values in 1725 are: 1 Floren (ﬂ) = 21 gulden (gl) and 1 thaler (thlr) = 24 gl. I thank Christian Ahrens for providing the monetary values. 21. See Ahrens, “The inventory of the Gotha court orchestra in 1750,” 38. 22. Although two alto clarinets by M. Deper are stamped “D,” it is thought that this is not a pitch designation and that both instruments were made in G. It has been suggested that the Gotha clarinets in D and F were basset horns. Technologically, this was possible, but there is no further evidence to support identiﬁcation of these clarinets as basset horns, and it seems more likely that they were clarinets d’amour or alto clarinets.

Clarinet d’Amour and Alto Clarinet and Their Music 15 describe a large clarinet pitched in G, although very brieﬂy: “The clarinet in G is the sweetest type, but is rarely found because it is not really necessary in view of the fact that the player can play in the key of G on the other clarinets.”23 Roeser goes on to give the sounding scales of the other ﬁve clarinets and explains their transpositions.24 However, we are uncertain if his G clarinet is a clarinet d’amour or an alto clarinet because he did not describe the bell shape. (This is a problem that threads its way through most of the discussions of the eighteenth-century clarinet d’amour and alto clarinet.) In 1772, the violinist and composer Louis-Joseph Francoeur (1735–1804) supplements Roeser’s observations in his treatise on wind instruments, stating that “the sound of the large G clarinet is sad and lugubrious suitable for somber effects and funeral pieces.”25 A 1770 inventory of the instruments in the Copenhagen court includes two brown fourth clarinets (“2de brune Qvart-Clarinetter”), suggesting that these instruments are a fourth below C clarinets when transposing their parts; thus they were pitched in F and, if they have a bulb-shaped bell, qualify as clarinets d’amour.26 During 1772 and 1773, Jeremias Schlegel of Basel supplied the Munich court orchestra with two pairs of low sweet clarinets (“tiefe douce Clarinet”) and four dozen reeds.27 The description of these instruments as sweet clarinets suggests that they were Roeser’s G clarinets. Because the instruments and reeds were commissioned by the Munich court, they could be played in pairs for duets or other combinations in an orchestra or wind band. Only two Schlegel clarinets d’amour survive today; no alto clarinets or basset horns by Schlegel are known. The only known clarinet instruction book with a ﬁngering chart and an engraving suggestive of a clarinet d’amour is an anonymous Principes de clarinette published in Paris about 1775.28 The ﬁrst page illustrates a four-key clarinet with an 23. “Celle en G, re, sol est la plus douce espece, Mais on en trouve rarement, parce qu’elle n’est pas absolument necessaire, attendu, que pour jouer en G, re, sol, on peut se server d’autres, comme nous le verrons par la suite.” Roeser, Essai, 2. 24. Roeser, Essai, 4–10. 25. “La grande Clarinette en G-ré-sol, . . . le Son en est triste et lugubre c’est pourquoy on n’en fait usuage que dans les effets sombres et les morceaux funebres . . . .” Francoeur, Diapason général, 23. There is no evidence that Roeser’s G clarinet was a G basset horn; the earliest basset horns in Paris were produced by Gilles Lot and Michel Amlingue during the 1770s; see chapter 2. 26. See Møller, Fløjte, obo, klarinet & fagot, 85–86, 157, n. 215; Himmer, “Den tidlige klarinet,” 167. There is no evidence that these clarinets were basset horns in F; the earliest use of the basset horn in Copenhagen is in J. E. Hartmann’s opera Balders død, which premiered in 1779; see chapter 3. 27. “Für gelieferte 2 Baar tiefe douce Clarinet und 4 Dutzend Clarinet Zungen” quoted by Nösselt, Ein ältest Orchester, 95. Saam also quotes a payment given to Schlegel for one pair of sweet clarinets (“1 Baar douce Clarinet”) in 1773 from the “Hofzahlamtsrechnungen für München im Archive für Oberbayern” in Das Bassetthorn, 47–48. 28. The Principes de clarinette is preserved in the Newberry Library, Chicago, Case folio V 716.715. It is reproduced in Clarinette: méthodes et traités-dictionnaires, 5–11 but misidentiﬁed and misdated. Jean Jeltsch made the suggestion to me in correspondence that the engraving in the Principes de clarinette represents a clarinet d’amour.

16

From the Clarinet d'Amour to the Contra Bass

Figure 1.1. Anonymous, Principes de Clarinette (Paris: [Girard, ca. 1775]).

F/C key similar to other tutors published in Paris.29 The instrument in this chart is similar in appearance to a four-key clarinet d’amour (B-Bruxelles, M931; see ﬁgure 1.5) in G by Jeremias Schlegel, with a wooden barrel instead of a metal crook and a stock-bell with a pear-shaped bell (ﬁgure 1.1). Was the bell in the Principes really pear-shaped, or was the engraver simply illustrating a soprano clarinet? Since other French engravings with ﬁngering charts show a more typical ﬂaring bell of a four-key clarinet, it seems reasonable to assume that the engraver was depicting 29. See the discussion of the development of the four-key clarinet in France from the 1750s through the 1780s, in Rice, The clarinet in the classical period, 25–29. The ﬁngering chart itself is discussed in Rice, “Clarinet ﬁngering charts,” 24.

Clarinet d’Amour and Alto Clarinet and Their Music 17 a clarinet d’amour with a pear-shaped bell.30 Laborde in 1780 repeats the list of instruments given by Francoeur (ca. 1772) and describes the G clarinet as “the lowest and consequently the longest (also called the large clarinet).”31 Vanderhagen in his Nouvelle méthode de clarinette divisée en deux parties (1799) lists a G clarinet in a section regarding transposing clarinets of different pitches and mentions that it is very long.32 A fairly accurate artistic representation of the clarinet d’amour appears as two porcelain ﬁgures dated about 1780 to 1785 that are part of a group of ten instrumentalists. These ﬁgures are located in the Schloss Museum in Jever, Germany; the pair of clarinet d’amour players are simply members of a larger court ensemble. Both musicians are playing instruments with curved crooks (one of which is painted white, probably to indicate an ivory mouthpiece) and bulb-shaped bells. The clarinetists wear gray wigs, white and orange long coats, white shirts, purple and black pants, white stockings, and black shoes with buckles in late-eighteenthcentury style.33 There is an inventory (ca. 1790, ﬁgure 1.2) that lists the instruments used by the musicians of the Thurn and Taxis court in Regensburg, including a G clarinet: 1 B clarinet with two pieces by Schneider (to be played by Schirle) 1 A clarinet, ditto (Schirle) 1 G clarinet with F middle piece [clarinet d’amour or alto clarinet] (Schirle)

30. Compare the engravings in the ﬁngering charts for the four-key French clarinet by Roeser (ca. 1769) and Hotteterre (ca. 1775); the illustrations in Robinet, Suite du recueil de planches (Paris, 1777) for Castillon, “Clarinette”; and in the ﬁngering chart by Abraham (ca. 1782). The ﬁrst two charts and the last chart are included in Clarinette: méthodes et traits; dictionnaires, 38, 43, 67, but misidentiﬁed and misdated. See also my speciﬁc comments in a review of this book in JAMIS 28 (2002), 234–238. I previously identiﬁed the instrument engraved in Principes de clarinette as a soprano four-key clarinet, but renewed examination suggests that it represents a clarinet d’amour. 31. “C’est le plus grave & par consequent le plus long, (on l’appele aussi la grande Clarinette).” Laborde, Essai sur la musique, 250. The Encyclopédie Méthodique. Musique (vol. 1, 1791) repeats this description verbatim. See Lescat and Saint-Arroman, Clarinette: Méthodes et traités-dictionnaires, 65 (this source is misdated 1788). Much of the same information about the G clarinet written by Francoeur (ca. 1772) is repeated in 1813 by Choron in his edition of Francoeur’s treatise entitled Traité general des voix et des instruments d’orchestre; and in Choron and Le Fage, Nouvelle manuel de musique ou Encyclopédie musicale (1838), vol. 2, 36. 32. “Cette Clar. est très longue.” Vanderhagen, Nouvelle méthode de clarinette divisée en deux parties, 71; see Lescat and Saint-Arroman, Clarinette: méthodes et traits; dictionnaires, 271 (this source is misdated 1796). 33. The clarinet d’amour players are nos. 115 and 116 photographed in Sattler, Thüringer Porzellan des 18. und 19. Jahrhunderts. The other porcelain musicians play the violin, recorder, ﬂute, harp, recorder with a dancing woman, cello, trumpet, lute, and a singer. See Sattler, Thüringer Porzellan des 18. und 19. Jahrhunderts, 60, 111–120. I thank Melanie Piddocke for informing him of these porcelain ﬁgures and for sending photos and the catalog descriptions.

18

From the Clarinet d'Amour to the Contra Bass

Figure 1.2. “Inventarium,” Regensburg Court, ca. 1790. Courtesy of Hugo Angerer and Dietrich Demus.

2 Basset horns (Schirle)34 1 B clarinet with two pieces by Schneider (to be played by Waack) 1 A clarinet ditto (Waack) 1 G clarinet with F middle piece (Waack)35 1 B clarinet with A middle piece (to be played by Engel36)37 Another late-eighteenth-century pictorial source from London, which is not nearly as clear as the porcelain ﬁgures in their depictions, appears to illustrate the alto 34. These instruments were to be played by Joseph Schierl II, ﬁrst clarinetist at Regensburg from 1784; see Forkel, Musikalischer almanach für Deutschland auf das Jahr 1783, 102; Färber, “Das Regensburger Fürstlich Thurn und Taxissche Hoftheater und seine Oper,” 102, 119; Weston, More clarinet virtuosi of the past, 224. 35. These instruments were to be played by Wolfgang Wack, second clarinetist at Regensburg from 1784, see Forkel, Musikalischer almanach für Deutschland auf das Jahr 1783, 102; Färber, “Das Regensburger Fürstlich Thurn und Taxissche Hoftheater und seine Oper,” '102, 120; Weston, More clarinet virtuosi of the past, 265. 36. These instruments were to be played by Engelhard Engel, a clarinetist at Regensburg during the 1790s. Engel, Schirl (age 28) and Wack (age 36) were mistakenly listed as clarinetists on an Etat of 1769 by Mettenleiter, Aus der musikalischen Vergangenheit, 270. Färber suggests that this list was probably from the Etat of 1796, see “Das Regensburger Fürstlich Thurn und Taxissche Hof Theater und Seine Oper,” 30; Estock, “A biographical dictionary of clarinetists born before 1800,” 119. 37. “1 B Clarinet: mit doppelten Stücken von Schneider; 1 A Clarinet: ditto; 1 G Clarinet: mit F Mittel Stück; 2 Bassetthorn (Schirle); 1 B Clarinet: mit dop. Stücken von Schneider (Waack), 1 A Clarinet: ditto (Waack); 1 G Clarinet mit F Mittel Stück (Waack); 1 B Clar: mit A: Mittel Stück (Engel).” The manuscript is in the archives of the Thurn and Taxis court, Regensburg. I thank Dietrich Demus and Thomas Grass for sending a copy received from Hugo Angerer, and Thomas Reil for help in reading the writing.

Clarinet d’Amour and Alto Clarinet and Their Music 19 clarinet in two wind bands. It is an engraving of two bands in the “Ceremony from St. James’s to St. Paul’s on Tuesday the 15th December, 1797.” The ﬁrst band is marching while its members play a long drum, side drum, clarinet, longer clarinet, and two horns. The wide shape of the bell suggests that the longer instrument is an alto clarinet, not an oboe. The second band has a drum major followed by marching musicians playing a long drum, four clarinets, bassoon, and French horn. One of the clarinets in the second band is longer than the others and may have been an alto clarinet, judging by the shape of the bell.38 However, there is often some uncertainty in identifying instruments and their characteristics from sketches, paintings, ﬁgurines, or engravings.39 In volume ﬁve (1781) of the Deutsche encyclopädie, an article provides a brief deﬁnition of “Clarinettes d’amour” as newly invented clarinets in G. The name clarinette d’amour is also found in the deﬁnition of the letter G in volume ten (1785), where it is identiﬁed with instruments (actually basset horns) used in two operas by J. C. Bach. This name was occasionally used for the basset horn because of a lack of standardization in terms at this time (see chapter 2). In 1782, the maker Jean Arnold Antoine Tuerlinckx of Malines (Mechlin) listed in his account book a clarinet d’amoer for 20 ﬂorins.40 Since there are surviving clarinets d’amour by Tuerlinckx, it seems reasonable to assume that this is really a clarinet d’amour. In 1793, the Berlin music dealer Johann Carl Friedrich Rellstab advertises “a clarinet d’amour or G clarinet by Grundmann. 2 L’dor [Louis d’or].”41 There is a single extant alto clarinet by Grundmann dated 1775 (described later) but no known clarinets d’amour. Evidence from concerts is helpful in understanding the use of the clarinet d’amour. For example, court musicians in Osnabrück gave a concert on 28 November 1799 featuring concertos for violin, cello, a symphony, and Variationen für Bassethorn und Clarinette d’amour by an unnamed composer.42 The basset horn was played by Johann Georg Rehm, with Carl Müller, also a violinist and clarinetist, playing clarinet d’amour.43 However, in England and France, the G clarinet seems to have been less popular. About 1801, the English writer Busby mentions a G clarinet that is “scarcely ever used, at least in this country.”44 In Michel’s Méthode de 38. Illustrated in Harrison and Rimmer, European musical instruments, ﬁgs. 175a/b. 39. See the points made by Pearson in “18th- and 19th-century iconographical representations of clarinet reed position,” 87, 95. 40. Von Aerde, Les Tuerlinckx, 120. 41. “Eine Clarinette d’Amour oder G Clarinet von Grundmann. 2 L’dor.” Rellstab, “Blase-Instrumente,” CXXIII. 42. See the program given by Bösken in Musikgeschichte der Stadt Osnabrück, 226. 43. See Bösken, Musikgeschichte der Stadt Osnabrück, 210, 225. Müller performed a violin concerto in 1798 and a clarinet concerto in 1799; see also Weston, More clarinet virtuosi of the past, 180, 203. 44. Busby, A complete dictionary, s.v. “clarinet.” According to a manuscript (ca. 1801) entitled “Beschreibung aller alten und neuen musikalischen Instrumente” by the composer, conductor, and teacher Johann Christoph Wilhelm Kühnau, the G clarinet was totally obsolete in Berlin. See Sachs, Handbuch der Musikinstrumentenkunde, 374 n. 3.

20

From the Clarinet d'Amour to the Contra Bass

clarinette (ca. 1801), the G clarinet was among the least used clarinets in a list of transposing clarinets.45 While interest in playing and making the clarinet d’amour diminished throughout most of Europe by 1800, several Italian makers produced clarinets d’amour during the 1810s and 1820s, presumably for military and civilian bands. Italian makers and players of this period seem quite conservative by preferring this older instrument design to the alto clarinet.46 Documentation of the clarone (not the bass clarinet as it was often called from the 1830s) or clarinetto dolce (G clarinet) appears in a manuscript written about 1830 by Johann Simon Mayr, a German composer, teacher, and writer who lived in Venice and Bergamo for most of his life. Another type of clarinet is called Clarone or Clarinetto dolce because its sound is fuller and more veiled than the ordinary clarinet as well as being sweeter. Though it was invented over sixty years ago at Ingolstadt in Baveria, it is only now being introduced in Italy. It gave rise to the invention of the English horn, which it resembles. The pitch in which clarinetti dolci are made is G, with a corps in A, but it does not encompass the same range of the ordinary clarinet.47 Mayr was impressed by the fuller, more veiled but sweeter sound of the G clarinet. His comment explains the attractiveness of the instrument, undoubtedly played in civic wind ensembles and military bands.48 Because Mayr was born in Mendorf near Ingolstadt, it seems likely he spoke to musicians or makers who told him that the clarinet d’amour was invented in Ingolstadt. However, there is no evidence for basset

45. Michel, Méthode, 22. 46. Another wind instrument used in bands that indicates the conservative nature of Italian bandsmen is the keyed trumpet. Published instruction books from the 1820s and 1830s and instruments from the 1830s show that the keyed trumpet continued to be made by Italian makers and played in bands. See Rice, “An Italian translation of Eugène Roy’s method for keyed trumpet,” 41–45. 47.“Un ‘altra spezie di Clarinetto e detto Clarone ossia Clarinetto dolce, perchè il sia suono essendo di folti più velato del Clarinetto ordinario, ed anche piu dolce, cominica ora ad introdursi in Italia, benchè siano di gia passatti più di 60 anni e donde fu inventato a Ingolstadt, in Baviera; e diede poi occasione all’invenzione del Corno-inglese, al quale gli somiglia assaissimo. Le suono in cui vengano fabbricati i Clarinetti dolci si è Gsolreut, con un pezzo di mezzo in Alafa, ed il maneggio n’è lo stesso istesisimo del Clarinetto ordinario.” Mayr, “Di alcuni invenzioni musicali,” fol. 24r. This instrument is not a G basset horn because Mayr also discusses the corno bassetto in this manuscript. I thank Stewart Carter for a copy of the original text, and Elise Magistro for help in translation. Another manuscript by Mayr entitled “Trattatello sopra agli stromenti ed istromentazione” (ca. 1825) includes an entirely different text with nothing concerning the clarinet d’amour. See Mayr, “Trattatello,” 70–81. 48. A connection between Italian makers and bands in Austria was suggested by the late John Henry van der Meer in a 1989 letter to William Maynard. Burney reports hearing “a kind of clarinet” at a concert in Naples on 19 October 1770, but it was not a clarinet d’amour. He identiﬁes the instrument later in the book as being a voce humana or vox humana, a tenor oboe or English horn. See Burney, The present state of music in France, 319; Music, men, and manners, 175; cf. Birsak, The clarinet, 24.

Clarinet d’Amour and Alto Clarinet and Their Music 21 horn makers in Ingolstadt.49 Mayr’s comment that this G clarinet is made with a corps in A is intriguing, but none has been identiﬁed.50 Several nineteenth-century Italian-made clarinets d’amour (most in G) share similarities of construction and are made by Simone Cerino of Turin, Lancé of Turin, Venera of Turin, Castlas of Turin, and Piana of Milan. Most of these instruments include ﬁve keys or additional keys added on saddles or pillars. They are all made with a mouthpiece of dark wood, convex-shaped barrel, brass crook, left-hand joint, right-hand joint-stock, and bulb bell. The barrel is convex in the center for easier grasping by the player, and all include a touch for the A/E key curled back to form a U.51 Other nineteenth-century Italian makers of clarinets d’amour were Franco (unknown city) and Lesti of Ancona. Around 1800, the American maker George Catlin of Hartford, Connecticut, experimented by constructing bassoon-shaped alto clarinets. A newspaper advertisement from 1800 and an unstamped early-nineteenth-century instrument may be associated with Catlin or his workshop (discussed later). In Europe, the Belgian maker Tuerlinckx of Malines constructed at least one early-nineteenth-century bassoon-shaped, unstamped alto clarinet, also probably as an experiment (see later). A unique, experimental ophicleide-shaped alto clarinet was constructed about 1840 by Rudolf Seelhofer of Bern, Switzerland (see later). During the early nineteenth century, the G clarinet continued to be played in Germany, as mentioned by J. G. H. Backofen in his method book for the clarinet and basset horn of about 1803. He devotes a section to the different transpositions required for clarinets made in various sizes in which he states that the G clarinet is “known under the name douce [sweet] clarinet.”52 In 1810, the German teacher and writer Joseph Fröhlich observed that “the low G clarinets are especially suitable for soft harmonie music, and often take the place of the basset horn, which is only one tone lower.”53 In 1816, the composer Louis Spohr heard a performer “upon a clarinet 49. Among the early three-key examples are those made by Dotzell (CH-Genève, IM 142) and Kraus (six examples, see text later). Although their workshops are not documented, it is likely that they both worked in southern Germany, possibly close to Ingolstadt. A woodwind maker in Ingoldstadt that Mayr may have known and who could have made clarinets d’amour is Ignaz Schifferer. He began making woodwinds in 1803; clarinets dated 1806 and 1824 and a ﬂute are documented, see NLI, 354. 50. Only one clarinet d’amour with corps is known (F-Paris, E.374 C.536, ca. 1790–1800), made by Raingo of Mons, Belgium. It is assembled with the upper joint and stock joint stamped “F” and the lower joint stamped “G.” No G alto clarinets with A corps are known. I thank Jean Jeltsch for sending photos. 51. Another Italian clarinet with this trait is a ﬁve-key instrument by Coselschi of Siena (ca. 1810); for a photo, see Lazzari, Strumenti a ﬁato in legno, no. 144. 52. “Bekannter unter dem Namen: Douce-Klarinette.” Backofen, Anweisung zur Klarinette nebst einer kurzen Abhandlung über das Basset-Horn, 35 n. The instruments made by Schlegel during the 1770s were previously called douce Clarinet. 53. “Die tiefen G Clarinetten eignen sich vorzüglich zur sanftern Harmonie Musik, und vertreten hier oft die Stelle der Basset-Horn, welche nur um einen Ton tiefer sind.” Fröhlich, Vollständige Theoretischpracktische Musikschule, 25.

22

From the Clarinet d'Amour to the Contra Bass

in G, in tone and form similar to the G basset horn, with much skill and beauty of tone.”54 Spohr does not describe the bell shape. In Paris, Boileau was one of the few French makers of a G clarinet with a small key (A/E), displayed at the 1819 Louvre Exposition.55 In 1824, Backofen writes in the second edition of his clarinet tutor “G, B, and E clarinets are not in use any longer.”56 By the early nineteenth century, Stengel of Bayreuth and Embach of Amsterdam were making ten-key alto clarinets in F and E, basing their designs on contemporary soprano clarinets and incorporating Müller’s F/C key as constructed on his 1812 thirteen-key clarinet.57 The Russian-born inventor and player Iwan Müller (1786–1854) was the single individual most responsible for the development and further use of the F and E alto clarinets. In 1808, Müller had the well-known maker Heinrich Grenser of Dresden construct an alto clarinet according to his design. By November, Müller had used his new instrument in Leipzig to perform a concerto by Schneider, Variations on a Russian Folk Song (Variationen über ein russisches Volkslied), and a quintet (for basset horn and strings) by Backofen. The reviewer describes Müller’s instrument as an improved basset horn with sixteen keys, but this is an error because the instrument is later described as an alto clarinet. The reviewer was so taken with his “instrument that had sixteen keys and also that each tone was strong, pure and with a similar timbre throughout” that he suggests it should be used to play the basset horn parts in Mozart’s Requiem and in La Clemenza di Tito. He also mentions that an alto clef must be used in its music, which suggests that it was an F alto clarinet.58 On 9 April 1809, Müller performed a concerto of his own on his new and improved instrument in Vienna. Again, the AMZ reviewer in July mistakenly describes the instrument as a basset horn although it is an alto clarinet. It has a compass of four octaves, a brass bell, and so many keys that it had small cushions of leather to reduce the key noise.59 A short article in the AMZ in September 1809 corrected the previous report 54. “Ein Herr . . . blies auf einer G-Klarinette, die in Ton und Gestalt dem G Bassetthorn ähnlich ist, Variationen mit schönem Ton und vieler Fertigkeit.” Spohr, Lebenserinnerungen, vol. 1, 237. 55. “Une grande clarinette en sol, avec petite clef.” Héricart de Thury, Rapport du jury (1819), 194. The petite clef is probably the A/E key of a ﬁve-key instrument. 56. “Die G- H- und E-Clarinetten sind jetzt nicht mehr im Gebrauch.” Backofen, Anweisung zur Clarinette (1824), 41 n. 57. For a description of Müller’s clarinet, see Rice, The clarinet in the classical period, 65–70. 58. “Durch die dem Instrum. gegebenen Klappen—es sind deren sechzehn—kann nun auch jeder einzelne Ton gleich stark, rein, und in gleichem Timbre angegeben werden.” “Nachrichten,” AMZ 11 (9 November 1808), 89–91. 59. “. . . sein Umfang von F der grossen Oktave bis in deas dreygestrichene C, ja auch bis ins dreygestrichene F—also vier volle Oktaven—sich erstreckt. . . . Hrn. M.s Instrument hat auch noch seine messingene Stürze, aber Klappen sind so viele, als bey der Klarinette angebracht; und was bey diesen besonders lobenswerth, sind die kleinen Polster von Leder (Unterlagen) unter jeder Klappe, wo der Finger solche niederdrückt; dadurch ist das widrige Geräusch gehoben, welches sonst beym Druck der Klappe unvermeidlich ist.” “Nachrichten,” AMZ 11 (12 July 1809), [footnote] 653–654. The editor of the AMZ, Friedrich Rochlitz, added this footnote.

Clarinet d’Amour and Alto Clarinet and Their Music 23 by describing the improved basset horn (actually an alto clarinet) played by Müller in Vienna. The reviewer points out that two alto clarinets were constructed by Heinrich Grenser (called “Müllersche Bassethorn”) when he shortened two angled basset horns, one in F and the other in E, making them in the form of the clarinet and removing the lowest basset notes E, D, C, and C.60 On 22 October, Müller performed again, but this time on an improved clarinet by Johann Baptist Merklein, a prominent Viennese maker. The reviewer, however, notes that Müller’s tone on the clarinet was less pleasing than that made on his Grenser alto clarinet, attributing this either to the newness of the instrument or to his reeds.61 After Müller performed a Riotte concerto in April 1810 in Vienna on a Merklein clarinet and his own ﬁrst concerto in June in Munich, he seems to have been inspired to improve Merklein’s instrument, primarily for his own performances.62 As a result, Müller moved to Paris in 1811, where he set up an instrument shop with the assistance of Marie Pierre Petit, a clarinetist and stockbroker, and Boscari, an amateur musician.63 Here he worked on designing his important thirteen-key clarinet, with the assistance of an unnamed maker. After he had completed his clarinet, Müller apparently wanted to build the same mechanism on a new alto clarinet rather than continue to play Grenser’s instruments. After about a year, Müller was successful in making a thirteen-key clarinet and a thirteen-key alto clarinet. In 1812, Müller approached a commission of the Conservatoire Impérial de Musique et de Declamation with the new clarinet and alto clarinet for their review. The eight-member commission regretfully did not accept Müller’s B clarinet because they did not want to give up the unique tonal qualities of C and A clarinets, but they did approve his alto clarinet. Their comments are interesting and revealing. The members initially compare Müller’s alto clarinet to the basset horn. In correcting the ﬂaws of this instrument [alto clarinet] Müller has entirely redesigned the old construction as well as its division of registers; and, in the condition he presents it now it can be played in all tonalities with the same accuracy and exactness as the ordinary clarinet. The sound of this instrument is very pleasing, above all in the medium range. Its usefulness

60. “. . . eben damals als Hr. Gr. Das Müllersche Bassethorn bauete, auch zwey Bassethörner, ein tiefes in F, und ein noch tieferes in Es, beyde in Form einer Klarinette, und mit allen Klappen derselben versehen, fertigen. “Miscellen,” AMZ 11 (13 September 1809), 798–799. 61. “Wenn sein Ton auf diesem Instrumente nicht durchgängig so geﬁel, wie auf dem Bassethorne: so mag vielleicht die Ursache an der Neuheit des Instruments oder des Mundstückblattes liegen.” “Nachrichten,” AMZ 12 (7 February 1810), 298–299. See Harlow, “Two early concertos,” 30. 62. Harlow suggests that Müller made use of a ten-key Merklein clarinet like the example (A-Wien, 326) in Vienna as an instrument upon which he could improve. This is a tantalizing possibility even if it is not supported by additional evidence. See Harlow, “Two early concertos,” 30–31, 37, table 1. 63. See Francoeur, “Rapport fait par M. Francoeur,” 42; Estock, “A biographical dictionary,” 250–254. Müller was not an instrument maker and had to rely on makers to create his designs.

24

From the Clarinet d'Amour to the Contra Bass is principally assured by the fact that it [the alto clarinet] will be to wind instruments what the viola is to stringed instruments: it can be used with equal success in the temples, in theaters, and in concert music. It will be less useful in military music which requires more energetic and forceful sounds. The commission thinks that [the alto clarinet] is deserving of the approval of the Conservatory: it is up to composers who are talented at varying the combinations [of instruments] so as to achieve new effects to add to the delights that art produces with their highly esteemed and rich productions.64

The acceptance and approval of the thirteen-key alto clarinet by the Conservatoire was an impetus to Parisian makers to create similar instruments. Müller continued to advocate his clarinet and alto clarinet (now called an Alt-Klarinette) in performances; for example, he performed in Strasbourg on 10 and 17 December 1817.65 Although very few examples of Müller’s original design for a thirteen-key alto clarinet survive, it was advertised by the Parisian maker Gentellet in the 1819 Almanach du commerce.66 In 1825, Griessling & Schlott of Berlin67 and B. Schott Söhnen of Mainz also advertised Müller’s F alto clarinet.68 Müller states in 1826 that he personally supervised the construction of his improved clarinets by Griessling & Schlott. 69 We may assume that Müller was also available to supervise the construction of his design of an alto clarinet, providing that Griessling & Schlott received an order for an instrument. In 1827, Müller played successful concerts in Saint-Gall, Switzerland, and in Bern, Zürich, and Basel, and is mentioned as a virtuoso on the clarinet and inventor of the

64. “Pour corriger ces défectuositiés, M. Muller a entierement refait l’ancienne construction, ainsi que la division des sons de cet instrument; et, dans l’était oú il le prèsente maintenant, ou peut le jouer dans tous les tons avec autant de justesse et de netteté que la clarinette ordinaire. Le son de cet instrument est très-agréable, surtout dans le medium, et ce qui doit principalement assurer son utilité, c’est qu’il rendra dans la musique des instruments à vent le même service que rend l’alto dans celle des instruments à cordes: on pourra l’employer avec un égal succés, dans les temples, dans les théâtres, et dans la musique de concert: il le serait moins heureusement dans la musique militaire, qui exige des sons plus males et d’une plus forte intensité. La commission pense que cet instrument est digne de l’approbation du Conservatoire: c’est aux compositeurs habiles à en varier les combinaisons de maniere à en obtenir de nouveaux effets et ajouter aux jouissances que produit l’art qu’ils rendent recommandables par leurs riches productions.” See “Rapport fair par la commission,” 593–594. The commission members were the clarinetist and performer Xavier Lefèvre; the composers Eler, Duvernoy, Méhul, Cherubini, Gossec, Catel; and the administrator and founder of the Conservatoire, Sarrette. I thank Carol Pixton for help in translation. 65. See “Nachrichten,” AMZ 20, no. 22 (3 June 1818), 403. 66. Page 138 cited by Wright, Dictionnaire, 35. In 1817, Joseph Fröhlich, the well-known German teacher, conductor, and composer mentions Müller’s Altklarinette built from a basset horn at the end of his long article on Müller improvements to the clarinet; see Fröhlich, “Ueber die Verbesserung der Klarinette vom Hrn. Iwan Müller,” 717–719. 67. “Anzeige,” 28. 68. “Instrumens de musique,” 16. 69. “Ueber Herrn Professor Iwan Müller,” 43.

Clarinet d’Amour and Alto Clarinet and Their Music 25 twelve [sic] key alto clarinet that may be played in all tonalities.70 No doubt, Müller continued to perform in his concerts both on this thirteen-key clarinet and the alto clarinet. However, in 1828, Simiot claims that despite Müller’s efforts, his own design of an alto clarinet is preferable to the basset horn because it has a greater sonority and is better in intonation.71 Simiot also mentions hearing the eminent clarinetist and teacher Frédéric Berr (1794–1838) play his alto clarinet; Berr acknowledged to Simiot that his alto clarinet overcame all the difﬁculties normally encountered in constructing this instrument.72 At the Turkish court of Mahmud II from 1828 to 1839, the low G clarinet, called “as¸k klârneti” (love clarinet), was introduced by the teacher and composer Giuseppe Donizetti Pas¸a (1788–1856, brother of the composer Gaetano), where it was played in Western European repertory and in Turkish tunes, for which its range was particularly convenient.73 In 1829, Gottfried Weber mentions the outstanding character of the seldom-heard G clarinet.74 By the 1830s, French, English, and German makers constructed straight-body alto clarinets for military bands. Many of these instruments feature thirteen keys or more, and all include a metal crook or curved, wooden barrel and ﬂared, wooden bell. Charles Sax in Brussels constructed a decorated and expensive thirteen-key F alto clarinet (D-Berlin, 1830) stamped “1830,” which unfortunately was destroyed in World War II. It was made of ebony with ivory ferrules and gold-plated keys mounted on saddles and on pillars attached to brass plates. The key heads featured decorative rosettes, and the touches had rollers, probably between the F/C and E/B and A/ E and F/C keys.75 In 1836, Choron and La Fage state that the G clarinet was no longer in use, having been replaced by the basset horn.76 The writer and administrator Fétis mentions both the F and E alto clarinets in his 1837 Manuel des compositeurs.77 70. “Saint-Gall. M. Iwan Muller, virtuose sur la clarinette, inventeur de la clarinette alto et de celle à douze clés, pour jouer dans tous les tons, a donné dans le mois de février des concerts dans cette ville et à Bâle avec le plus grand succès.” See “Nouvelles des theaters d’Italie,” 121; Bloesch, Die Bernische Musikgesellschaft, 482–483. I thank Hans Stalder for information. 71. “ . . . preferable au cor de bassette, parce qu’il a beaucoup plus de sonorité; mais jusqu’ici on n’avait pu parvenir à le render juste, et les de Müller meme avaient été infructueux.” See Fétis, “Clarinette-alto de M. Simiot,” 471. 72. “Nous avons entendu sa clarinette-alto, jouée par M. Beer, artiste distingue, don’t le talent est justement estimé, et nouv avons reconnu que le luthier a vaincu la plupart des difﬁcultés de son enterprise.” See Fétis, “Clarinette-alto de M. Simiot,” 471. 73. This band also included E, B, and A clarinets. See Picken, Folk musical instruments, 511. 74. “Augezeichneten Charakter . . . wozu auch das seltnere tiefe G-Clarinett gehört.” Weber, “Einiges,” 38. 75. This instrument would have been a striking contrast to a similarly designed thirteen-key ivory B clarinet (US-NY-New York, 53.223) by Charles Sax dated 1830, with gold-plated keys, rollers, and lion’s heads on each key head. For a description and photo, see Musical instruments in the Metropolitan Museum, unpaginated; see also the Metropolitan Museum’s Web site, http://www.metmuseum.org. 76. “On n’emploie plus la clarinette en sol, mais on peut, lorsque l’on veut obtenir l’effet de cette clarinette, se servir du cor de basset. . . .” Choron and La Fage, Nouveau manuel, pt. 2, vol. 3, 36 n. 1. 77. Fétis, Manuel des compositeurs, 61–62.

26

From the Clarinet d'Amour to the Contra Bass

In 1834, the German writer Marx criticizes the F alto clarinet for lacking the basset horn’s tone color and its two lowest notes of D and C. This is only a large clarinet curved near the mouth-piece, and is also a ﬁfth deeper than the ordinary clarinet (therefore the small e is as the Great A). In this, however, not only the two deep tones of the basset horn are wanting, but also the peculiar and characteristic sounds of the latter instrument are absent. Playing the alto clarinet in the massive military and civilian wind bands now in vogue has become more feasible, and occasionally a conductor may be found willing to employ the alto clarinet in lieu of the basset horn, perhaps, in some degree, from want of players on the latter instrument.78 Further developments occurred during the 1840s. For example, Kastner praised the improvements made to F or E alto clarinets by Adolphe Sax. Since there are no extant alto clarinets by Sax, we can only assume that his improvements were similar to those he made to his bass clarinet.79 That is, he constructed large ﬁnger and tone holes on a wide-bodied instrument, covering these with seven plateau keys and using thirteen keys. Kastner includes an engraving of a thirteen-key F alto clarinet with a downward pointing bell in the section in his plates entitled “Instruments employed today in military music of different nations.”80 The keywork of Kastner’s alto clarinet, with a wraparound register key, resembles that of Simiot’s thirteenkey alto clarinets made from 1828 through the 1840s. Berlioz observes in 1843 that alto clarinets were made in F or E with a compass of e to g3. “It is a very beautiful instrument which ought to take its place in all well established orchestras.”81 In England, there seems to have been a prevailing preference for the basset horn rather than the alto clarinet. Indeed, the alto clarinet was not included among the many instruments found in Porteous’s 1854 publications The Composer’s Musical Atlas and The Band Master’s Atlas. In A Treatise on the Instrumentation of Military Bands (1859), Mandel prefers the basset horn because the alto clarinet lacks the

78. “Es ist dies eine nur oben am Mundstück umgebogene grössere Klarinette, die ebenfalls eine Quinte tiefer steht, wie die gewöhnliche Klarinette (also klein e wie Gross A), aber nicht nur die beiden tiefsten Töne des Bassethorns, sondern auch den eigenthümlichen und karakteristischen Klang desselben entbehrt. Eine etwas leichterer Behandlung hat dieses Instrument in den jetzt so massenhaft besetzten Militair- und Harmoniemusiken eigeführt und schon zeigt sich der und jener Dirigen geneigt (ist auch wohl aus Mangel an Bassethornisten gezwungen), die Alt-Klarinette statt Bassethorns gelten zu lassen.” Marx, Die Lehre von der musikalischen Komposition, 150 (ﬁrst edition published in 1834); cf. English trans. of a similar passage in Marx, General musical instruction, 51. 79. Kastner, Traité général d’instrumentation, 25. 80. “Instruments employés de nos jours dans la musique militaire des différents peoples.” Kastner, Manuel générale, pl. XI. 81. “C’est un très bel instrument qu’on regrette de ne pas trouver dans tous les orchestres bien composés.” Berlioz, Grand traité d’instrumentation et d’orchestration modernes (Paris, 1843), 148; trans. in Macdonald, Berlioz’s Orchestration treatise, 131.

Clarinet d’Amour and Alto Clarinet and Their Music 27 basset horn’s four lowest notes (E, D, C, and C), even though these notes occur in basset horn music very rarely. He did not comment on the difference in tone between the two instruments as Marx had done.82 Terminology The clarinet d’amour was called various names in printed sources and in music. The earliest known music, Gossec’s 1760 Missa pro defunctis (published in 1780 as Messe des morts) includes parts for clarinettes G.83 Jeremias Schlegel of Basel sent an invoice to the Munich court for two pairs of douce clarinet, very likely G clarinets (clarinets d’amour or alto clarinets), and four dozen clarinet reeds in 1772 and 1773.84 In 1782, a clarinet d’amoer was entered in the account book of the Tuerlinckx company.85 In 1793, the Berlin music dealer Johann Carl Friedrich Rellstab advertises “Eine Clarinette d’Amour oder G Clarinet von Grundmann. 2 L’dor” [A clarinet d’amour or G clarinet by Grundmann. 2 Louis d’or].”86 This advertisement implies that the clarinet d’amour was also known under the name of G clarinet. In 1803, the Viennese maker Franz Scholl advertised three different types of instruments called Schollbass, including a G clarinet.87 An Italian term for the clarinet d’amour is clarinetto dolce, used during the 1820s and 1830s by Simon Mayr in his writing and music.88 At the Turkish court of Mahmud II from 1828 to 1839, the low G clarinet, called “as¸k klârneti” (love clarinet), either the clarinet d’amour or alto clarinet, was introduced by the teacher and composer Giuseppe Donizetti Pas¸a.89 Although the alto clarinet was constructed since the 1740s, it was known under the name of G clarinette during the eighteenth century, and it is difﬁcult to

82. Mandel, A treatise on the instrumentation of military bands, 14. During the 1860s, Rudall, Rose, Carte & Co. of London produced all types of woodwind instruments for band use, including alto clarinets. A beautiful example of a rosewood simple system alto clarinet (Smith Collection, New Zealand) has twelve key with rings for L1, L2, and R2, and plateau keys for L3, R1, and R3 with the corresponding satellite keys. I thank David Smith for photos and information. Another early ﬁfteen key alto clarinet (GB-London-H, 14.5.47/172) with rings for L1, L2, R1, R2, and a plateau key for L3 was probably made in France and sold by Higham in Manchester during about 1863. It was only in 1881 that Boosey & Co. in London began to purchase alto clarinets for sale in their shop; in 1882, they began to manufacture alto clarinets. The ﬁrst alto clarinet in the Boosey & Co. workshop book was completed on 13 October 1881. See Carse, The Adam Carse collection, 51, no. 172. White and Myers, “Woodwind instruments of Boosey & Company,” 70. I thank Kelly White and Bradley Strauchen for information. 83. Gossec, “Missa pro defunctis a piu Voce e piu Stromenti.” 84. “Für gelieferte 2 Baar tiefe douce Clarinet und 4 Dutzend Clarinet Zungen,” quoted by Nösselt, Ein ältest Orchester, 95. 85. Van Aerde, Les Tuerlinckx, 120. 86. Rellstab, “Blase-Instrumente,” CXXIII. 87. Scholl, “Anzeige,” 1174. 88. Mayr, “Di alcuni invenzioni musicali,” fol. 24r; Mayr, “Gloria Patri.” 89. Picken, Folk musical instruments, 511.

28

From the Clarinet d'Amour to the Contra Bass

distinguish from the clarinet d’amour, also called a G clarinet. On 23 June 1800, the maker George Catlin of Hartford, Connecticut, advertised tenor clarinets, very likely to have been alto clarinets, in the Connecticut Courant.90 The modern name of alto clarinet became associated with Ivan Müller’s instrument made by Heinrich Grenser. In 1809, Müller performed on a Müllersche Bassetthorn,91 in 1812 a commission from the Paris Conservatory called it a clarinette alto,92 and in 1817 it was described by Fröhlich as an Altklarinette.93 The Parisian maker Gentellet advertised a clarinette à alto in the 1819 Almanach du commerce.94 In 1825, Müller endorsed an “Alto-Klarinette” made to his speciﬁcations by Griessling & Schlott of Berlin.95 The Italian name clarinetto alto is found in a translation of Müller’s important clarinet tutor in 1826, with the comment that this instrument could also be called clarone.96 A unique name, clarinetto viola, is used by Tosoroni in his 1850 instrumentation treatise.97 Makers Makers of clarinets d’amour and/or alto clarinets are presented in chronological order. Length measurements are the entire instrument, including mouthpiece and barrel or crook but not missing sections, unless speciﬁed, sixty-nine extant clarinets d’amour made from about 1740 to 1850 have been recorded (see appendix 1); more than ﬁfty alto clarinets made about 1740 to 1860 have been recorded (see appendix 2).

Walch Georg Walch of Berchtesgaden in southern Germany was a maker of baroque clarinets and the earliest maker thought to have made a clarinet d’amour or alto clarinet. He was born in 1690, apprenticed as a ﬁfe maker from 1706, and was granted his rights as a musical instrument maker in 1716.98 His surviving instruments include tenor recorders, double recorders, schwegel ﬁfes, ﬂutes, one oboe, and several clarinets.99

90. Eliason, “George Catlin (Part 1),” 21. 91. “Miscellen,” AMZ 11 (13 September 1809), 798–799. 92. “Rapport fair par la commission chargée d’examiner la nouvelle clarinette proposée par M. Muller, et la clarinette alto perfectionnée par le meme artiste,” 593–594. 93. Fröhlich, “Ueber die Verbesserung der Klarinette vom Hrn. Iwan Müller,” 717–719. 94. Page 138 cited by Wright, Dictionnaire, 35. 95. “Anzeige” in “Intelligenz-Blatt,” 28. 96. Müller, Méthode pour la nouvelle clarinette (Milan: G. Ricordi, 1826), 2. The text is written in Italian despite the French title. 97. Tosoroni, Trattato pratico di strumentazione, 26–27. 98. NLI, 419. 99. 4900, 247–248.

Clarinet d’Amour and Alto Clarinet and Their Music 29 Birsak believes that the single ﬁnger hole section (A-Salzburg, 18/2b, 1730s–1740s) by Walch is probably an incomplete three-key clarinet d’amour; he compared the length of this section to the ﬁnger hole sections of a four-key alto clarinet by the Stinglwagners (A-Salzburg, 18/5).100 The maker’s mark is stamped “G:WALCH (in a scroll)/(shell).”101

Dotzell Dotzell is one of the earliest clarinet d’amour and alto clarinet makers. He stamped his instruments “I. DOTZELL” in a scroll. The ﬁrst initial has been interpreted to mean “J” as in Johann, although nothing is known about this maker.102 There is a resemblance between Dotzell’s instruments and those made by J. A. Königsberger and J. W. Königsberger, both of Roding in southern Germany. Thus, he may have worked with these makers in southern Germany103 from about 1730 to 1750 or somewhat later. Dotzell’s only extant clarinet d’amour (CH-Genève, IM 142, ca. 1740, ﬁgure 1.3) is a beautiful and carefully turned three-key G instrument. The instrument is plum or fruitwood with horn ferrules. It has six sections: dark wood mouthpiece, barrel, brass crook, two ﬁnger hole joints, and stock-bell with neatly carved bulb-shaped bell.104 The mouthpiece back has a noticeable curve also found on clarinets d’amour by the Stinglwagners.105 Brass keys for A and the speaker are mounted in centermarked square rings, and the key head of the dorsally positioned E/B brass key is mounted in a center-marked rounded ring. The maker wrapped the end of the crook with thread so that the socket of the round barrel would slip easily over the end. The duplicate ﬁnger hole on the stock-bell section positioned for the left little ﬁnger is open and apparently missing the usual wooden or ivory peg to close it. The maker’s stamp is “I. DOTZELL” in a rolled scroll, with the left side rolled underneath, the right side rolled above. Dotzell’s bulb-shaped bell appears more

100. Birsak, Die Holzblasinstrumente, 46. 101. The maker’s mark is photographed in Birsak, Die Holzblasinstrumente, Tafel XVI, 40; Birsak, “Die Holzblasinstrumente der Familie Walch,” 36, no. 5 (May 1985), 4. Later ﬁve-key clarinets make use of the same maker’s stamp and are thought to have been used by a later member of the Walch family, Johann Georg Walch; see Bär, Verzeichnis, Band 5, 62–65. 102. Van der Meer, Wegweiser durch die Sammlung historischer Musikinstrumente, 49; Kirnbauer, Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg, 150. 103. See Wackernagel, Holzblasintrumente, 179, 263, 406–407. 104. The wood type in instrument descriptions refers to body sections. 105. Ross calls this long concave arch a “duckbill” shape and points out its use on two- and three-key clarinets (A-Salzburg, 18/1, 18/2, ca. 1750–1760) by Georg Walch of Berchtesgaden and a three-key clarinet (A-Linz, Mu 26) by the Stinglwagners, as well as some of the Stinglwagner clarinets d’amour. See Ross, “A Comprehensive Performance Project,” 126, 164; Young, Die Holzblasinstrumente im Oberösterreichischen Landesmuseum, 142–143.

30

From the Clarinet d'Amour to the Contra Bass

Figure 1.3. I. Dotzell, southern Germany, 3-key G clarinet d’amour (ca. 1740, Ch-Genève, IM 142).

understated than the more abrupt, squat, and rounded appearance of the bells on his two oboes d’amour (D-Nürnberg, MIR 391; D-München-DM, MU 139).106 Dotzell’s only extant alto clarinet (D-München-DM, MU 292, 1740–1750) is a nicely made example in G, which after restoration plays in A about 410 Hz. It is plum with horn ferrules. It has ﬁve sections: mouthpiece-socket, brass crook (replacement), upper joint, lower joint (replacement), and stock-bell. The bell on this instrument is the normal ﬂared or clarinet-type bell, and the horn ring on the upper section of the right-hand joint is not as wide as that on the clarinet d’amour. However, the turning on the stock-bell and left-hand joint is remarkably similar and includes center marks on the rings for mounting S and A keys; it has a dorsally mounted E/B key (with an old repair extending the length of the touch). The register and A keys include two small decorative arms above a rounded touch formed when cutting the sheet metal. There is a wooden plug for the additional tone hole for the little ﬁnger of the left hand. It has a small hole placed just below the E/B key head to improve tuning.107 The alto clarinet’s mark is the same as the clarinet d’amour.

106. Compare the photos in Kirnbauer, Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg, 151; Wackernagel, Holzblasinstrumente, 178. 107. For a description and photos, see Wackernagel, Holzblasinstrumente, 262–265.

Clarinet d’Amour and Alto Clarinet and Their Music 31

Deper M. Deper, probably from Vienna, was active from about 1740. His extant instruments include oboes, an oboe da caccia, a clarinet, a bassoon,108 and a pair of alto clarinets. This rare pair of alto clarinets (CR-Jihlava, Ji-13/B/22, Ji-13/B/23, ca. 1740) is missing the curved brass crooks and mouthpieces. They have three boxwood sections: upper joint, lower joint, and stock-bell. There are three keys: S, A, and F/C with a swallowtail touch piece; that is, the F/C key may be played by either the right or left little ﬁnger. There is no E/B key on the dorsal side, nor does there appear to have ever been one; thus, these instruments are equivalent in ﬁngering to two-key baroque clarinets. In a recent article, Krejcˇí theorizes that these instruments are pitched in D because there is a letter “D” below the maker’s mark of “M DEPER” on one of the instruments.109 Because each instrument is 79 cm without crook and mouthpiece, with the addition of about 10 cm for a bent brass crook and small mouthpiece, it seems more likely they are made in G or F.

Kraus There are ﬁve extant clarinets d’amour (D-Braunschweig-S, Ck 111;110 D-MünchenDM, Mu 107; D-Sigmaringen, 296, 319;111 J-Hamamatsu, A-0169R).112 The two Sigmaringen instruments are stamped “1” and “2” under the maker’s stamp, indicating that they were constructed as a pair;113 the example in Munich has a “2,” and an instrument lost in World War II in Berlin was stamped “1.”114 Kraus’s clarinets d’amour are made of plum, pear, or boxwood115 and constructed in three body sections: upper and lower joints and stock-bell. They have three keys, with the third key mounted on the back side for the thumb, and all except the Munich example are missing their brass crooks and mouthpiece. The Munich clarinet d’amour is plum with a beautiful grain pattern and horn ferrules. A horn plug is placed for L4 in the

108. See 4900, 62. Stradner suggests that Deper may have been active in Vienna; see “Wiener Instrumentenbau zur Zeit Maria Theresias,” 170. A Deper alto oboe (A-Wien-GM, 149) with a ﬂared bell is preserved in Vienna. Copies are made by the French maker Echochard with the option of a bulb bell as used on oboes d’amour; see http://www.grandhautbois-ﬂutes.com. 109. Krejcˇí, “Oboes da caccia or early clarinets?” 80–81. I thank Jirˇi Krejcˇí for a photo of the back of one of the Deper clarinets d’amour and for information. 110. For a color photo, see Ulferts, Führer durch die Sammlung Historische Musikinstrumente, 47. 111. For a description and photos, see Bär, Die Sammlung der Musikinstrumente, 50–51, 53–54, 186–187. 112. For a brief description and color photo, see Catalog. Hamamatsu Museum of Musical Instruments, 41. 113. Bär, Die Sammlung der Musikinstrumente, 51; clear photos of the stamps appear on 186–187. 114. See 4900, 139. The stock-bell of this Kraus clarinet d’amour survives (D-Berlin 293); I studied this instrument in 1990 and 2005. 115. 4900, 139.

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From the Clarinet d'Amour to the Contra Bass

slanted little ﬁnger hole on the left side of the stock-bell, and all three brass keys have decorative arms above the touches.116 The instrument was restored by Rainer Weber, during which its pitch was determined to be G at about 405 Hz.117 Kraus stamped his instruments “I:KRAVS✤” in a scroll slanting downward from left to right. The clover leaf is clearly shown on the Munich instrument. On other instruments, the last character is worn and is interpreted by some to be the letter “e.”118 Although nothing is known about this maker, Heyde found that measurements from woodwinds made in Baden and Switzerland are similar to Kraus’s instruments, suggesting that he may have worked in southern Germany or Switzerland.119 Bär notes that the Sigmaringen Kraus instruments are similar in design, turning, and decoration to a four-key clarinet d’amour (D-München-DM, Mu 115) by the Stinglwagners of Triftern.120 Thus, he suggests that Kraus was active in southern Germany, close to the Stinglwagners121 from about 1735 to 1750.

IP There are two extant three-key clarinets d’amour (D-Nürnberg, MI 131; D-Hamburg, 1926, 406) by this little-known maker whose stamp is “IP.”122 The Nuremburg instrument is maple with horn ferrules. There are ﬁve sections: mouthpiece-socket, brass crook, upper and lower joints, and stock-bell. It has an E/B key positioned for the thumb and an alternate ﬁnger hole for L4, ﬁlled with a brass plug. Early construction characteristics include ﬂat springs attached to the wood and guidelines in the center of three rings. There is also a concave proﬁle on the back of the mouthpiece similar to that found on a three-key alto clarinet (D-München-DM, MU 292, ca. 1740) by Dotzell.123 The keys are made in a similar manner to those on the pair of clarinets d’amour (D-Sigmaringen) by Kraus. Based on these characteristics, Bär suggests that the Nuremberg clarinet d’amour was made in southern Germany or in the Alps in the middle of the eighteenth century.124 116. See the description and photos in Wackernagel, Holzblasinstrumente, 258–261. 117. Wackernagel, Holzblasinstrumente, 260. 118. Heyde, Historische Musikinstrumente im Bachhaus Eisenach, 239, 291; Bär, Die Sammlung der Musikinstrumente, 50, 53. See the clear photo of the stamp on the clarinet d’amour (D-München-DM, Mu 107) in Wackernagel, Holzblasinstrumente, 260. The stamps on four bassoons by Kraus add one or two tulips above and below the maker’s stamp; see 4900, 140; NLI, 215. 119. Heyde, Musikinstrumentenbau, 81. Wackernagel also assigns a workplace of southern Germany or Switzerland to Kraus; see Wackernagel, Holzblasinstrumente, 259. 120. See the photo of the front and back sides of a Stinglwagner clarinet d’amour in Young, The look of music, 97, no. 102; Wackernagel, Holzblasintrumente, 266. 121. Bär, Die Sammlung der Musikinstrumente, 52. 122. A three-key B clarinet (GB-Edinburgh, 5167, Ex Shackleton) stamped “IP” is preserved in Edinburgh; for a description and photos, see Shackleton Collection, 187. 123. See Bär, Verzeichnis, Band 6, 22–23; Wackernagel, Holzblasinstrumente, 264. 124. Bär, Verzeichnis, Band 6, 20–27.

Clarinet d’Amour and Alto Clarinet and Their Music 33 The body sections of the Hamburg clarinet d’amour are made of light boxwood with horn ferrules and are very similar to the Nuremberg example. Its ﬁve sections include a similar mouthpiece-socket with a darker color for the lower rounded socket, brass crook, upper and lower joints, stock-bell, and an alternate ﬁnger hole for L4 ﬁlled with a brass plug.125

The Stinglwagners During the mid-eighteenth-century, Johann Michael Stinglwagner (1709–1771) made woodwinds in Triftern, a small town in southern Germany. In 1775, at his second marriage, his half-brother Joseph Stinglwagner (1726–1805) was described as a musical instrument maker.126 They produced a large variety of woodwinds, presumably using the same maker’s stamp, specializing in clarinets with three to ﬁve keys, clarinets d’amour (eleven), and alto clarinets (six), three each having three and four keys (see appendices 1 and 2).127 Of the clarinets d’amour, there are two with three keys, six with four keys, one with ﬁve keys, and one with six keys. They are stamped with the initials “I T S W,” an abbreviation for Ioseph (Joseph or Johann) STinglWagner. One three-key clarinet d’amour (A-Salzburg, 18/4) is unique in that the stamp spells out Joseph Stinglwagner’s ﬁrst name “✶✶✶/✶IOSEPH✶/✶ T S ✶ ✶W✶” on the upper joint and “ TRIFFTERN ” on the stock-bell. There are also three stars at the end of the lower joint and on the top of the stock-bell as a guide for alignment.128 A threekey G clarinet d’amour (D-Nürnberg, MIR 461) has a large spherical barrel with sockets at both ends for the mouthpiece and the brass crook. According to Bär, the barrel was added later and represents an adaptation to ﬁt a late-nineteenth-century or early-twentieth-century mouthpiece.129 The addition of keys on these clarinets d’amour follows the same pattern as the soprano clarinet. That is, a fourth key for A/E was popular among German makers, and Parisian makers favored F/C for the fourth key.130 A good example of a fourkey German clarinet d’amour (CH-Basel, 1956.397, ca. 1770, ﬁgure 1.4) is by Stinglwagner. It is plum with horn ferrules. There are ﬁve sections: mouthpiece with a small ring at its end and a socket, brass crook, upper and lower joints, and stock-bell. The back of 125. For a description and photo, see Schröder, Verzeichnis der Sammlung alter Musikinstrumente, 80, abb. 19; for a larger photo, see Kroll, The clarinet, ﬁg. 16. 126. NLI, 387. This workshop made ﬂutes, oboes, English horns, bassoons, and rackets. They were the only eighteenth-century makers to make basset horns in addition to clarinets d’amour and alto clarinets. See 4900, 229–230. 127. See also 4900, 230. 128. I studied this instrument in 1988; see the description in 4900, 229, under clarinets, Y1; for photos of the stamps, see Birsak, “Die Holzblasinstrumente der Familie Walch,” 36, no. 6 (June 1985), 4. 129. Bär, Verzeichnis, Band 6, 29–31. 130. See the evidence for the addition of these keys on clarinets in France, Belgium, and Germany in Rice, The clarinet in the classical period, 25–37.

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From the Clarinet d'Amour to the Contra Bass

Figure 1.4. Stinglwagners (IS TW), Triftern, 4-key G clarinet d’amour (ca. 1770, CH-Basel, 1956.397).

its mouthpiece is curved in a long concave arch. Most clarinet d’amour mouthpieces, such as this example, were built with a socket rather than a tenon for placing onto the end of a curved metal crook, wrapped in thread. The upper section includes wide, square-shaped rings with center lines for mounting the S and A keys. The stock-bell includes rounded rings with center lines for mounting the A/E and E/B keys. There is a double wing-shaped touch for the A/E key, and the E/B key is dorsally mounted for operation by the thumb. The shape of the A/E touch and the position of the E/B key allow either hand to be placed on the lower section, in the same manner as found on many three-key clarinets131 and clarinets d’amour. A three-key A or high-pitched G alto clarinet (A-Salzburg-C, XVIII/1, ca. 1770) by the Stinglwagners is similar in construction to the Dotzell alto clarinet. It is plum 131. Rice, The baroque clarinet, 55–56.

Clarinet d’Amour and Alto Clarinet and Their Music 35 with horn ferrules. It has six sections: boxwood mouthpiece, barrel, brass crook, upper and lower joints, and bell. Its E/B key is positioned on the dorsal side for the thumb; the instrument is 68 cm long.132

Anonymous An anonymous, beautiful three-key alto clarinet (US-NY-New York, 1995.253, ca. 1770) made in southern Germany has its E/B key originally made for L4, as in later alto clarinets and clarinets d’amour. It has ﬁve boxwood sections: mouthpiece (missing), brass crook, left- and right-hand joints, and stock-bell. The turning of this instrument, particularly the shape of the ﬂaring bell, resembles the Stinglwagner alto clarinet in Salzburg (A-Salzburg-C, XVIII/1).133

Rockobauer From 1764, Mathias Rockobauer (ca. 1708–1775) was active as a supplier of reeds for oboe, English horn, and bassoon to Haydn’s orchestra in Esterhaza. He constructed a number of different woodwind instruments,134 of which two clarinets d’amour are known. A three-key F clarinet d’amour (A-Wien-GM, 130, ca. 1770) is maple with horn ferrules and ﬁve sections: mouthpiece, brass crook, upper and lower joints, and stock-bell. The E/B key is positioned for the left-hand little ﬁnger, and there are rather wide rings for mounting the S and A keys. The length is 87.4 cm; the maker’s stamp is “R.PAUR (in a scroll)/M.” A three-key F clarinet d’amour (A-Wien-T, 131, ca. 1770) is very similar. It has three keys, a length of 89 cm, and a maker’s stamp “✶/R.PAUR (in a scroll)/M.”135

The Rottenburghs Godfridus Adrianus Rottenburgh (1703–1768) established his workshop in Brussels about 1744. He made all types of woodwinds of very high quality; his workshop was continued by his younger son, Franciscus Josephus Rottenburgh (1743–1803), who married in 1770 and was appointed a woodwind repairer and maker at court in 1772.136 The Rottenburgh six-key clarinet d’amour (B-Bruxelles, M2595, ca. 1785) was probably made by Franciscus Josephus. Its date is suggested by the mounting of 132. For a photograph, see Birsak, The clarinet, 32, pl. 7. 133. A photograph without the brass crook is in Important musical instruments including the Van Zuylen collection of early instruments, p. 51. This instrument was studied by me. Cf. a photo of the Stinglwagner alto clarinet in Birsak, The clarinet, 32, pl. 7. 134. See NLI, 24. 135. Cf. the descriptions in 4900, 19; I thank Peter Donhauser for sending a photo of GDM 130. 136. NLI, 337. Thirty-eight woodwinds are described by Tilmans, “Catalogue des instruments Rottenburgh.”

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From the Clarinet d'Amour to the Contra Bass

the S and A keys in blocks and by the pear-shaped bell, which is similar to a clarinet d’amour by Raingo of Mons. It is stained dark brown boxwood with ivory ferrules. There are six sections: small boxwood mouthpiece with an ivory ring at its end and a socket, very long brass crook, left- and right-hand joints, stock, and pear-shaped bell. The upper half of the touch piece for F/C is broken off, and the sixth key is for F/C. Its long right-hand joint required the maker to mount an F/C key. The 85.5cm length suggests a G or high-pitch F tonality. The maker’s stamp on the left- and right-hand joints is “G.A./ROTTENBURG/✶.”137 Franciscus Josephus Rottenburgh continued to use his father’s stamp and the initials “G.A.,” as documented by an advertisement in a 1784 issue of the Gazette de Bruxelles.138 A second earlier example of a clarinet d’amour in A by F. J. Rottenburgh is described in the small-size clarinet d’amour section later.

Schlegel Jeremias Schlegel (1730–1792) or Schlögl of Basel trained with his father, the woodwind maker Christian Schlegel (ca. 1667–1746). Schlegel was a bassoonist and a ﬂutist in the local Collegium Musicum; he began to make bassoons, oboes, and ﬂutes in 1759. By 1763, he was recognized as a woodwind maker and manufactured a number of instruments, including clarinets and chalumeaux. In 1772, Schlegel supplied a pair of ﬂutes and clarinets to the Munich Court.139 Two unmarked ﬁve-key G clarinets d’amour (D-München, Mu 106, Mu 113, ca. 1770) are attributed to Schlegel. Each clarinet d’amour is dark-stained plum with horn ferrules and a serrated brass bell ring. There are ﬁve sections: mouthpiece with a small ring at the socket, brass crook, upper and lower joints, and stock-bell.140 The keys are for S, A, and two A/E keys on either side of the E/B key, for optional use of the right or left hand lower most.141 This use of two A/Ekeys gives the same right or left hand option as found on three early basset horns and two basset clarinets that include two A/E keys on either side of an F/C key.142 The player of these clarinets d’amour must turn the stock-bell to the desired angle when choosing the hand uppermost; the basset horn players simply place the hand desired in the

137. For a photograph, see Bragard and De Hen, Musical Instruments, 188. This instrument was studied by me in 1990. I thank Luigi Magistrelli for a recent photo of this instrument. 138. NLI, 337. 139. NLI, 354. 140. For a photograph, see Dullat, Klarinetten, 271, Abb. 184; for photos and a description see Wackernagel, Holzblasinstrumente, 271–276. 141. Both clarinets d’amour originally had two A/E keys; see the restoration report in Weber, “Liebesklarinetten,” 36–41. 142. The use of two A/E keys is found on several basset horns and a pair of basset clarinets (F-Paris, E.190 and E.199) marked “AS.” See Shackleton, “The earliest basset horns,” 20, table 3; Rice in Lawson, Mozart, clarinet concerto, 88.

Clarinet d’Amour and Alto Clarinet and Their Music 37

Figure 1.5. Jeremias Schlegel, Basel, 4-key G clarinet d’amour (ca. 1775, B-Bruxelles, M931).

correct position. These instruments also carry extensions at the upper ends of the E/B levers that suggest they originally had corps de rechange for tuning in F.143 An elegantly crafted four-key G clarinet d’amour (B-Bruxelles, M931, ca. 1775) by Schlegel is stained fruitwood or boxwood with ivory ferrules. It has four sections: mouthpiece with ivory socket attached to a barrel, right- and left-ﬁnger hole sections, and stock-bell with a slightly ﬂared pear-shaped bell (ﬁgure 1.5). The keys are S, A, F/C, and E/B, and all have ﬂat brass springs soldered to the underside. Its fourth key for F/C (rather than the more common A/E key) is unusually placed on the dorsal side, which requires a long lever positioned for the right thumb. It is mounted in the swelling on the stock-bell, which includes an unusually large ivory ferrule surrounding the F/C tone hole, similar to Schlegel’s ﬁve-key clarinet (D-Bonn, 137).144 The long lever for the E/B key is positioned for L4 and also mounted in the swelling of the stock-bell. Its unstamped mouthpiece-socket has a large ivory ferrule and may be a replacement or a repair of a damaged barrel section now attached to the mouthpiece. Schlegel’s stamp is on the left-hand section and bell as “✱/SCHLEGEL/A:BALE.”145 143. I am grateful to Jean Jeltsch for information. 144. See the photo in Zimmermann, Von Zinken Flöten und Schalmeien, 51. 145. See the various Schlegel stamps reproduced in 4900, 212–214. This instrument was studied by me in 1990.

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From the Clarinet d'Amour to the Contra Bass

Both rings on the upper section bear decorative center marks to guide the boring for the fulcrum pins. Double scribe lines mark the position of the fulcrum pins to mount the F/C and E/B keys, as found on ﬁve-key clarinets by Tölcke and Proff. It is noteworthy that double scribe lines were illustrated in the engraving of a fourkey clarinet in the 1777 Suite du recueil de planches illustrating Castillon’s clarinet article in the Encyclopédie (1776).146 Two later repairs are noticeable. The diameter of the upward-slanting thumb hole was adjusted by the insertion of a piece of ivory, and the round key head for the E/B key was originally square to match the square seating around the tone hole. This instrument suggests that during the 1770s Schlegel exported instruments to France with a design popular in Paris. It is also one of the few four-key clarinets d’amour with an F/C key instead of a fourth key for A/E. A ﬁve-key F clarinet d’amour (F-Paris, E.1049 C.1135, ca. 1785) by Schlegel is handsomly constructed with a smooth and pleasing design similar to his four-key clarinet d’amour. It is boxwood with boxwood and brass ferrules. There are ﬁve sections: a small dark-wood mouthpiece with a brass ferrule, curved brass crook, left- and right-hand sections, and a stock-bell. The ﬁve keys are those common to most late eighteenth-century clarinets: S, A, A/E, F/C, and E/B. Because this instrument is 84.8 cm long, there is a raised metal tube in the F/C tone hole for R4, allowing the performer an easier reach for this ﬁnger hole. The lever of the F/C key is supported by a small brass saddle just below the groove where the lever is inserted in the bulge on the stock.147 A pitch letter “F” is stamped on the left- and right-hand sections and the stock-bell. There are decorative diagonal lines on the lower half of the key covers on each key head. The maker’s mark “(ﬂeur-de-lis)/ SCHLEGEL/A: BALE” is stamped on the upper joint; the lower section has the same stamp with two crossed swords substituted for the ﬂeur-de-lis.148

Löhner Friedrich Löhner I (1737–1816) was the son of a turner and became a master maker in 1752. On his marriage in 1764, he is described as a maker of oboes, ﬂutes, and bassoons.149 Two instruments have been attributed to Löhner by Bär, who notes a similarity in turning, particularly of the stock-bells, to a four-key alto clarinet (D-Braunschweig-S, Ck 112, ca. 1760) by F. Lehner, whom he identiﬁes as Friedrich Löhner I.150 The ﬁrst is a four-key clarinet d’amour (D-Nürnberg, MIR 463, ca. 1760) in A or G. It is plum, with a sounding length of about 77.7 cm. There are ﬁve 146. Robinet, Suite du recueil, 144, planche IV, ﬁgs. 17 and 18. 147. A saddle reduces the side motion of this key more effectively than a wooden block. 148. See 4900, 213. I studied this instrument in 2005. 149. NLI, 239. 150. Bär, Verzeichnis, Band 6, 37; cf. NLI, 239.

Clarinet d’Amour and Alto Clarinet and Their Music 39 sections: mouthpiece (boxwood) with a small ring forming a socket, brass crook with a platform at the end against which the mouthpiece can rest, left- and righthand sections, and a stock-bell. Originally, the instrument had three keys with the E/B positioned for the right thumb, but the second ﬁnger hole for L4 is ﬁlled with dark material, and an A/E key was added into a groove on the stock-bell.151 The second unstamped clarinet d’amour (D-Nürnberg, MI 130, ca. 1760) attributed to Löhner is in A or G. It is made of fruitwood with a length of about 77.3 cm. This four-key instrument is very similar to the second example just mentioned. It originally was a three-key instrument with the E/B positioned for the thumb, but it now has a fourth key added for A/E. It includes a small ivory mouthpiece with a ring forming a socket and a brass crook with a platform at the end, against which the mouthpiece rests.152 An alto clarinet (D-Braunschweig-S, Ck 112, ca. 1760) stamped “F.LEHNER/FL” is considered to be made by Friedrich Löhner I.153 This attractive instrument is constructed of stained boxwood. There are ﬁve sections: mouthpiece (missing), brass crook, left- and right-hand joints, and a stock-bell. It has four keys: S, A, A/E, and E/B; the A key may be a replacement.

IF A maker who stamped his instrument “IF” in a scroll is known by one clarinet d’amour and a section of another. A G clarinet d’amour (SF-Turku, 25, ca. 1770–1780) is boxwood with horn ferrules. There are ﬁve sections: mouthpiece with a large horn ring, brass crook, upper and lower joints, and stock-bell. There are four keys: S, A, A/E, and E/B, with the ﬂat springs attached to the wood; an alternate seventh tone hole for L4 and the E/B key is located on the back of the instrument. The length of the instrument is 81.5 cm, and the bore varies between 12.90 cm on the lower joint to 14 cm at the bottom of the crook.154 One section stamped “IF” is part of a four-key Stinglwagner clarinet d’amour (CH-Basel, 1956.397); it is boxwood with boxwood ferrules. There are ﬁve sections: mouthpiece with socket, brass crook, upper and lower joints, and stock-bell. The color of the wood of the right-hand section is lighter than the other sections.155 The left-hand section and stock-bell are stamped “ISTW/✷✷”; the right-hand section is stamped “IF (in a scroll)/✷ ✷.”156 It is possible that the maker IF worked with the 151. Bär, Verzeichnis, Band 6, 35–42. 152. Bär, Verzeichnis, Band 6, 43–49. A full report of the restoration of this instrument with several x-rays is given by Martius and Leonard, “Eine anonyme Liebesklarinette.” 153. For a description and photos, see Schröder, Verzeichnis der Sammlung alter Musikinstrumente, 9, 32; Ulferts, Führer durch die Sammlung Historische Musikinstrumente, 47, 92. 154. I am grateful to Marketta Kivimäki for sending the description. 155. For a photo see Kirnbauer, “Die Rohrblattinstrumente,” 67. 156. I am grateful to Martin Kirnbauer for sending the description.

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From the Clarinet d'Amour to the Contra Bass

Stinglwagners and on this instrument replaced a missing or damaged right-hand section.

Grundmann Jakob Friedrich Grundmann (1727–1800) was active in Dresden from 1753 as a maker of all types of woodwinds, specializing in oboes. Beside six basset horns and two clarinets,157 one four-key alto clarinet (F-Arnouville-Lès-Gonesse) is preserved. It is boxwood with boxwood ferrules. There are ﬁve sections: mouthpiece (missing), straight barrel, left-hand joint, right-hand joint (reconstructed by Jean Jeltsch), and a long stock-bell (web photo 1). This unusual alto clarinet is very long, at about 84.5 cm without its mouthpiece; the diameter is between 15.9 and 16 cm. With a mouthpiece made by Jean Jeltsch based on data calculated from measurements of a four-key D clarinet (F-Paris, E.922.2.1) by Geist, the pitch produced is G at about 422 Hz. It is stamped “1775” and has the German A/E as its fourth key. The maker’s stamp on the barrel and left-hand joint is “(crossed swords)/GRU DMA /DRESDEN/1”; on the stock-bell “(crossed swords)/GRU DMA /DRESDEN/1775.” The backward N occurs because the maker used separate stamp letters at this time and mistakenly struck the N backward.158

Königsberger Franz Königsberger (d. ca. 1805) began working as an instrument maker in Roding about 1774, the year of his marriage. He was the son of either Johann Wolfgang Königsberger (d. 1752) or Johann Georg Königsberger (ca. 1714–ca. 1765).159 Franz Königsberger’s extant instruments include a bassoon and a seven-key basset horn (D-Berlin, 578, ca. 1780) stamped “.F./.KONIGSPER./.GER./.RODING./✶.”160 Franz Königsberger is among the few makers known to have made basset horns and clarinets d’amour. Königsberger’s G clarinet d’amour (D-München-DM, 18869, ca. 1780) is maple with horn and maple ferrules. There are six sections: a very small boxwood mouth157. See 4900, 112–116. 158. The late collector Sir Nicholas Shackleton purchased a B clarinet (GB-Edinburgh, 4899, Ex Shackleton, ca. 1780) by Theodore with an A corps de rechange in a unique leather-covered wooden case with red interior. It includes two sections, the upper built with spaces for two mouthpieces, two barrels, left- and right-hand sections assembled for a B clarinet, right-hand section (for A clarinet) assembled with stock-bell, and left-hand section (A clarinet); the lower section has spaces for an alto clarinet in G (similar to the Grundmann alto clarinet); two mouthpieces, straight barrel, left-hand section, and stockbell. I thank Denis Watel for allowing me to examine his Grundmann alto clarinet in 2005, for photos, and for information. I studied the case owned by Shackleton in 2005. 159. NLI, 211. 160. For a description and photos, see Ruhland, Musikinstrumente aus Ostbayern, 117–118; 4900, 139; Sachs, Sammlung alter Musikinstrumente, Tafel 29.

Clarinet d’Amour and Alto Clarinet and Their Music 41 piece, horn barrel, brass crook, left- and right-hand joints, and stock-bell. There are four brass keys: the S and A keys have springs against the wood; the A/E and E/B keys have springs against the key. Originally postioned for the thumb, the E/B key is now for L4; a second double hole for R4 is now turned to the dorsal side of the stock-bell and ﬁlled.161 The stamp “.F./.KENIGSPER//.GER//.RODING./✶” is similar to the one used on the Berlin basset horn, but that instrument uses the spelling Königsperger.162 This instrument includes the letter “G” stamped on the right-hand and stock-bell joints, probably for aligning the joints, as is also found on the Königsberger basset horn.

The Gehrings There are two extant four-key G clarinets d’amour (D-Berlin, 84, 85, ca. 1780) attributed to Johann Christian Gehring (1722–1791) or his son Heinrich Gottfried (1762– 1811), both of Leipzig. The fourth key is A/E, as is found on many German-made clarinets of the period. They are considerably plainer than Schlegel’s four-key instruments and consist of dark-stained boxwood with boxwood ferrules. There are ﬁve sections: mouthpiece (missing), brass crook (missing), left-hand section with an integral barrel, right-hand section, and stock-bell. Following the German practice, these instruments feature double holes for L3 and R1 to facilitate ﬁngering.163 A double hole for L3 used for playing c1 and g2 is found on a few contemporary four-key clarinets such as one (D-Leipzig, 1472, stamped “1777”) by August Grenser. A double hole for R1 is much rarer but useful for playing b or f2 as is found on an anonymous pair of basset horns (A-Kremsmünster, ca. 1760–1765) and a few nineteenth-century clarinets. The stamp “1788” is on a Gehring ﬁve-key clarinet (D-Berlin, 520), now lost, and the stamp “RING” is readable on the stock-bell joint of only one clarinet d’amour (DBerlin, 84). It is very likely to mean GEHRING, according to Curt Sachs.164 A stamp cannot be found on the second instrument (D-Berlin, 85), but its surface has been blackened by what appears to be ﬁre (web photo 2).165 The fact that both Gehring instruments survive in the same collection suggests that they may have been ordered from the maker as a pair, as exempliﬁed in the 1770 invoice for two brown fourth clarinets ordered for the Copenhagen court orchestra. 161. The notes concerning this instrument from the Deutsches Museum indicate that the restoration was completed by Rudolf Tutz on 4 February 1975. I thank Silke Berdux for access to the Museum’s ﬁles in 2005, when I studied this instrument. 162. See 4900, 139; cf. Seifers, Die Blasinstrumente im Deutschen Museum, 84; see also the description and photo in Ruhland, Musikinstrumente aus Ostbayern, 117–118. 163. Photographed and discussed in Rice, “The clarinette d’amour,” plate VII, 98; a description and color photograph is in Restle and Fricke, Faszination Klarinette, 77. 164. Sachs, Sammlung alter Musikinstrumente, 295. An illustration of the stamp on a Gehring oboe (US-MA-Wilbraham) shows “(ﬂeur-de-lis)/GEHRING/✶”; see Howe, “Les Hautbois Historiques,” 18. 165. These instruments were studied by me in 1990 and 2005.

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Frölich Simon Frölich (1736–1790) was born in Köhler close to Dettelbach, married in 1761, and in 1777 was mentioned as a turner and a shopkeeper in Weinbergen.166 It is not known where or from whom he learned woodwind making. After his death, a notice written by his eldest son, Georg Frölich, in the Fränkischen Intelligenzblat für das Jahr 1791 stated that “all types of woodwind instruments made by his father several months before his death are for sale.”167 Surviving instruments stamped “S. FRÖLICH/DETTELBACH” are a ﬁve-key clarinet d’amour (D-Nürnberg, MI 151, ca. 1790) and a four-key bassoon.168 The clarinet d’amour is fruitwood with horn ferrules. There are six sections: a dark wood mouthpiece with a ring socket, brass crook, left- and right-hand joints, stock, and bell (missing). According to an inventory of the Nuremberg musical instrument collection about 1872, a missing, large brass bell was engraved “Gemacht in Coburg 1791” (made in Coburg 1791).169 The bell was not originally made by Simon Frölich, who died in 1790; the place stamped on the bell contributed to the confusion about where this maker worked. Other woodwind instruments (ﬂutes, clarinets, and bassoons) by Frölich were stamped “G. FRÖLICH” (probably Simon’s younger brother Johann Georg Frölich) and “I. FRÖLICH” (Johann Frölich, 1791–1838, probably a son of Johann Georg Frölich).170

Proff Jean Chrestien (or Christian) Proff (1754–1810) was active in Tours about 1780. He was married in 1782. His workshop produced several types of woodwinds, and he was succeeded by his son François-Xavier Proff (1783–1851). After François-Xavier’s 1807 marriage, he established his own shop in Tours after 1816. Two different stamps are associated with these makers: for Jean Chrestien Proff “✯/PROFF/A TOURS/(sunburst)”; for François-Xavier Proff “✯/PROFF/A TOURS/(sunburst with multiple points).”171 166. Bär, Verzeichnis, Band 6, 54–59; Kiefer, “G.?I.?S.? Fröhlich Anmerkungen.” I thank Thomas Kiefer for including information from his unpublished article. 167. “Alle Arten von blasenden aus Holz gemachten Instrumente, welche sein vor einigen Monaten verstorbener Vater bearbeitet und . . . verkauft hat.” Fränkisches Intelligenzblatt für das Jahr 1791, Nürnberg in der Rawischen Buchhandlung, I. Stück, Seite 3; cited by Kiefer, “G.?I.?S.? Fröhlich Anmerkungen.” 168. See 4900, 83. The correct reading of the maker’s stamp is shown in a photo by Bär, Verzeichnis, Band 6, 58. 169. 4900, 83; Bär, Verzeichnis, Band 6, 56; Kiefer, “G.?I?S.? Frölich Anmerkungen.” 170. Kiefer, “G.?I?S.? Frölich Anmerkungen.” 171. Sallaberry, “Catalogue de la collection d’instruments,” 106–115. This source includes photos of the homes/workshops of both Proffs, a family tree, details of family members, the death notice of Jean Chrestien Proff, a portion of the marriage certiﬁcate of François-Xavier Proff, and the death notice of François-Xavier Proff. The instruments from which the stamps were photographed are not identiﬁed. I thank Xavier Sallaberry for information.

Clarinet d’Amour and Alto Clarinet and Their Music 43 Two alto clarinets are extant. One (F-Paris-S, ca. 1790–1800) by J. C. Proff is stained boxwood with ivory ferrules. There are six sections: mouthpiece (missing), long barrel with a curve of about 45 degrees, left- and right-hand joints, stock, and bell. There are the usual ﬁve keys with square key heads; the S and A keys are mounted in rings with center marks. Its length of 74 cm and bore diameter of about 15.5 cm suggest a pitch of G. A second unstamped ﬁve-key alto (F-Paris-L) is quite similar to the Proff in the Selmer collection. It includes horn ferrules except for an ivory bell rim.172 A third, stamped Proff ﬁve-key alto clarinet was in Berlin (D-Berlin, 2894) but was destroyed during World War II.

The Tuerlinckxes The Belgian maker Jean Arnold Antoine Tuerlinckx (1753–1827) established his workshop in Malines (Mechlin), Belgium, in 1782. Corneille Jean Joseph Tuerlinckx (1783–1855) succeeded his father and continued manufacturing woodwinds and brasses in two different factories until about 1840.173 The ﬁrm made many different types of woodwinds including clarinets d’amour in 1782, 1784, 1787, and 1789, some pitched in F with G corps (in Dutch, stukken) to enable a whole tone pitch change.174 Unfortunately, no corps de rechange survive with extant Tuerlinckx clarinets d’amour. This ﬁrm exported instruments to London, Württemberg, Salzburg, and Paris, among other cities.175 Only two clarinets d’amour from the Tuerlinckx workshop are known. One is a six-key G clarinet d’amour (B-Bruxelles, M2598, ca. 1800) in boxwood with boxwood ferrules. There are six sections: black wood unstamped mouthpiece, curved barrel, left- and right-hand joints, stock, and bell. It has a sixth key for F/C, it is 79 cm long, and the ﬂat springs are soldered to the underside of each key.176 The barrel, right- and left-hand sections, and bell are stamped “2/TUERLINCKX/❀” and on the stock “2/TUERLINCKX/MALINES/❀.” A second Tuerlinckx clarinet d’amour in C is described in the small-size clarinet d’amour section that follows. Three Tuerlinckx alto clarinets are known. One is an unusual unstamped sixkey instrument (B-Bruxelles, M933, ca. 1800) attributed to the Tuerlinckx ﬁrm. 172. I thank Jean Jeltsch for sending measurements of the Proff alto clarinet (Selmer Collection) and for photos of this instrument and one in a private collection. Another Proff ﬁve-key alto clarinet (DBerlin, 2894) was destroyed during World War II, although the curved boxwood barrel with ivory ferrules survives. For a description, see Sachs, Sammlung alter Musikinstrumente, 295. I studied this barrel in 2005. 173. NLI, 405. Forty-nine woodwinds and brasses are described by Tilmans, “Catalogue des instruments Tuerlinckx.” 174. Van Aerde, Les Tuerlinckx, 120, 162, 166–167. The orders were recorded in Dutch in the company’s Rekeningenboek (Register of Accounts), a manuscript without title in the Brussels Musical Instrument Museum. I am grateful to Géry Dumoulin for information. 175. Van Aerde, Les Tuerlinckx, 164, 170, 173. 176. For a description and photo, see Van Aerde, Les Tuerlinckx, 123, pl. III f; Le Roseau et la musique, 113, C147; cf. 4900, 246. This instrument was studied by me in 1990.

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It is boxwood with boxwood ferrules made in a bassoon shape. It has ﬁve sections: mouthpiece, brass crook, left-hand joint, butt joint with right-hand ﬁnger holes, and brass bell pointing upward and toward the audience. The keys are S, A, C/G, B/F, A/E, and F/C; there are no keys mounted on the dorsal side.177 There is no low E/B key, and the instrument is probably pitched in F, with an estimated length of 93.8 cm. In addition, on the right-hand or butt joint, the ﬁnger holes are angled, and the B/F, A/E, and F/C keys are positioned for playing left-handed, that is, with the right hand above the left.178 The body shape and use of a brass crook resembles the basset horn made by the Viennese maker Friedrich Lempp in 1789 (see chapter 2). A later straight, thirteen-key F alto (B-Bruxelles, M2599, ca. 1830) by Corneille Tuerlinckx is boxwood with ivory ferrules. There are six sections: mouthpiece (missing), curved barrel, left- and right-hand sections, stock, and bell. The block mounted keys are S, A-B, A, G, f/c (on saddle), E/B (on saddle), C/G (on saddle), B/F (on saddle), B/F (on saddle), A/E, F/C, F/C, and E/B. Both the F/C and E/B touches have extensions, probably for use with a corps de rechange in G. The saddles are carefully constructed and may have been original or added at a later date by the Tuerlinckx ﬁrm.179 Stamped on the barrel and ﬁnger hole joints is “TUERLINCKX/❀/F,” and on the stock, “TUERLINCKX/MALINES/❀.”180 A third alto with ﬁve keys, possibly by Jean Tuerlinckx, is boxwood with bone ferrules. It has a curved barrel stamped “2/TUERLINCKX/✷.” It was reported by Van Aerde in the possession of the collector and painter Willem Geets of Malines.181

Deginan Deginan (or Deginant) of Ghent was active as a maker about 1800. There is a ﬁvekey clarinet in Lisbon (P-Lisboa, MIC-0093, ca. 1800).182 Two four-key clarinets d’amour by L. T. Deginan are reported. One (RU-St Petersburg, 504, ca. 1800) is boxwood with horn ferrules and includes an F/C key for its fourth key. There are ﬁve sections: mouthpiece, brass crook, left- and right-hand sections, and bell. The second (RU-St Petersburg, 503) is almost identical to the ﬁrst, also with an F/C key. The instruments are stamped “L. T. DEGINAN.”183 The collector Césare Snoeck of Ghent exhibited one of these in 1890 at the London Royal Military Exhibition.184 177. A photo of this instrument is found in Dullat, Klarinetten, 81; description in 4900, 246. 178. Although the instrument is unstamped, it was retained in Tuerlinckx’s collection and attributed to Tuerlinckx by Mahillon; see 4900, 246. For a photograph, see Dullat, Klarinetten, 81, Abb. 40. I studied this instrument in 1990. 179. Cf. the description in 4900, 246. 180. The instrument was studied in 1990 by me. 181. Van Aerde, Les Tuerlinckx, 121. 182. NLI, 83. 183. For a description, see Blagodatov and Vertkov, Katalog sobraniia muzykal’nykh instrumentov, 73. 184. See Day, A descriptive catalogue of the musical instruments, 112, no. 225.

Clarinet d’Amour and Alto Clarinet and Their Music 45

Oberlender Franz Adolf Gabriel Oberlender (1748–1805) became a master maker in Nuremberg in 1774 and advertised in 1779 that he was able to supply all types of woodwinds as were produced while his father, Johann Wilhelm Oberlender II (1712–1779), was active.185 A single alto clarinet (S-Stockholm, N81436, ca. 1800) by Franz Oberlender is extant. It is plum with horn ferrules, carries ﬁve keys mounted in rings and blocks, and includes a metal crook that is missing its mouthpiece. There are ﬁve sections: mouthpiece (missing), brass crook, left- and right-hand sections, stock, and bell. The length is 73.4 cm without mouthpiece, and the instrument is probably in G.186

Anonymous An anonymous unmounted ﬁve-key alto clarinet (D-Berlin, 575, ca. 1800) is stained boxwood with boxwood ferrules and includes brass keys for S, A, A/E, F/C, and E/B. There are ﬁve sections: mouthpiece (missing), straight barrel, left-hand joint, right-hand joint-stock, and bell. This heavy-looking instrument includes very long brass key levers for S and A, pear-shaped straight barrel, and clarinet-shaped bell (see ﬁgure 1.6). This surviving instrument from a pair of alto clarinets,187 probably made in Germany, does not have an F/C key and with its A/E key is equivalent to a four-key clarinet with the addition of an F/C key. Because of the length of the right-hand joint, the maker was required to add an F/C key. The length of the instrument without its mouthpiece is 82.4 cm, suggesting a pitch of G or high pitch F. Sachs plausibly dates this instrument to about 1800, corresponding to some extant four-key German soprano clarinets.188

Scholl The Viennese maker Franz Scholl (ﬂ. 1792–1804) was granted a privilege by Kaiser Franz II in 1802 to manufacture and sell his newly invented Schollbass, a clarinet d’amour in G.189 In 1803, Scholl advertised three new instruments: basset clarinet,190 bass clarinet (see chapter 4), and a clarinet d’amour in G. The last two are called Schollbass in an issue of Wiener Zeitung.

185. NLI, 285. 186. These observations are based on a photograph and observations sent to me by Nicholas Eastop, Curator of Winds of the Stockholm Musikmuseet; cf. Young, Twenty-ﬁve hundred historical woodwind instruments, 95; NLI, 285. 187. Sachs, Sammlung, 295, no. 576. The second instrument was destroyed during World War II. 188. Sachs, Sammlung, 295. The instrument was studied by me in 1990. 189. See Haupt, “Wiener instrumentenbauer,” 172; NLI, 361. 190. See the description of Scholl’s basset clarinet in Rice, The clarinet in the classical period, 74.

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From the Clarinet d'Amour to the Contra Bass

Figure 1.6. Anonymous, German, 5-key G alto clarinet (ca. 1800, D-Berlin, 575).

Another type of Schollbass descends down to the so-called low G. It is generally useful not only for its extraordinary compass, but for its distinctive upper and lower registers. This instrument is so accurate in its scale that clarinetists can easily play it.191 Two clarinets d’amour (A-Wien-GM, 132, 133, ca. 1802) by Scholl are practically identical. They are boxwood with horn ferrules and have ﬁve keys, including a metal saddle for the E/B key ﬂap, used to reduce the side motion of this key, as found on late-eighteenth- and early-nineteenth-century Viennese clarinets.192 There are six sections: mouthpiece with a small socket ring, brass crook, left- and right-hand joints, stock, and bulb bell. Scholl’s advertisement states that his clarinet d’amour was better then others by virtue of its very large compass and distinctive upper and lower registers. 191. “Eine andere Art eben dieses Scholbasses (Sciolbasso) gehet bis in das sogenante grosse G.—Ueberhaupt empfehlt sich der Schollbaß nicht bloß durch seinen ausserordentlichen Umfang, sondern auch durch die Annehmsichkeit des ihm eigenthümlichen Tones im Discant, wie im Baß. Diese Instrument ist so eingerichtet, daß es die Clarinet-Scala hat, und von federn Clarinettists geblasen werden kann.” Scholl, “Anzeige,” 1174; reproduced by Ross, “A comprehensive performance project in clarinet literature,” 271. 192. I thank Peter Donhauser of the Technisches Museum for sending the photos of the Scholl clarinets d’amour. GM 132 is 87cm, and both instruments are likely in F.

Clarinet d’Amour and Alto Clarinet and Their Music 47

Raingo Nicolas-Marcel Raingo (1746–1833) established a woodwind workshop in Mons, Belgium, probably during the 1770s. A bachelor, he was assisted and succeeded by a younger brother, Jean Baptiste Raingo (1754–1834), and the latter’s son, Charles Philippe Raingo (1786–1839). The ﬁrm made all types of woodwinds except oboes and specialized in clarinets.193 There are two extant clarinets d’amour. The ﬁrst, a six-key instrument (F-Paris, E.374 C.536, ca. 1810), is boxwood with boxwood ferrules made in F with corps de rechange in G. There are six sections: mouthpiece (missing), crook (missing), left- and right-hand joints, stock, and bulb bell. Under the maker’s stamp “N M/RAINGO” are two different pitch letters: “F” on the lefthand joint, stock, and bell and “G” on the right-hand joint. At one point the matching joints were lost. There are extensions on the touches of the F/C and E/B keys very similar to those found on Tuerlinckx clarinets; the sixth key is for F/C. There is an unusual ivory peg in a tuning hole on the bell.194 A second Raingo clarinet d’amour is discussed later in the small-size clarinet d’amour section.

Collin There was much less interest in the clarinet d’amour in France than in Germany, Austria, Italy, or Belgium. Only two clarinets d’amour by French nineteenthcentury makers are known. The ﬁrst is by Claude Hippolyte Collin (ﬂ. 1780–ca. 1836) of Paris, known for woodwinds and brasses.195 Collin’s instrument (US-MA-Newton Centre, ca. 1810) is brown-stained boxwood with horn ferrules. There are seven sections: mouthpiece (black wood), barrel, crook, right- and left-hand sections, stock, and bell. It is a six-key clarinet d’amour with a typical bulb-shaped bell, with the addition of a sixth C/G key on a pillar. The ﬂat, round key heads and shape of the A/E touch suggest a date of around 1810 (web photo 3).196

Cramer & Son John Cramer established a woodwind workshop in London in 1796 after working with George Miller since about 1790. He made a number of ﬁne woodwind instruments and in or about 1805 entered into a partnership with Thomas Key

193. NLI, 318. Eighteen woodwinds in the Brussels Museum are described by Tilmans, “Catalogue des instruments Raingo.” 194. See the photo on the Musée de la Musique web site, http://mediatheque.cite-musique.fr. I thank Jean Jeltsch for additional photos and information. 195. NLI, 68–69. The author thanks Denis Watel for information. 196. The turning of the body and keys of a seven-key C Collin clarinet (F-Arnouville-Lès-Gonesse, ca. 1810–1820) is very similar to this clarinet d’amour; see Watel, “Catalogue de la collection,” vol. 1, 34, 82.

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From the Clarinet d'Amour to the Contra Bass

Figure 1.7. Cramer & Son, London, 12-key F clarinet d’amour (ca. 1810, GB-Edinburgh, 1708).

for two years. Cramer & Son was established as the successor to Cramer & Key in 1808; the ﬁrm continued until 1812, and Cramer continued by himself from 1816 to 1820.197 British makers were even less interested in constructing clarinets d’amour than French makers. The F clarinet d’amour (GB-Edinburgh, 1708, ca. 1810) by Cramer & Son in London is the only example of a British-made clarinet d’amour and was probably used in a military or civilian wind band. This instrument is rather advanced, with twelve keys (originally ten); it is stained cocus wood with ivory ferrules. There are ﬁve sections: socket mouthpiece with an ivory ferrule, brass crook, left-hand joint, right-hand joint-stock, and bell (see ﬁgure 1.7). The keys are S, A-B, A, G, f/c, E/B, C/G, B/F, A/E, F/C, F/C, and E/B. Ten of its keys are mounted in blocks, but G and f/c are mounted in rectangular brass saddles and were very likely to be later additions. The touch of the G key is made in the typically long, British style popular on clarinets during the nineteenth century so that it can be easily depressed with L2. This instrument has been shortened to about 88.5 cm, and the long keys for L4 now overlap the C/G key, making it almost impossible to play. There is also evidence that the brass crook was cut from the top of the crook, and as 197. NLI, 75.

Clarinet d’Amour and Alto Clarinet and Their Music 49 a result, the instrument is badly out of tune.198 The maker’s stamp on all three wood sections is “CRAMER & SON/LONDON/(unicorn head)”; the bell and mouthpiece have also “No 2 PALL-MALL” below the unicorn head.199

Anonymous An anonymous alto clarinet (GB-London-RCM, 84, ca. 1810–1815) made in Germany or Switzerland is boxwood stained reddish brown with horn ferrules. It has six sections: mouthpiece (replacement), curved long barrel, left-hand joint, righthand joint angled at the upper socket, stock, and ﬂared bell with an unusual turned unmounted rim.200 The seven keys are S, A, G, C/G, A/E, F/C, and E/B. They are mounted in rings and blocks and have square key heads. There is a horn thumb rest, and the length is 74.5 cm. Ridley thought this instrument was pitched in A, but it seems more likely, comparing it to the other altos in appendix 2, that it was made as a high-pitch G instrument.201

Catlin (Attributed) In 1800, the versatile American maker George Catlin (1778–1852) of Hartford, Connecticut, and Philadelphia advertised clarinets, tenor clarinets, ﬂutes, ﬁfes, bassoons, pianofortes, harpsichords, guitars, and cellos in the Connecticut Courant of 23 June 1800.202 An instrument that appeared during the 1990s suggests that Catlin’s tenor clarinet is an alto clarinet similar to his bassoon-shaped bass clarinet called a clarion of about 1820 (see chapter 4). Catlin was probably relying on an eighteenth-century English tradition of using the name tenor to refer to alto-voiced instruments such as the viola.203 The unstamped instrument is a unique bassoon-shaped six-key alto clarinet (USNY-New York, 1994.365.1, ca. 1820) attributed to Catlin or the Catlin School. It is maple with brass ferrules. There are seven sections: mouthpiece, barrel, brass elbow at 90 degrees, wing joint with ﬁnger holes, butt joint with ﬁnger holes, long joint, 198. For a description, see Fricke, Historic musical instruments in the Edinburgh University Collection, 109–110; Melville-Mason, “Clarinets,” 29, no. 188. This instrument was studied by me in 1999. A photo is on the University of Edinburgh Collection Web site, http://www.music.ed.ac.uk/euchmi. 199. Fricke, Historic musical instruments in the Edinburgh University Collection, 109. I also thank Arnold Myers for a copy of the accession sheet from the Glasgow Museums, the lender of this instrument to the University of Edinburgh University Collection. 200. I am aware of only one ﬁve-key clarinet by Sutter of Appenzell, Switzerland (CH-Bern), constructed with a bell having an internal rim or lip, i.e., as the bells are constructed on eighteenth- and nineteenth-century oboes. 201. See the description and photo in Ridley, European wind instruments, 36. 202. Eliason, “George Catlin (Part 1),” 21. 203. See also Rice, “Tenor and bass clarinets,” 9.

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From the Clarinet d'Amour to the Contra Bass

and straight bell.204 It is practically identical in construction with Catlin’s bassoonshaped bass clarinet, except for its short bell. It is 124 cm long in sounding length with a bore of 15 (at the barrel) to 16.9 mm (at the butt joint).205 The six brass keys are S, A, E/B for L4 (instead of F/C), F/C key for R4 with an open key head (instead of F/C), and D and E keys for RT both with closed key heads. They have normal square key heads, not the unusual ﬂat, rounded, spade-shaped key heads found on Catlin’s bassoon-shaped bass clarinet and other American-made bass clarinets (see chapter 4). They are mounted in wooden blocks and have one hole for the right thumb and two holes (large and small) for the left thumb. All of the ﬁnger holes and the smaller of the two thumb holes are lined with brass tubes. A manuscript ﬁngering chart indicates a range in the bass clef from BB to c2. This instrument is equivalent to a four-key clarinet with an F/C key and an extended low compass using the thumb holes, to BB. Closing all three thumb holes produces low BB, opening the topmost left thumb hole produces C, and opening the right thumb hole, C. An f or c2 is produced with the ﬁngers of the left and right hand down, with the F/C key closed with R4, and both E/B and E keys opened with RT. The chart indicates its highest note as c2, which suggests the instrument was not meant to be played in the second register.206 Shackleton suggests that this instrument was actually built in the key of D, but the chart was written to read a transposed part for an instrument in E.207 Maynard also suggests that the player of this E alto clarinet could read music written in the bass clef and simple transpose to the treble clef adding three sharps to the key signature.208 The mouthpiece has an old brass ligature with two screws to hold the reed, probably added at a later time. This instrument represents an early or experimental model for use in wind bands.

Jeantet Jeantet (ﬂ. ca. 1823–1827) of Lyon operated a factory that produced woodwinds, serpents, and bass horns.209 The Jeantet clarinet d’amour (F-Paris, E.2195, ca. 1825) is

204. A tag in the case has “Whitcomb’s bass clarion” written on it. According to Eliason’s notes, an older Whitcomb who played bass and his son are known to have been active musicians and dance instructors in the Middlebury and Burlington, Vermont area during the 1840s. Libin calls this instrument an alto clarion, described and photographed in “Recent acquistions,” 53. 205. Detailed measurements and identiﬁcation of the keys were made by Robert Eliason and included in his notes. Preserved with this instrument is a contemporary wooden case inscribed “Jas. G. Spaulding/Vergernnes/Vermont.” 206. This instrument was studied by me in 1994. 207. Shackleton notes, in a letter written to me dated 19 June 1994, the letter “D” written over the letter “B” and the note for b1 in the ﬁngering chart clearly indicating that the chart was transposed a minor third higher for an instrument pitched in E. 208. In a letter written to Laurence Libin dated 16 August 1994. 209. NLI, 194. See the photo on the Musée de la Musique’s Web site, http://mediatheque.cite-musique.fr.

Clarinet d’Amour and Alto Clarinet and Their Music 51 another attractive instrument of dark-stained boxwood with ivory ferrules and eight keys; including three block mounted original keys for E/B, C/G, and B/F. There are six sections: mouthpiece (missing), slightly curved barrel, left- and righthand joints, stock, and bulb bell. The instrument also carries a maker’s mark “JEANTET/SOL” on the barrel and right-hand section and “J. LYON/SOL” (J presumably means Jeantet) on the lefthand section.210

Thomas Key Thomas Key (d. 1853) initially worked in London with John Cramer from 1805 to 1807 and was established in 1807 independently until the ﬁrm was taken over in 1858 by Rudall Rose & Co.211 Key produced many types of woodwinds and brasses, including alto clarinets in F for band use, three examples of which are known. One thirteen-key alto (US-MA-Boston, 17.1878, ca. 1820) is stained boxwood with ivory ferrules. There are six sections: ivory mouthpiece, brass crook, left- and right-hand joints, stock, and bell (see ﬁgure 1.8). There are thirteen brass keys, nine mounted in wooden blocks: S, A-B, A, G (straight lever curved at the touch for L2), f/c (for R1), E/B, C/G, B/ F (for R2), B/F (for R3), A/E, F/C, F/C, and E/B. G and f/c are probably later additions because they are mounted in saddles; and the saddle-mounted B/F key is probably a repair. The C/G tone hole was repositioned, probably to correct intonation at the top of the right-hand joint with the key shank mounted in a large ivory ferrule. The maker’s mark is “KEY/LONDON/(unicorn head)” on the left-hand joint and stock, with “CHARING CROSS” added below the unicorn head on the bell.212 A later thirteen-key alto clarinet (GB-London-RCM, 326 C/16, ca. 1825) by Key differs in several important respects. Made of brown-stained boxwood with ivory ferrules and thirteen keys (ten in blocks, three in saddles), it consists of ﬁve sections: mouthpiece (black wood) with an ivory ferrule, brass crook, left-hand joint, right-hand joint-stock, and bell. There are rollers between the touches for F/C to E/B and F/C to A/E. The F/C key is hinged at its base with a rounded key head placed less than halfway down the lever, identical to Müller’s design for soprano and alto clarinets. The tone hole for F/C is lined with an ivory ring, and all the key heads are rounded.213 A third fourteen-key 210. This instrument was studied by me in 2005. Another six-key French alto clarinet (D-Berlin, 2899, ca. 1825) by Labro of Sedan was destroyed during World War II; it was similar in appearance to the Jeantet clarinet d’amour (F-Paris, E.2195, ca. 1825). The Labro alto had keys mounted in rings and blocks and included a brass bell, possibly from a trumpet; see Snoeck, Catalogue de la collection d’instruments de musique anciens, 170, no. 899; Sachs, Sammlung alter Musikinstrumente, 295. 211. NLI, 204. 212. Bessaraboff, Ancient European musical instruments, 101; photos on the Museum of Fine Arts Web site, http://www.mfa.org. 213. See the description by Melville-Mason, “Clarinets,” 29, no. 191 (described as a tenor clarinet); photos and descriptions in Baines, European and American musical instruments, 113, no. 640 (described as being in the Luton Museum); Ridley, European wind instruments, 42.

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From the Clarinet d'Amour to the Contra Bass

Figure 1.8. Thomas Key, London, 13-key F alto clarinet (ca. 1825, US-MA-Boston, 17.1878).

example (GB-London-RCM, 454, ca. 1830) by Key is made of dark-stained wood and very similar to the previous alto clarinet. Also in six parts, it differs in having a curved, wooden barrel instead of a brass crook, fourteen keys including a duplicate long key for B/F, ﬁve keys with rollers on the ends of the touches, ring keys made of nickel silver on the right-hand section (a later addition) for R2 and R3, and a serrated recess on the dorsal side for use as a thumb rest by the right thumb.214

The Stengels Johann Samuel Stengel (1771–1826) established a workshop in 1805 in Bayreuth and on his death was succeeded by his son Johann Simon Stengel (1803–1885), a highly skilled maker of all types of woodwind instruments. In fact, the Stengels are among the few ﬁrms to have made alto clarinets, basset horns, and bass clarinets. There are three extant Stengel alto clarinets. The earliest is a ten-key F instrument (US-DC-Washington-S, 95,296, ca. 1820) of boxwood with ivory ferrules. There are six sections: mouthpiece (missing), curved barrel, left-hand joint (bore lined with brass), right-hand joint, stock, and bell. The keys are mostly block mounted: 214. See the description in Ridley, European wind instruments: addenda, 27. Both Key alto clarinets were studied by me in 1999.

Clarinet d’Amour and Alto Clarinet and Their Music 53 S,A, G (saddle mounted), E/B, C/G, B/F (pillar mounted), A/E (pillar mounted at an angle), F/C hinged at end (key head placed underneath, close to the middle of the lever), F/C, and E/B. All the key heads are round and ﬂat, and there is an ivory thumb rest on the back of the right-hand joint. The maker’s stamp is “(Crown)/STENGEL/BAIREUTH/✛✛.”215 A second thirteen-key Stengel F alto clarinet (J-Hamamatsu, A-0069R, ca. 1825) was modeled after Iwan Müller’s design of an alto clarinet as shown in his Méthode (Paris, 1821) and Anweisung (Leipzig, 1825).216 This beautifully made boxwood instrument has ivory ferrules. There are six sections: black wood mouthpiece; curved wooden barrel; a second, short, dark-wood barrel (probably added for more accurate intonation); left-hand joint; right-hand joint-stock; and bell. The keys, all pillar mounted, are S, A-B, A, G, f/c, E/B, C/G, B/F, B/F, A/E, F/C, F/C, and E/B. The end of the F/C key is inserted into the wood, and the key head is placed underneath the lever about halfway down. There is a thumb key, the end of which is connected to a spring for opening the A/E key, and an additional attached brass lever (called a branch by Müller) is soldered to the F/C above the key head. In addition, the lever for the A key is over the G lever, and another length-wise lever is attached, placing the G key head on the back of the instrument. During the 1850s, L. A. Buffet reversed the position of the A and G keys on alto clarinets, as found on modern instruments. A third Stengel F alto clarinet (D-München-S, 67-48, ca. 1830) is boxwood with ivory ferrules. There are ﬁve sections: ivory mouthpiece, curved wooden barrel, left-hand joint, right-hand joint-stock, and bell. There are thirteen keys, all pillar mounted with rounded rather ﬂat key heads, except the key head of E/B, which is block mounted. The length of the instrument is 80.6 cm, and it has a bore of 16 cm. The ivory mouthpiece is stamped “STENGEL” on the reed side, suggesting the mouthpiece was positioned for playing with the reed on the upper lip.217 This alto clarinet includes Müller’s articulated thumb key for the right thumb attached to a spring, which serves as a duplicate key for A/E. It also includes the branch lever soldered to the F/C for operation by the thumb. Stengel added rollers between the touches for A/E to F/C and F/C to E/B.218 The touches are extra wide between A/E and F/C, and the ends of the levers of many of the other 215. This instrument was studied by me in 1997. A seven-key Stengel alto clarinet (D-Leipzig, 1523, ca. 1810–1815) was lost during World War II. Its keys were S, A, C/G, F/C, F/C, and E/B. I thank Eszter Fontana of the Leipzig Museum, who sent the description in Herbert Heyde’s unpublished “Katalog der Rohrblattinstrumente” (MS, 1979). 216. See the depiction of the alto clarinet ﬁngering chart in Settili, “Iwan Müller,” 103. 217. However, players always had the option to play with the mouthpiece turned so the reed is placed against the lower lip, as practiced today. 218. Described and photographed by Settili in “Iwan Müller,” 103–104; see the color illustration in Joppig, “Holzblasinstrumente,” 77. Müller’s ﬁngering chart for the alto clarinet is reproduced on 102. This instrument was studied by me in 2005.

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From the Clarinet d'Amour to the Contra Bass

touches are ﬂattened, presumably to help slide from the end of the touch to the ﬁnger holes.219

Castlas Castlas was an Italian maker whose real name was probably Castellazzo. He used a French-sounding name because it was looked upon more favorably during the Napoleonic era (1804–1814). He probably began making woodwinds about 1810 and formed a partnership about 1825 with Vinatieri as Vinatieri and Castlas, which operated until 1838.220 These ﬁrms specialized in clarinets, ﬂutes, and piccolos. There are three clarinets d’amour by Castlas. The ﬁrst is a handsome and well-made six-key G clarinet d’amour (I-Milano-MTS, FA/16, ca. 1815) of dark-stained maple with ivory ferrules. There are seven sections: mouthpiece (black wood), barrel with an ivory ferrule, brass crook, left- and right-hand joints, stock, and bell. The barrel is convex in the center for easier grasping by the player. The ﬁve standard keys common to clarinets are present: S, A, A/E, F/C, and E/B, all with square key heads. The touch for the A/E key is curled back on itself to form a U. A B/F key is added on a brass saddle, and the key head is square. The length is 77.85 cm, and its maker’s mark is “CASTLAS/A TURIN/✯.”221 The second example is an expertly made seven-key G clarinet d’amour (BAntwerpen, 67.1.61, ca. 1815) of boxwood with ivory ferrules. There are seven sections: mouthpiece (missing), barrel, brass crook, left- and right-hand joints, stock, and bell. Two keys added later on small brass pillars are G and B/F. The length is 75 cm. The maker’s mark is “❃/CASTLAS/A TURIN” on the left-hand joint, stock, and bell; “❃/CASTLAS” on the right-hand joint.222 The third example is another well-made twelve-key G clarinet d’amour (I-Roma, 795, ca. 1820) in boxwood with ivory ferrules. There are seven sections: mouthpiece, barrel, brass crook, left- and right-hand joints, stock, and bell. The keys are S, A, G, f/c, E/B, C/G, B/F (side key), B/F, F/C, A/E, F/C, and E/B. Six keys are added on saddles: f/c, E/B, C/G, B/F, B/F, and F/C. The touch for B/F is round and positioned for R3. An unusual open F/C key has one end anchored in the middle of the right-hand joint with a round touch above the tone hole. The length is 71 cm without the mouthpiece. The maker’s stamp is “❃/CASTLAS/A TURIN/ (Tudor Rose).”223 219. The ﬂattened ends of keys on a thirteen-key clarinet (ca. 1825) by Jean Jacques Baumann of Paris are clearly shown in photos in Shackleton and Rice, “César Janssen and the transmission of Müller’s 13-keyed clarinet in France,” 192–193; see also the description and color photos in Shackleton Collection, 577. 220. Carreras and Onerati, “Gli strumenti a ﬁato della Corte graducale,” 82. 221. For a description and photo, see Guarinoni, Gli strumenti musicali nel museo del Conservatorio di Milano, 77, Tafel XX; Bernardini, “Gli strumenti ad ancia,” 132. I thank Luigi Magistrelli for photos. 222. For a description and photo, see Catalogus van de Muziekinstrumenten, 71. 223. For a description and color photo, see Cervelli, La galleria armonica, 321, 331. I studied this instrument in 1993.

Clarinet d’Amour and Alto Clarinet and Their Music 55

Cerino Simone Cerino is known to have been a wood turner in Turin from 1802. He is listed from 1815 to 1821 in a trade catalog entitled L’indicatore torinese as a maker and seller of musical instruments.224 There are two known instruments by Cerino. The ﬁrst is a ﬁve-key G clarinet d’amour (F-Paris, E.2355, ca. 1820) made of darkstained maple with maple ferrules. There are seven sections: mouthpiece (missing), barrel, brass crook, left- and right-hand joints, stock, and bell. There are the usual ﬁve keys: The S, A, and the key head of the E/B are block mounted; the levers of the F/C and E/B key are mounted in the swelling of the stock joint. The length is 75 cm.225 The second is a composite clarinet d’amour (F-Varzy, 326) consisting of the three lowest sections: right-hand joint, stock, and bell. The left-hand section, barrel, and mouthpiece belong to an A clarinet by Amlingue of Paris. The stamp on the right-hand section and bell is “✷/SIMONE/CERINO/✷”; on the stock, “✷/A TORINO/✷//✷/SIMONE/CERINO/✷.”226

Venera Venera is a maker from Turin active about 1820. That is the extent of the information available about his life and precise dates of activity. There is a ﬁve-key G clarinet d’amour (GB-Oxford, 484, ca. 1820) made of stained maple with horn ferrules. It has seven sections: mouthpiece (boxwood), barrel, brass crook, left- and right-hand joints, stock, and bell. The S, A, and E/B key heads are mounted in blocks. There are two vent holes in the bell neck; the length is 75.9 cm measured without mouthpiece and barrel;227 and the maker’s stamp is “VENERA IN TORINO (rosettes).”228

Lancé Lancé is a maker from Turin active about 1820. There is no information on his life and precise dates of activity. The stamp on his instruments has been misread because the last letter is not always clear. Apparently Lancé used a French version of

224. See Odling and Girodo, “Documenti sulla costruzione degli strumenti a ﬁato,” 36. The L’indicatore torinese ovvero Pianta della citta di Torino was ﬁrst published in 1815 by Giuseppe Reycend. See the bibliographic record on the Web site, http://www.internetculturale.it. 225. For a description and photo, see the Musée de la Musique Web site, http://mediatheque.citemusique.fr. 226. I am grateful to Jean-Michel Roudier of the Varzy Museum for sending photos and information, and to Jean Jeltsch for his reading of the stamp. 227. For a description and photo, see Baines, European and American musical instruments, 112, photo no. 625; La Rue, The Bate Collection, 26. 228. NLI, 412.

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From the Clarinet d'Amour to the Contra Bass

his name, as Castlas had done, since it was looked upon more favorably during the Napoleonic era. It is possible that Lancé’s Italian name was Lanca.229 There are six ﬁve-key clarinets d’amour by Lancé; no other woodwinds with his stamp are known. The ﬁrst is a ﬁve-key G clarinet d’amour (F-Paris, E.2194, ca. 1820) of maple stained black with three ivory and one maple ferrule. There are seven sections: mouthpiece (replacement), convex barrel, brass crook, left- and right-hand sections, stock, and bell. The keys for S, A, and the key head for E/B are mounted in blocks; the A/E is missing. The maker’s mark is “✶/LANCÉ/A TURIN/✶”; the length is 81.2 cm.230 The second is a ﬁve-key clarinet d’amour (I-Bergamo, 1803, ca. 1820) of blackstained maple with maple ferrules. There are seven sections: ivory mouthpiece, barrel, brass crook, left- and right-hand joints, stock, and bell. The keys for S, A, and the key head for E/B are mounted in blocks.231 The third example is a ﬁve-key G clarinet d’amour (US-IL-Edwardsville, 69:93:46, ca. 1820) of stained maple with horn ferrules. There are seven sections: mouthpiece (missing), barrel (missing), brass crook (missing), left- and right-hand sections, stock, and bell. The length without the mouthpiece, brass crook, and barrel is 63.5 cm.232 The fourth example is a ﬁve-key G clarinet d’amour (I-Bologna, 1803, ca. 1820) made of maple with horn ferrules. There are seven sections: mouthpiece (missing), barrel (missing), brass crook, left- and right-hand joints, stock, and bell. The length without the mouthpiece is 76 cm.233 The ﬁfth example is a nine-key G clarinet d’amour (NL-Den Haag, 0840197, ca. 1820) made of stained maple with horn ferrules. There are seven sections: mouthpiece (replacement), barrel, brass crook, left- and right-hand joints, stock, and bell. Four keys are added on brass saddles: G, E/B, C/G, and B/F. The length of the instrument is about 76 cm.234 The sixth example is a ﬁve-key G clarinet d’amour (J-Tokyo, A815, ca. 1820) of stained maple with horn ferrules. There are seven sections: mouthpiece (replacement), barrel, brass crook, left- and right-hand joints, stock, and bell. The bulb bell appears somewhat squatter and rounder than the bells of the other Lancé clarinets d’amour.235 229. Cf. NLI, 223. 230. See the description and photo on the Musée de la Musique’s Web site, http://mediatheque .cite-musique.fr. I studied this instrument in 2005. 231. I thank Luigi Magistrelli for sending photos. 232. See Rice, “Southern Illinois U checklist prepared,” 8. I studied this instrument in 1991. 233. William Maynard received a photo of this instrument in 1990 from Renzo Grandi, the Director of the Museo Civico Medievale in Bologna. 234. I studied this instrument in 1990. 235. This clarinet d’amour is incorrectly listed by Lanca on the fourth page of illustrations (unnumbered) in Catalogue, Museum of Musical Instruments, vol. 2. I thank the late William Waterhouse for the citation and James Kopp for the photo.

Clarinet d’Amour and Alto Clarinet and Their Music 57

Piana The Piana workshop was established by Pietro Antonio Piana (1785–1858) in 1811 in Milan. In 1835, he was joined by his son Ambrogio and in 1842 by his younger son Giuseppe.236 This workshop became one of the largest in Italy, producing a great variety of woodwinds, including three clarinets d’amour. A ﬁve-key F clarinet d’amour (B-Bruxelles, M932, ca. 1825) by Piana is stained boxwood with horn ferrules. There are ﬁve sections: mouthpiece, curved barrel, left-hand section, righthand section-stock, and bell.237 It is 81 cm long and stamped “F” on the left-hand joint. The maker’s stamp is “✯/P. PIANA/A MILANO./✯” on all joints except the barrel and mouthpiece.238 The second example is a nine-key G clarinet d’amour (I-Milano, 417, ca. 1830) of boxwood with horn ferrules. There are seven sections: mouthpiece (missing), barrel, brass crook, left- and right-hand sections, stock, and bell. Four keys were added on brass saddles: G, E/B, C/G, and B/F. The length is 74.7 cm. The stamp is the same as the earlier instrument with the addition of the monogram “PP” above the stamp.239 The third example is an eleven-key G clarinet d’amour (D-Bochum, SGK 51, Ex Van Kalker, ca. 1840) of stained maple with horn ferrules. There are seven sections: mouthpiece (black wood), barrel, brass crook, left- and right-hand joints, stock, and bell. The keys are S, A-B, A, G, f/c, E/B, C/G, B/F, A/E, F/C, and E/B; four are added on pillars: f/c, E/B, C/G, and B/F. The length is 79.75 cm; the maker’s stamp is the same with the addition of “PP” on the stock.240

Grenser & Wiesner The ﬁrm of Grenser & Wiesner in Dresden began in 1813 and was led by Samuel Gottfried Wiesner (1791–1868), Grenser’s journeyman since 1811. Wiesner married Grenser’s widow in 1817, and the ﬁrm produced many types of woodwind instruments until 1826.241 One F alto clarinet (S-Stockholm, M330, ca. 1820) by Grenser & Wiesner is boxwood with horn and ivory ferrules. There are ﬁve sections: mouthpiece

236. NLI, 302. Meucci mentions four members of the Piana family but does not give speciﬁc names; see Meucci, “La costruzione di strumenti musicali a Roma,” 590. 237. For a photograph, see Chambure, “Clarinette,” 552. 238. I studied this instrument in 1990. 239. For a description and photo, see Gatti, Museo degli strumenti musicali, 298–299. The Gallinis incorrectly described this instrument as a basset horn, see Gallini, Museo degli strumenti musicali, 180; 4900, 178. 240. For a description and photo, see Ahrens and Klinke, Musikinstrumentensammlung Hans und Hede Grumbt, 56, 71–72. I studied this instrument in 2005. 241. NLI, 146, 428.

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From the Clarinet d'Amour to the Contra Bass

(missing), curved wooden barrel, left-hand joint, right-hand joint-stock, and bell. There is an integral wooden thumb rest on the back of the right-hand joint. The twelve brass keys all include square key heads; four keys, probably added later, are mounted in saddles: A-B, f/c, E/B, and B/F. The maker’s stamp is “(crown)/ H. GRENSER/& WIESNER” on the left- and right-hand joints, and “(crown)/H. GRENSER/& WIESNER/DRESDEN” on the stock. Stamped on the barrel are two stars above a crown, which suggest that another size barrel was constructed.242 This alto is very well made on a similar level to the high-quality craftsmanship of Grenser’s early-nineteenth-century clarinets and other woodwind instruments. Wiesner continued production of wind instruments in Dresden under his own name from 1826 to 1867.243 This type of boxwood alto clarinet must have been popular in wind bands because an eleven-key alto is still offered in Wiesner’s 1847 price list for 30 Reichsthalers.244

Simiot Jacques François Simiot (ca. 1769–1844) was one of the most innovative nineteenthcentury woodwind makers. He began his workshop in Lyon about 1803 and worked until 1844. His shop was continued in Lyon by Brelet under the name of Simiot & Brelet until 1874.245 Two alto clarinets by Simiot are known. The ﬁrst has thirteen keys (GB-Oxford, 493, ca. 1825) and is boxwood with ivory ferrules. It has six sections: mouthpiece, curved barrel, left- and right-hand sections, stock, and bell. It has the maker’s mark “JS/✺/SIMIOT/À LYON/✺/FA”; the mouthpiece is stamped “SIMIOT.” It is pitched in F and 82.4 cm in length.246 Fétis describes Simiot’s ingenious improvements to his alto clarinet presented to the Royal Academy of Fine Arts on 1 December 1827.247 These include a mechanical hinge thumb key for gliding from E/B to F/C; a second key for A/E used in trills and cadences (ending phrases) operated by L4; a thumb hinge key for trills and cadences from F/C to A/E; a trill key for B/F positioned for trilling f2 to g2; and a trill key for b1 to b1.248 The second Simiot alto clarinet (ca. 1827, Ex MacGillivray) has thirteen pillar-mounted keys. It is boxwood with ivory ferrules, pitched in 242. A second alto clarinet was erroneously listed for Grenser & Wiesner in 4900, 108; see the photos of the Grenser & Wiesner alto clarinet on the Musikmuseet Web site, http://stockholm.music.museum/ samlingar. 243. NLI, 428. 244. Joppig, “Holzblasinstrumente,” 57. 245. NLI, 374. 246. 4900, 217; NLI, 374. 247. I thank Jean Jeltsch for a photocopy of the one-page report from the Académie Royale des beauxarts and a transcription of the text. 248. “1) D’une charnière mécanique pour couler et cadencer si naturel avec ut dièze au clarion, et pour produire les mêmes effets entre mi et fa au chalumeau; 2) D’une double clef de mi pour couler et cadencer re avec mi au clarion, et pour cadencer sol avec la au chalumeau; 3) D’une charnière

Clarinet d’Amour and Alto Clarinet and Their Music 59 F, and 89.7 cm in length. There are six sections: dark wood mouthpiece, curved barrel, left- and right-hand sections, stock, and bell. This instrument includes a thumb hinge key for the F/C key and is stamped “INNOVÉE PAR SIMIOT A LYON.”249 There are four F alto clarinets by the Simiot & Brelet ﬁrm of Lyon. The ﬁrst (B-Antwerpen, 67.1.58, ca. 1845) is boxwood with ivory ferrules. There are ﬁve sections: mouthpiece (dark wood), slightly curved barrel, left-hand joint, right-hand jointstock, and bell. The fourteen keys include the usual thirteen plus a brass thumb plate connected to a resonance key for the correction of intonation. In addition, there are two round touches for A/E and F/C, presumably for sliding between these keys. Finger holes 1 and 2 are bored at an upward angle, 3 downward, 4 upward, 5 straight, and 6 downward. They were drilled in this manner for easier ﬁngering and accurate intonation. The length is about 85.5 cm. The stamp reads “✷/INNOVEE/PAR/SIMIOT/ET BRELET/A L✷ON/FA” on the left-hand joint, stock joint, and mouthpiece; “✷/INNOVEE/PAR/SIMIOT/ET BRELET/A LYON/FA” on the barrel; and “✷/SIMIOT/ET/BRELET/A L✷ON/FA” on the bell. A “JS” entwined is stamped above the stamp on the stock joint.250 A star is substituted for the “Y” in LYON. The second F alto clarinet (I-Milano, 410, ca. 1850) by Simiot & Brelet is very similar in design to the Antwerp example, except it is constructed of dark-stained maple with ivory ferrules. There are ﬁve sections: black wood mouthpiece, curved barrel, left-hand joint, right-hand joint-stock, and bell. It carries the usual thirteen pillar mounted keys with the addition of a plateau key for R3 which closes another keyhead for better intonation. It is 82 cm long.251 A third Simiot & Brelet alto clarinet (US-MA-Williamstown) is made of darked stained maple in ﬁve sections with ivory ferrules. It has the usual thirteen pillar mounted keys and a plateau double cup key

mécanique pour couler et cadencer ut avec re au clarion, et pour produire les mêmes effets entre fa et sol au chalumeau; 4) D’une autre disposition de la clef de si au grave avec faau clarion pour cadence miavec fa, et cette dernière note avec sol au clarion, et pour produire le même effet entre la et si et si et ut au chalumeau; 5) D’une clef d’ut ou si au chalumeau pour cadencer la avec si, ou si avec ut.” Fétis, “Clarinette-alto de M. Simiot,” 470–471. See a description and photos of a similar model of a Simiot B clarinet (GB-Edinburgh, 4957) in Shackleton Collection, 312. 249. It was previously owned by James A. MacGillivray and sold at Sotheby’s auction on 23 November 1979; see the photograph in MacGillivray, “The Woodwind,” pl. 24 d; 4900, 217. For a description and photo of a single-hinge key for F/C on a Simiot B clarinet (GB-Edinburgh, 5117), see Shackleton Collection, 308. A set of Simiot C and B clarinets (CH-Genève, A0175) with corps de rechange for B and A joints was erroneously reported as a Simiot alto clarinet in 4900, 217, Y2. I thank Martin Kirnbauer for information. 250. See a description and photo in Catalogus van de Muziekinstrumenten, 71. This instrument was studied by me in 1990. 251. For a description and photo, see Gallini, Museo degli strumenti musicali, 177 (here the instrument is called clarinetto contralto), tavola XCIII; Gatti, Museo degli strumenti musicali, 297–298. A twelve-key alto clarinet (D-Berlin, 2898, ca. 1830–1840) by Tabard of Lyon was lost during World War II. It was made of maple, included a curved barrel, and had keys mounted in blocks and brass saddles. For a description, see Snoeck, Catalogue de la collection d’instruments de musique anciens ou curieux, 169–170, no. 898; Sachs, Sammlung alter Musikinstrumente, 295–296.

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for R3 and an alternate thumb hinge key for the F/C key.252 A fourth Simiot & Brelet alto (US-MA-Newton Centre) is made of stained brown maple with ivory ferrules in ﬁve sections. It has thirteen keys without a thumb key, has a plateau key for R3, and has a ring key added (now removed) for R2.253

Embach Ludwig Embach (1783–1842) studied with Johann Nicolai Jehring in Adorf and set up a workshop in Adorf about 1810. After 1811, he married and in 1820 moved to Amsterdam, where until 1844 he produced all types of wind instruments and after 1841 added the production of strings for stringed instruments.254 One boxwood tenkey alto clarinet (NL-Den Haag, 0840588, ca. 1830) with ivory ferrules by Embach is known. There are ﬁve sections: mouthpiece (black wood), long curved barrel, lefthand joint, right-hand joint-stock, and bell. The keys are S, A-B, A, f/c, E/B, C/ G, A/E, F/C, F/C, and E/B. The lever and key head of the register key curves to the front of the instrument, where it covers a small hole with a horn insert. All the keys are mounted in brass saddles and have slightly rounded key heads, including a Müller-inspired F/C with a key head placed underneath the lever halfway down, closing on a tone hole with horn insert (web photo 4). The maker’s stamp “L Embach & Co/te Amsterdam. (in cursive script)” appears on the left- and right-hand joints. A pitch letter “DIS/✷” (E) is stamped on all joints except the bell, and the length is about 101.5 cm. A second barrel, longer than the ﬁrst, is preserved with the instrument, marked “✷/DIS.”255

Franco Franco is a little-known maker who may have worked in Italy, Austria, or France. The only example of a woodwind is a nine-key G clarinet d’amour (A-Wien, 134, ca. 1830) in dark wood with horn or bone ferrules. There are six sections: mouthpiece (dark wood), curved wooden barrel, left-hand joint, right-hand joint, stock, and bell. The nine keys are mounted in metal saddles and in the wooden ring on the stock: S, A-B, A, E/B, B/F, A/E, F/C, F/C, and E/B. The E/B is mounted 252. I thank Bradley C. Wells of Williams College for sending photos. See also 4900, 216, Y3. 253. I thank Marlowe Sigal and Denis Watel for photos and information. 254. NLI, 106; Weller, Der Blasinstrumentenbau, 177. 255. I studied this instrument in 1990; thanks go to Michael Latcham for the photo. A thirteen-key alto clarinet (D-Berlin, 2897, ca. 1825–1830) by G. Hanniecke of Oldenburg, Germany, was destroyed during World War II. Hanniecke or Hanken worked in Oldenburg from 1815 to about 1827 and in Rotterdam from 1827 to the mid-1850s. His instrument was made of boxwood with ivory ferrules, and its keys had round key heads mounted in brass saddles and on brass plates. NLI, 160; for a description, see Snoeck, Catalogue de la collection d’instruments de musique anciens ou curieux, 169, no. 897; Sachs, Sammlung alter Musikinstrumente, 296.

Clarinet d’Amour and Alto Clarinet and Their Music 61 in a block, and there are a doubled ﬁnger hole for L3, extensions on the end of the touches for F/C, and E/B, a metal ligature with two screws, and a horn thumb rest. The keyheads are curved, as in a seven-key C clarinet by Bouchmann of Annonay (US-SD-Vermillion, 5949).256 The length is 81 cm; there is a corp de rechange for the left- and right-hand sections 1 cm longer than the ﬁrst sections. The maker’s stamp is “FRANCO/1” on all the joints including the bell; on the corps de rechange of two ﬁnger holes and stock joint, “FRANCO/2.”257

Lesti There are two brothers documented as virtuosi on the ﬂute and clarinet: Giovanni Lesti in 1801 in Trieste and Pietro Lesti in Milan. Giovanni Lesti returned to Ancona and opened a woodwind workshop in 1812.258 The ﬁrm made a number of different woodwind instruments. A twelve key F clarinet d’amour (I-Modena, SM 32, ca. 1830) is olivewood with horn ferrules. There are six sections: mouthpiece (dark wood), curved wooden barrel, left-and right-hand joints, stock, and large bell. There are twelve keys: S, A, G, f/c, E/B, C/G, B/F, B/F, A/E, F/C, F/C, and E/B. Originally, it may have been constructed with seven keys because ﬁve are added on brass saddles for f/c, E/B, C/G, B/F, and B/F. The register key is mounted in a ring, the key head of the E/B key is in a block, and the lower end of the F/C key is supported with a pillar, which may be an original characteristic. The total length is 89.5 cm, and the maker’s mark is “LESTI/ANCONA/F.”259

Knockenhauer From 1810 to 1816, August T. A. Knockenhauer (b. 1796) trained at the Griessling & Schlott ﬁrm in Berlin, worked in Dresden for three more years, and in 1819 became foreman for the Weisse ﬁrm in Berlin. In 1826, Knockenhauer established his own ﬁrm in Dresden. In 1841, he was appointed court maker and a Royal Academy artist.260 Knockenhauer made a number of woodwinds, including three thirteen-key alto clarinets and one additional alto clarinet attributed to him. The ﬁrst alto clarinet (US-NY-New York, 89.4.2126, ca. 1830) is boxwood with ivory ferrules. There are ﬁve sections: mouthpiece (African black wood), curved boxwood barrel, left-hand joint, right-hand joint-stock, and bell. The thirteen

256. For a description and photos see the National Music Museum Web site, http://www.usd.edu/ smm/Exhibitions/BeethovenBerlioz/BBBouchman.html. 257. See Mandyczewski, Zusatz-Band zur Geschichte der K. K. Gesellschaft der Musikfreunde in Wien, 168. I thank Otto Biba for sending photos. I studied this instrument in 1988. 258. NLI, 234. 259. For a description and photos, see Antichi strumenti musicali, 120–121. 260. NLI, 208.

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keys are typical of soprano clarinets of this period: S, A-B, A, G, f/c, E/B, C/G, B/F, B/F, A/E, F/C, F/C, and E/B. All of the keys are mounted in blocks and rings, and the key heads are square.261 The maker’s stamp is “(Prussian eagle)/KNOCHENHAUER/BERLIN.” In the Leipzig collection is an F alto clarinet (D-Leipzig, 1524, ca. 1830–1835). It is quite similar to the New York example, made of boxwood with ivory ferrules. There are ﬁve sections: mouthpiece (missing), barrel (missing), left-hand joint, right-hand joint-stock, and bell. The thirteen keys are the same as the previous alto clarinet, mounted in blocks and rings. This example includes a mounted brass music lyre useful for marching bands. An additional stamp indicates the infantry band in which the instrument was played: “5tes WESTF.INF. REGT.N° 53 2.” The second Leipzig alto (DLeipzig, 1525) is boxwood with ivory ferrules and identical to the ﬁrst. An additional stamp indicates the infantry band in which the instrument was played: “5tes WESTF. INF. REGT.N° 53 1.” Unforunately, all of the instrument was lost during World War II except the barrel and bell.262 Another thirteen-key alto clarinet (D-Rostock, 1243) is very similar to the other three Knochenhauer alto clarinets. Only part of the stamp is legible as “BERLIN/✶.” It has a replacement mouthpiece sold by the dealer J. M. Bürger in Strasbourg, active from 1881 to 1904.263 The close resemblance to the three other Knochenhauer alto clarinets suggests that this instrument should be attributed to him.

Ziegler Johann Joseph Ziegler (1795–1858) established a woodwind workshop in 1820 and supplied the Vienna court theater with clarinets and bassoons in 1837. In 1845, his ﬁrm supplied thirty regiment bands in Austria with instruments.264 A ﬁnely constructed stained maple G alto clarinet (I-Milano, 405, ca. 1830–1835) has ivory ferrules. There are ﬁve sections: mouthpiece (missing), curved wooden barrel, lefthand joint, right-hand joint-stock, and bell. There are fourteen keys neatly mounted in blocks: S, A-B, A, G, F/C, E/B, C/G, B/F, B/F, A/E, a second A/E positioned for L4, F/C, F/C, and E/B. The keys are delicately made, with round, salt spoon–shaped key heads, and the F/C key pivots at the end like Müller’s soprano and alto clarinets. The stamp is “I:ZIEGLER/WIEN./G,” and the length is 68.7 cm without a mouthpiece.265 261. I thank Kenneth Moore of the Metropolitan Museum for information and a photo. Dölling of Potsdam made a very similar thirteen-key alto clarinet (D-Berlin, 2896) that was destroyed during World War II. It was constructed of brown boxwood mounted in rings and blocks. See Snoeck, Catalogue de la collection d’instruments de musique anciens ou curieux, 169, no. 896; Sachs, Sammlung alter Musikinstrumente, 295. 262. I thank Eszter Fontana of the Leipzig Museum for information. 263. See NLI, 48. I thank Frédéric Courquin for information and a photo. 264. NLI, 444. 265. For a description and photo, see Gatti, Museo degli strumenti musicali, 297–298.

Clarinet d’Amour and Alto Clarinet and Their Music 63

The Cuvilliers The Cuvillier family in St. Omer was established as wind instrument makers as early as 1765. Watel was able to trace four generations of makers and professors of music in St. Omer.266 A Cuvillier aîné and Cuvillier ﬁls were active during the 1830s, both exhibiting instruments at the 1834 Paris Exhibition.267 A few woodwinds survive in different collections; one of the earliest is a B ﬁve-key clarinet (GB-Edinburgh, 4937, Ex Shackleton, ca. 1800).268 Other instruments include a ten-key oboe stamped “1830” and a B thirteen-key clarinet (F-Arnouville-Lès-Gonesse, ca. 1840).269 An F alto clarinet (GB-Edinburgh, 88, ca. 1840) is fruitwood with ivory ferrules and thirteen brass keys. There are ﬁve sections: mouthpiece (missing), slightly curved barrel, left-hand joint, right-hand joint-stock, and bell. Two right-hand ﬁnger holes are bored at an angle, downward for R1 and upward for R3; the key mounts are rounded brackets in the center of the levers, attached to small brass plates. A straight pillar is used as a thumb rest, and another pillar for a sling ring to hold a neck strap. The ivory ferrules are ﬂanged on the barrel (for easier removal), half-round on the right-hand section, and arched on the upper section of the bell. The usual thirteen keys have round, slightly arched key heads and are based on Müller’s design, although the G key is straight and lies parallel to the A key. The maker’s stamp is “(face within a sun)/CUVILLIER/A ST OMER/✯.”270

Jullien Louis Jullien (1812–1860) was a conductor, concert promoter, and composer who achieved fame in Paris and London. From 1837, he is listed as a woodwind maker and about 1840 was based in London, where he was established about 1842 as a music seller and publisher. After a bankruptcy in 1847, his business continued as Jullien & Co., when he became a dealer and importer.271 A fourteen-key F alto clarinet (D-Bochum, SGK 50, ca. 1840) is dark-stained boxwood with ivory ferrules. There are ﬁve sections: mouthpiece (black wood), curved barrel, left-hand joint, right-hand joint-stock, and bell. The barrel is curved at about 45 degrees, because the instrument is long, at about 90 cm. Two right-hand ﬁnger holes are bored at an angle, downward for R1 and upward for R3. All the keys are pillar-mounted: S, A-B, 266. Watel, “Catalogue de la collection,” vol. 1, 62. 267. See NLI, 77–78. I have not been able to verify that the Cuvilliers exhibited instruments at the Paris Exhibition of 1834. 268. For a description and photos, see Shackleton Collection, 565. 269. For descriptions and photos, see Watel, “Catalogue de la collection,” vol. 1, 113, 119; vol. 2, 27–28. 270. Description by Fricke Historic musical instruments in the Edinburgh University collection, 110; cf. the stamp given by Watel, “Catalogue de la collection,” vol. 1, 119. The instrument is called a tenor clarinet in the catalog. by Melville-Mason in“Clarinets,” 29, no. 190, pl. 8, no. 2; photo on the Edinburgh University Web site, http://www.music.ed.ac.uk/euchmi. 271. NLI, 197.

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A, G, f/c for R1, f/c for L2, E/B, C/G, B/F, B/F, A/E, F/C, F/C, and E/B. The maker’s stamp is “❀/JULLIEN/A PARIS.”272

Lefèvre François Lefèvre (d. 1856) established a workshop in Paris in 1812 and is listed in 1819 as a maker of clarinets and ﬂutes. He is particularly noted for his Müller-inspired thirteen-key clarinets made during the 1820s and 1830s, some with rollers devised by César Janssen.273 A thirteen-key alto clarinet (ES-Barcelona, 232, 1840–1845) is boxwood with ivory ferrules. It has ﬁve sections: mouthpiece, brass crook, left-hand joint, right-hand joint-stock, and bell.274 The keys are pillar-mounted, attached to oval brass plates, and there are two rings for R2 and R3 that close separate keys connected to the rod bearing.275

Seelhofer Rudolf Seelhofer (1793–1845) worked as a woodwind maker in Kehrsatz near Bern, Switzerland, from 1813 to about 1833 and in Freiburg im Uechtland from 1833 to 1842. He produced all types of woodwinds and one unusual alto clarinet. At the beginning of 1842, Seelhofer stopped working in order to travel.276 Seelhofer may have been inspired to make his ophicleide-shaped alto clarinet after visiting Widemann’s shop in Paris, where he produced ophicleide-shaped bass clarinets during the 1840s (see chapter 4). Seelhofer’s alto clarinet (F-Paris, E.956, C.549, ca. 1845) is dark stained wood, possibly maple, in an ophicleide form. It consists of nine sections: mouthpiece (missing), crook (missing), barrel, left- and right-hand joints, U bend, lower joint, long joint, and long bell with very little ﬂare. Each of the six ﬁnger holes is lined with a metal tube, and it is 73 cm long. There are nineteen keys (seventeen block mounted, two pillar mounted), all with ﬂat, round key heads; an alternate A/E key for L4, a duplicate lever for E/B placed for the right thumb, and a lever that closes an open key for the left thumb. The keys are identical to some fourteen clarinets with an extension to low BB. They are two S, A-B, A, f/c, E/B, C/G, B/F, A/E, A/E (L4), F/C, F/C, E/B, E (RT), D (for RT), D (LT), C (LT), BB (LT), and BB (LT). There is an alternate key lever opening the E/B key head

272. For a description and photographs, see Ahrens and Klinke, Musikinstrumentensammlung Hans und Hede Grumbt, 55–57, 67–68. I studied the instrument in 2005. 273. See Rice, The clarinet in the classical period, 66, 68. 274. See the description and photo in Museu de la Música 1 Catàleg d’instruments, 305. 275. Voorhees prefers to call keys attached to rings a satellite pad cup. See The development of woodwind ﬁngering systems, 21. 276. NLI, 369; Kälin, Die Blasinstrumente in der Schweiz, 90–91.

Clarinet d’Amour and Alto Clarinet and Their Music 65 (for RT).277 The maker’s mark is “(owl with outstretched wings)/SEELHOFFER/ A.BERNE/✯.”278 A brass support is afﬁxed to the lowest part of the U bend, and a metal ring is placed on the back for a strap. This is the only example known of an ophicleide-shaped alto clarinet, clearly an experimental model.

Skorra Carl Eduard Simon Skorra (1807–1865) established his ﬁrm in 1838 in Berlin. In 1838, he supplied wind instruments to Spontini at the Royal Opera and in 1839 collaborated with Wieprecht in making a C contra bass clarinet called a bathyphon (see chapter 4). He was subsequently appointed court instrument maker and an Academy artist (Academische Künstler). The ﬁrm made a number of woodwind instruments, including basset horns and bass clarinets. There are three known alto clarinets very similar to the earlier alto clarinets by Knochenhauer in Berlin. A thirteen-key F alto clarinet (D-Halle, MS-401, ca. 1840) is boxwood with ivory ferrules. There are ﬁve sections: mouthpiece (dark wood), curved barrel, left-hand joint, right-hand joint-stock, and bell. All of its keys are mounted in rings and blocks; the only differences between this instrument and the Knochenhauer altos are the position of the f/c and E/B as cross keys and the rather wide touches of the F/C and E/B keys, which Heyde calls Berlin touches (Berliner Griffe). The maker’s stamp is “(crowned eagle)/Hoﬁnstrumentenmacher/ Skorra/Berlin/✶”; there is an additional stamp indicating the infantry band in which the instrument was played: “9.Inf.Regt./Colberg” for the ninth Pomeranian infantry regiment in Colberg.279 The second alto (D-Uhingen, ca. 1845) is a ﬁne example of black wood and ivory ferrules identical to the Halle example except for an addition of a round plateau key for R1 attached to a simple lever. It does have an integral thumb rest and metal ring attached for a strap.280 A third Skorra alto clarinet is incomplete (F-Paris, E.2916) with only the mouthpiece (black wood), curved barrel, and left-hand joint. It has eight keys and probably was originally part of a fourteen-key alto clarinet.

Kleinert In Breslau (present-day Wrocław, Poland), there were three generations of the Kleinert ﬁrm of musical wind instrument makers from 1832 to about 1935. The company 277. See the photos on the Musée de la Musique Web site, http://mediatheque.cite-musique.fr. The photo shows the upper long joint inserted backward. 278. NLI, 369; see the photo of the stamp on a ﬁve-key E clarinet in Kälin, Die Blasinstrumente in der Schweiz, 91. 279. For a description and photos, see Heyde, Katalog zu den Sammlungen des Händel-Hauses in Halle, 222–223. 280. I thank Thomas Reil for information and photos.

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made a variety of woodwind instruments,281 including one thirteen-key F alto clarinet (S-Stockholm, F528, ca. 1845). The instrument is boxwood with ivory ferrules and ﬁve sections: mouthpiece (missing), curved barrel, left-hand joint, right-hand jointstock, and bell. All the keys are mounted in blocks and have round, ﬂat key heads. The maker’s stamp is “(Prussian eagle)/Kleinert/Breslau/F (in cursive)/✶ ✶.”282

Heckel Johann Adam Heckel (1812–1877) trained as an instrument maker in 1829 under his uncle Carl Friedrich August Jehring of Mainz. In Mainz, Heckel worked for the Schott Company, where he met the bassoonist and inventor Carl Almenräder. In 1831, he established a partnership in Biebrich with Almenräder and made a variety of woodwinds. In 1845, Heckel was appointed a maker to the court of Hessen-Nassau and by 1850 was making a large variety of instruments. In 1870, Heinrich Reinhard Friedrich Stritter became Heckel’s only employee and later foreman of his factory. Heckel’s son Wilhelm Heckel (1856–1909) joined the company in 1877, succeeding his father.283 The ﬁrm is presently active as the leading producer of bassoons. Heckel made a G clarinet d’amour (D-Biebrich, K 18, 1850) in stained rosewood with nickel silver ferrules. There are ﬁve sections: mouthpiece, curved barrel, lefthand joint, right-hand joint-stock, and a bulb bell with a long tenon. All fourteen nickel silver keys are pillar mounted; the fourteenth key is a duplicate for E/B for R1.284

Constantin Constantin was probably a mid-nineteenth-century dealer in Paris. Only one instrument is known, an attractive thirteen-key F alto clarinet (GB-Edinburgh, 4838, Ex Shackleton, ca. 1850) of boxwood with ivory ferrules. There are ﬁve sections: mouthpiece (cocus wood), curved barrel, left-hand section, right-hand stock, and bell. The thirteen keys have round, ﬂat key heads and are based on Müller’s design, although the G key is straight and lies parallel to the A key. The keys are mounted on pillars 281. NLI, 206. 282. See the photos of this instrument on the Musikmuseet Web site, http://stockholm.music. museum/samlingar. 283. NLI, 6, 168, 194, 390. 284. For a description and photo, see Dullat, Klarinetten, 271, Abb. 186. The same instrument or a very similar one with a different bell is photographed in Heckel, Der Fagott, 23 k; trans., L. G. Langwill, rev. D. Waples, 101–102 (unpaginated), pl. D j; Heinz Becker, “Klarinette,” MGG vol. 7 (1958), Tafel 43, Abb. 8. Heckel continued to offer G clarinets d’amour as late as the early twentieth-century. A Heckel clarinet d’amour (1870–1880, US-MA-Newton Centre) with thirteen keys and two rings for R2 and R3 was acquired by Sigal in 2005. Heckel offered a clarinet d’amour in G or A as no. 18 m, see Fabrik seiner Blas-Instrumente von Wilhelm Heckel, 4.

Clarinet d’Amour and Alto Clarinet and Their Music 67 that are attached to oval brass plates screwed into the body. The maker’s stamp is within an oval “L.S. (roman)/Constantin (cursive)/A PARIS.”285

Piatet Pierre Piatet (ca. 1796–ca. 1868) was a student of Simiot and established his own ﬁrm in Lyon after 1836. Piatet also worked to about 1855 with Benoit in Lyon in their ﬁrm called Piatet and Benoit. A number of woodwinds and brasses were made by these two ﬁrms.286 A thirteen-key F alto clarinet (GB-Edinburgh, 5136, Ex Shackleton, ca. 1850) is boxwood with ivory ferrules. There are ﬁve sections: an unmarked mouthpiece (rosewood), curved barrel, left-hand joint, right-hand joint-stock, and bell. All the keys are pillar mounted and attached to brass oval plates. There are ring keys for R2 and R3, which appear to be original. They close separate keys connected to the rod bearing by skillfully made thin levers. The key heads are made as shallow cups; the maker’s mark is “✯/PIATET/A LYON/✯/FA.” The length is 88.3 cm.287 Another thirteen-key E alto clarinet (D-Berlin, 2900, ca. 1850–1855) that did not survive World War II was made by the Piatet ﬁrm. It was brown boxwood with ivory ferrules and was quite similar to the Edinburgh instrument. In addition to the ring keys for R2, and R3, this instrument had a ring key for L3. The length was 101 cm.288

Wernicke The oboist Johann Friedrich Wilhelm Wernicke established a woodwind and brass workshop in Berlin in 1849. In 1863, he was appointed a court maker and in 1864 a repairman to the Royal Chapel, later supplying them with oboes and clarinets.289 There are two fourteen-key F alto clarinets known. The ﬁrst is a dark-stained boxwood instrument (US-NY-New York, 89.4.2279, ca. 1855) with ivory ferrules. It is made in ﬁve sections: mouthpiece (brass), curved barrel, left-hand joint, right-hand joint-stock, and bell. The keys are block mounted with ﬂat, round key heads and include an alternate cross f/c key.290 The second alto (S-Stockholm, F328, ca. 1855) is remarkably similar to the ﬁrst, made of boxwood with ivory ferrules, an integral wooden thumb rest on the back of the right-hand joint, and a horn extension on the top of the barrel. Its fourteen keys are block mounted except for the pillar-mounted

285. See the description and photos in Shackleton Collection, 710. 286. NLI, 302. 287. For a description and photos, see Shackleton Collection, 709. 288. For a description, see Snoeck, Catalogue de la collection d’instruments de musique anciens ou curieux, 170, no. 900; for a description and photo, see Sachs, Sammlung alter Musikinstrumente, 296, Tafel 29. I thank Heike Fricke of the Berlin Museum for information. 289. NLI, 425. 290. I thank Kenneth Moore for sending a photo.

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A/E and F/C keys, and it is missing its f/c key for R1. The maker’s stamp is “(Prussian eagle)/Wernicke (in cursive)/Berlin (in Roman)/2/✶.”291

Seidel Josef Franz Seidel (1806–1872) was active as a musical instrument maker in 1846 in Mainz. His ﬁrm made a number of woodwinds including bass clarinets until 1869.292 A ﬁfteen-key F alto clarinet (formerly US-MI-Ann Arbor, 629, ca. 1850– 1855) is quite similar to the alto clarinets by Knockenhauer and Skorra, made of boxwood with ivory ferrules. There are ﬁve sections: mouthpiece, curved barrel, left-hand joint, right-hand joint-stock, and bell.293 It has the usual thirteen pillar mounted keys, duplicate keys for f/c (L2) and E/B (R1), and an integral thumb rest. The maker’s mark is “SEIDEL/MAINZ” and below, an owner’s mark of “C.E.” in an oval.294

Halari The Halari ﬁrm was established by Jean Hilaire Asté (ca. 1775–ca. 1840) in 1804. He adopted the name Halary or Halary-Asté. In 1817, he submitted three new brass instruments and brass sopranino (small-size) clarinets in F and E to the Académie des Beaux Arts, all of which were subsequently patented (French patent no. 1,849; 24 March 1821). In 1823, Halari is listed as a maker to the king, and in 1825 he retired. He was succeeded by his son Jean Louis Antoine (1788–1861), who adopted his father’s name, calling himself Halary or Halari. He was succeeded by his son Jules Léon Antoine, also called Halary (b. 1827), who sold the ﬁrm in 1873. Many different types of woodwinds and brasses were made by this company.295 One remarkable eleven-key E Halari alto clarinet (US-MI-Ann Arbor, 630, ca. 1850–1855) is brass. There are four sections: silver-plated brass mouthpiece, long brass crook, one-piece body, and an upturned bell. The sections are secured by three large screws. There are S, A, G, f/c (missing), E/B, C/G, B/F, A/E, F/C, F/C, and E/B. There are rings for L1 and L2 (for playing f/c; and rings for R2 and R3 (for playing B/F). The serial number “492” is stamped on the bell, and the maker’s stamp is “(crowned eagle with wings poised down)/HALARI/FOURNSEUR

291. See the photos on the Musikmuseet Web site, http://stockholm.music.museum/index. The Wernicke alto clarinet is listed without a description when housed in the Hälsingborg Museum; see Utställning av musikinstrument ur Daniel Fryklunds samling i Hälsingborg, 39. 292. NLI, 369. 293. Christopher Dempsey told me that this alto clarinet is missing from the University of Ann Arbor’s Stearns Collection. 294. For a description and photo, see Borders, European and American wind and percussion instruments, 39. 295. NLI, 156–157.

Clarinet d’Amour and Alto Clarinet and Their Music 69 DE L’EMPEREUR/A PARIS.”296 This is the only known example of a brass alto clarinet from the mid-nineteenth century.

Buffet, Louis-Auguste Louis-Auguste Buffet (b. 1789), also called Buffet jeune, was a signiﬁcant maker of woodwind instruments in Paris from at least 1816. Buffet was a supplier of instruments to the band of the Garde Royale; built a bass clarinet with Isaac Dacosta in 1832; in 1837, advertised himself as a maker of a variety of woodwinds; collaborated with Hyacinthe Klosé from 1839 to 1844 to invent the Boehm system clarinet; and in 1844 patented the invention (French patent no. 16,036). Buffet’s son Louis Auguste Buffet (1816–1884) was presumably associated with the ﬁrm, which closed in 1885.297 Three alto clarinets are known by this ﬁrm. The ﬁrst is a thirteen-key F alto (B-Bruxelles, M1958, ca. 1855) in plum with ivory ferrules. There are ﬁve sections: mouthpiece (missing), curved barrel, left-hand joint, right-hand joint-stock, and bell. All the keys are pillar mounted and have round key heads.298 A ﬁnely made alto clarinet (D-Uhingen, 1855–1860) by L. A. Buffet is carefully constructed in African black wood with gold-plated brass ferrules and gold-plated keys. There are ﬁve sections: black wood mouthpiece, gold-plated brass crook, left-hand section, right-hand section-stock, and bell (replacement). There are plateau keys for L3 and R1 and ring keys for R2 and R3 (web photo 5).299 This sophisticated design, now called a simple system, plays well in tune and is in use by players today.300 Small-Size Clarinets D’Amour In this section, seven small-size clarinets d’amour are discussed. They are quite unusual, high-pitched examples, ﬁve of which are made in C and two in A. These

296. For a description and photo, see Borders, European and American wind and percussion instruments, 43. I thank Christopher Dempsey for sending photographs and information. It is possible that this instrument was previously in Adolphe Sax’s collection; see the listing for a Halari alto clarinet in Catalogue du musée instrumental de M. Adolphe Sax, 4, no. 50. 297. NLI, 50. 298. For a description and sketch see Mahillon, Catalogue descriptif, vol. 3, 379–380; for a photo, see Chambure, “Clarinette,” 553. 299. I thank Thomas Reil for information and photographs. An alto clarinet by L. A. Buffet (GB-Oxford-PR, 1963.2.6, ca. 1855) is a very early Boehm system boxwood instrument. It has a brass crook, plateau keys for R1, R2, and R3, and a bell without a rim. See the description at http://www.pitweb7-prm.oxac.uk. 300. Jazz players particularly in New Orleans use the simple system clarinet. A simple system alto clarinet (GB-London-H, 2004.1136, 1862–1868) by Buffet-Crampon & Cie of Paris, made for Henry Distin in London, was played by the famous clarinetist Henry Lazarus. It includes twelve keys, rings for L1, L2, R2, plateau keys for L3, R1 and R3. I thank Bradley Strauchen for a photo and information.

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small-size clarinets d’amour are puzzling because they do not appear to ﬁll a musical role traditionally assigned to the clarinet d’amour. Besides playing them in informal concerts, musicians may have wanted a clarinet in C, B, or A with an unusual appearance. The first small-size clarinet d’amour is a four-key instrument (B-Brugge, M51, O.18.XXVIII, ca. 1780) by F. J. Rottenburgh of Brussels. It is an attractive boxwood example with ivory ferrules. There are six sections: mouthpiece (black wood, probably a replacement), curved barrel, right- and left-hand joints, stock, and a carefully crafted bulb-shaped bell. The A/E key touch is long and straight, similar to those found on four-key Rottenburgh soprano clarinets. The F/C key, positioned for L4, is mounted in the swelling, and the missing key head is mounted in a block. The F/C brass touch and shank are curved from a ﬂat brass surface.301 This instrument is 64.7 cm long without the mouthpiece and thought to be in A. Its stamp is “G.A./ROTTENBURGH/✶” on the right-hand joint and “G.A.R.” on every other joint except the mouthpiece.302 This instrument was made for the French market because it follows the descriptions and illustrations published in French treatises and in four-key ﬁngering charts published from the 1760s to the early 1780s. The second small-size example (B-Bruxelles, M2597, ca. 1800) from the Tuerlinckx workshop is identical to a soprano ﬁve-key clarinet in C except for its bulb bell. It is boxwood with ivory ferrules and 53.2 cm long, typical of a C clarinet. It is in six sections: mouthpiece (dark wood), straight barrel, left- and right-hand joints, stock, and bell. There is a slightly shorter, second bulb bell of the same boxwood color and an ivory ferrule associated with the instrument that may have been meant for another clarinet d’amour. The mouthpiece and barrel are stamped “TUERLINCKX/❁.” Both ﬁnger hole sections are stamped “TUERLINCKX/❁/ C.”303 Although instruments of this pitch are very rare, this clarinet d’amour and other examples indicate that players occasionally ordered higher-pitched clarinets d’amour. The third small-size clarinet d’amour is a ﬁve-key A clarinet d’amour (B-Bruxelles, M2596, 1790–1800) by Raingo. It is stained boxwood with wide ivory ferrules. It has six sections: long dark-wood mouthpiece, barrel, left- and right-hand joints, stock, and bell. The S, A, and E/B key heads are mounted in rounded blocks, and the body is elegantly turned. The sliders on the touches of the F/C and E/B keys resemble

301. A color photograph is in Vermeersch, Musiques, 20; Dullat, Klarinetten, 271, Abb. 185. This instrument was studied by me in 1990. 302. Awouters, De Keyser, and Vandenberghe, Catalogus van de Muziekinstrumenten, 45. I am grateful to Stéphane Vandenberghe during a visit in 1990. 303. For a description and photo, see Van Aerde, Les Tuerlinckx, 123, pl. III h; cf. 4900, 246. The second clarinet d’amour bell by Tuerlinckx is given a number of IDK 17 by Tilmans, “Catalogue des instruments Tuerlinckx,” 26. I am grateful to Ignace de Keyser, who was very helpful during a visit to Brussels in 1990.

Clarinet d’Amour and Alto Clarinet and Their Music 71 those on clarinets by the Tuerlinckx ﬁrm. The length is 68.9 cm, and the stamp is “N ˙ M/RAINGO/A ˙ MONS/✱” on the right-hand joint, stock, and bell.304 A fourth small-size C (low pitch) clarinet d’amour is an unmarked four-key example (D-Berlin, 2890, 1790–1800) in boxwood with horn ferrules. It consists of six sections: mouthpiece (missing), brass crook (missing), left- and right-hand joints, stock, and bell. The S, A, and key head of the E/B are block mounted, and the A/E is mounted in the stock swelling, along with the E/B key (see web photo 2). Its length without crook and mouthpiece is 52 cm.305 The ﬁfth small-size clarinet d’amour is an unmarked ﬁve-key example in C (DBerlin, 2889, ca. 1800) with a metal crook and a slightly ﬂaring bell. It is boxwood with horn ferrules and has six sections: mouthpiece (dark wood), brass crook, leftand right-hand joints, stock, and slightly pear-shaped bell. The ﬁve keys are block mounted for S, A, and the key head of the E/B; the key shanks of the E/B, F/C, and A/E keys are mounted in the swelling on the stock. The ends of the F/C and E/B keys are decorated in a similar manner to those key touches on instruments by Tuerlinckx of Mechlin (web photo 2). The length of the instrument is about 58 cm; it is pitched in B at the modern pitch standard of A = 440 Hz but handles and plays like a C clarinet in low pitch.306 The sixth small-size example is a ﬁve-key A clarinet d’amour (D-Berlin, 2891, ca. 1800) quite similar to the four-key C clarinet d’amour (D-Berlin, 2890). It is boxwood with horn ferrules. It has six sections: mouthpiece (missing), brass crook (missing), left- and right-hand joints, stock, and bulb bell. The S, A, and key head of the E/B are block mounted, and the A/E, E/B, and F/C keys are mounted in the stock swelling. Its length without crook and mouthpiece is 63.8 cm, and it is thought to have been pitched in A.307 The seventh and last example is a six-key C clarinet d’amour (NL-Den Haag, 0840704, ca. 1820–1830, (web photo 6) by Schürer of Rottenthal. It is boxwood with horn ferrules. There are six sections: mouthpiece (dark wood), barrel, left- and right-hand joints, stock, and a bulb-shaped bell with four resonance holes that is very unlikely to be original because its color is notably lighter than the other sections. This is a case where the bulb bell has obviously replaced the original ﬂaring bell. Its length is 55.5 cm. The date “1820” scratched on the bell rim is possible, but we have no information about the maker.308

304. This instrument was studied by me in 1990; I thank Géry Dumolin for sending a photo. 305. This instrument was studied by me in 1990 and 2005. I thank Heike Fricke for a color photo and Tom Lerch for his estimate of nominal pitch. 306. Photo in Becker, “Klarinette,” MGG, vol. 7 (1958), Tafel 43, no. 2. I am grateful to Tom Lerch of the Berlin Museum for his assessment of the playing qualities of this instrument. 307. According to Heike Fricke in 2005, the A clarinet d’amour (D-Berlin, 2891) is missing from the museum. I studied the A clarinet d’amour in 1990. 308. I studied this instrument in 1990 and thank Michael Latcham for a color photo.

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From the Clarinet d'Amour to the Contra Bass Basset Clarinets That Resemble Clarinets D’Amour and Alto Clarinets

The basset clarinet is an extended-range eighteenth-century clarinet in C, B, or A with notes below the E of the soprano clarinet, most often D and C.309 Makers sometimes constructed basset clarinets that share some characteristics of the clarinet d’amour and alto clarinet. For example, there are two extant anonymous seven-key instruments (F-Paris, E.190, E.194, ca. 1770) pitched in A, stamped “AS,” and constructed of brown-stained fruitwood. They have ﬁve sections: mouthpiece (missing), brass crook, upper and lower hand joints, and long stock-bell. The end of the bell has the ﬂaring proﬁle of a soprano or alto clarinet. The keys are S, A, two A/E keys on either side of an F key with a swallowtail touch, and thumb keys for E/B and C. These basset clarinets may be mistaken for clarinets d’amour because of their brass crook or for alto clarinets because of their bell. However, the inclusion of a basset key for low C distinguishes them as basset clarinets.310 Additional evidence of the confusion of nomenclature comes from a letter written by the clarinetist Anton Stadler on 2 May 1795 to Bremen Theater director Daniel Schütte, in which he sought to arrange performances in Bremen and to commission a basset clarinet called “a new type of clarinet d’amour” from J. B. Tietzel, a wood turner in Bremen.311 No additional details are known about this instrument, even whether it was completed for Stadler. There are no known examples of clarinets made by Tietzel. Musical Use Eighteenth-century scores and parts for G clarinets d’amour and G alto clarinets are marked “G clarinet” or “Clarinet in G.” Precisely identifying the instrument for which the composer wrote is not possible because parts labeled G clarinet can refer to either instrument. Bell shape is not speciﬁed. A few composers wrote for the G clarinet, with its mellow, sweet, and unique tone quality. The earliest work known for the G clarinet is François-Joseph Gossec’s 1760 “Missa pro defunctis.” Chamber music was written during the 1770s, and concertos were written during the 1780s. Music for G clarinets is presented in the following categories: opera, sacred, and orchestral music; concertos; chamber music; and wind band music. Composers and their music are discussed chronologically within each category. Many

309. See Shackleton, “Appendix 2, surviving instruments,” 84. 310. See the description of basset clarinets in Rice, “Appendix 2, descriptions of basset clarinets,” 88, nos. 2–3. 311. “Eine neue Art Clarinette d’amour.” Excerpts from Stadler’s letter appear in Musikantiquariat Hans Schneider, 76. See also NLI, 400; Lawson, Mozart, clarinet concerto, 48; Poulin, “Anton Stadler’s basset clarinet,” 116. Poulin erroneously dates this letter to 1794.

Clarinet d’Amour and Alto Clarinet and Their Music 73 of the wind band and chamber works are occasional pieces played to entertain during table or dinner music (Tafelmusik) at princely courts.312 Separate sections are devoted to music that includes F and E alto clarinets, music for B clarinet d’amour, and music for A clarinet d’amour. In comparison to the eighteenthworks, composers during the nineteenth century use a larger compass, increase technical demands, and employ a greater variety of tone colors in individual parts and in their instrumentation. The majority of works for the clarinet d’amour and alto clarinet up to 1860 have been examined by me; a few are described from secondary sources.

Music for G Clarinets Opera, Sacred, and Orchestral Music Gossec. François-Joseph Gossec (1734–1829) was an important ﬁgure in Parisian musical life for more than ﬁfty years.313 He wrote in all types of musical forms, including sacred, orchestral, and chamber music. Gossec utilizes the G clarinet once in his 1760 “Missa pro defunctis” (published in 1780 as the Messe des morts). Two G clarinets appear only in the Introduction, along with two ﬂutes, two oboes, two C horns, two violin parts, viola, two bassoons, two bass parts (cello and string bass), and timpani. There are a few one-measure solos in thirds, but the rest of the time they double the violin and oboe parts. Their range is almost entirely above written e1: g1 to b2 for the ﬁrst clarinet and a to g2 for the second (see ﬁgure 1.9).314 There are two autographs of the “Missa pro defunctis.” In Brussels, the ﬁrst has parts labeled for two C clarinets, and below these are parts labeled “Clarinettes G” and the word “Suprimé” used to indicate the same notes are played on the G clarinets. In the margin next to these two parts is written “Les unes ou les autres” (one or the other), suggesting either C or G clarinets can be played. In the next pages, each empty measure of the G clarinet parts is deleted with an X.315 In Paris, the

312. Additional music for G clarinets not yet seen by me is in the Regensburg library. It includes the following: Stephan Klob, three divertimenti in G for two G clarinets, two oboes, two horns, two violins, viola, and bass; Klob, two parthias (ca. 1780) for two G clarinets, two violas, and bass; Johann Baptist Kolb, a parthia in G for two G clarinets, two violas, and bass (ca. 1790); Joseph Riepel, a divertimento in G for two G clarinets, two violas, and violone (1780); and Theodor von Schacht’s Serenata (1777), Sinfonia (1779), and Petit Armonica (ca. 1780). See Haberkamp and Angerer, Die Musikhandschriften, 125–126, 132, 242, 287, 292. 313. Barry S. Brook, David Campbell, Monica H. Cohn, and Michael Fend, “Gossec, François-Joseph,” Grove Music Online. 314. Gossec, Messe, 1–5. For a reproduction of page 1 of the published score, see Rice, “The clarinette d’amour,” 100. 315. Gossec, “Missa pro defunctis a piu voce a piu stromenti.” I thank Jean Jeltsch for sending copies and for information.

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From the Clarinet d'Amour to the Contra Bass

Figure 1.9. François-Joseph Gossec, Messe des Morts, Introduction. Paris: M. Henry, 1780.

second manuscript includes the G clarinet parts and a score layout identical to the published version of the score. An additional part is written for C clarinets below the lowest part for timpani. The C clarinet parts are written out throughout the Introduction.316 Gossec’s Mass was performed in Paris at least ﬁfteen times from 316. Gossec, “Messe des morts.” I thank Jean Jeltsch for sending copies and for information.

Clarinet d’Amour and Alto Clarinet and Their Music 75 May 1760 to 1792, including a performance with two hundred musicians at SaintEustache on 18 December 1784 and at the funerals of Admiral Bruix in 1805 and the composer Grétry in 1813.317 Schacht. Theodor von Schacht (1748–1823) wrote the earliest German works for the G clarinet, as well as the earliest dated work for the F basset horn (see chapter 3). Schacht studied at the Thurn and Taxis court in Regensburg from 1756 to 1766 and was a student of Jomelli at Stuttgart from 1766 to 1771. He became a court ofﬁcial under Prince Carl Anselm of Thurn and Taxis in 1771 and was appointed director of the court’s music in 1773. He set up an Italian opera company that was active from 1774 to 1778. He later was given the title of chapel master, serving as an administrator and musical director.318 A serenata in C major dated 1777 includes two oboes, two ﬂutes, two G clarinets, two bassoons, four C horns, two C trumpets, timpani, and strings. There are two additional C clarinet parts not in the score that could be substituted for the G clarinet parts.319 A sinfonia in C major dated 1779 is also for a large orchestra: two oboes, two ﬂutes, two C clarinets, two bassoons, two horns, two C trumpets, timpani, and strings. In this work, there are two additional G clarinet parts not in the score that could be substituted for the C clarinet parts.320 In both the serenata and the sinfonia, the G clarinets were either clarinets d’amour or alto clarinets. This fact is supported because the name corno di bassetto was used in Schacht’s 1772 sinfonia for G basset horns and F basset horns, and a G clarinet and two corni di bassetti were included in a 1790 inventory of instruments at the Regensburg court. Gugliemi. Pietro Alessandro Gugliemi (1728–1804) was an important Italian opera composer active in Naples, Rome, Venice, Turin, and Milan from 1763. From 1776, he lived in Naples and wrote two to ﬁve operas per year until 1793.321 His opera Enea e Lavinia (1786) was written for the famous San Carlo opera. It includes clarinets in C, B, and A, and an aria in scene ﬁve has two parts for “Clarin. in G” (G clarinets). The parts are written transposed in C major and may have been played transposed on G clarinets, from separate G clarinet parts, or played on C clarinets. The compass is limited ﬁrst from d1 to g2 and second, a to f 2, and features a surprising use of the distinctive chalumeau register.322 The clarinetists in the San Carlo Opera orchestra from 1781 to 1786 were the Germans Wilhelm Hattenbauer 317. The title page of the autograph in Brussels includes a list of performances probably written by Gossec himself; see also Brenet, “La Messe des Morts,” 3; Krones, “Ein Französisches Vorbild für Mozarts ‘Requiem,’ ” 4–5. The “Dies irae” movement from the Mass was also performed at Concerts spirituals in 1761, 1762, 1777, and 1780. 318. August Scharnagl and Hugo Angerer, “Schacht, Theodor, Freiherr von,” Grove Music Online. 319. Schacht, Regensburg, Hofbibliothek, MS., 68; Haberkamp and Angerer, Die Musikhandschrift, 292; Grass and Demus, Das Bassetthorn, 222. 320. Schacht, Regensburg, Hofbibliothek, MS., 9; Haberkamp and Angerer, Die Musikhandschrift, 292; Grass and Demus, Das Bassetthorn, 230. 321. Mary Hunter and James L. Jackman, “Guglielmi, Pietro Alessandro,” Grove Music Online. 322. Guglielmi, “Enea e Lavinia.”

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and Leopold Vinitzki,323 and they may have owned G clarinets, along with the usual C, B, and A clarinets. Gluck. Christoph Willibald Ritter von Gluck (1714–1787) was a signiﬁcant opera composer who exerted an important inﬂuence in Paris.324 In the autograph of Gluck’s most popular opera, Orphée et Eurydice (1774), there are two G clarinet parts in a sketch of the music for a ballet.325 The instrumentation is for two ﬂutes, two G clarinets, two bassoons, violins, viola, cello, and bass. The clarinet parts double the violins throughout and are given restricted ranges of ﬁrst from f1 to b2; second, d1 to d2.326 This opera was rewritten from Gluck’s earlier Italian opera Orfeo ed Euridice, performed in Vienna in 1762. French texts were substituted for the Italian texts, new vocal parts were written, and the orchestration was altered to suit the the Paris Opéra personnel.327 The same clarinetists who played the G clarinets in Gossec’s Messe des Morts in Paris may have been available to play these instruments in Gluck’s Orphée et Eurydice; however, the manuscript section including the G clarinets was not added to the completed opera. Mayr. Johann Simon Mayr (1763–1845) was a German composer, writer, and teacher who studied music in Bergamo and Venice, achieved considerable success as an opera composer in Venice and Milan, and lived in Bergamo, Italy, from about 1805.328 He wrote sacred works and orchestral and chamber pieces, including three works with prominent parts for G clarinet dating from the 1820s or 1830s. All of these works include one or two solo vocal parts with a small orchestral accompaniment. The ﬁrst is a “Lamentazione terza” in G written for two tenors, two cello solo parts, two obbligato G clarinets, and an orchestra of two ﬂutes, two G horns, violins, violas, cellos, and string bass. The second is a “Qui Sedes” in G for soprano or tenor solo, Clarino dolce solo, and an orchestra of two ﬂutes, two oboes, two G horns, violins, violas, cellos, string bass, and organ or harpsichord.329 The third is a “Sacriﬁcium” in G for Clarone obbligato (labeled clarinetto in g dolce), tenor solo, and an orchestra of two ﬂutes, two G horns, violins, violas, cellos, string bass, and organ or harpsichord.330

323. I am grateful for copies of the music from this aria from Anthony DelDonna and information from his presentation, “The Late Eighteenth-Century ‘Dramatic’ Clarinet in Italy: The San Carlo Opera Orchestra of Naples” given at the Clarinet and Woodwind Colloquium 2007, Edinburgh University. See also, Di Dato, Mautone, Melchionne, and Petrarca, “Notizie dallo spirito santo,” 689–694. 324. See Bruce Alan Brown, “Gluck, Christoph Willibald Ritter von,” Grove Music Online. 325. This music appears in an autograph that is now lost; another autograph in Paris includes the same music written for two violins, cello, and bass; Gluck, Orphée et Eurydice, 323, 338, 340. 326. Gluck, Orphée et Eurydice, 324–325. 327. See “Orfeo ed Euridice (i),” Grove Music Online. 328. S. L. Balthazar, “Simon Mayr,” Grove Music Online. One work by Mayr, a Domine labia mea for tenor, clarinet and horn obbligato and orchestra, is dated 1834, at the Biblioteca del Civico istituto musicale Gaetano Donizetti, Bergamo, MS. 995 D 107; see www.internetculturale.it. 329. The lowest part includes basso continuo ﬁgures for completing the harmony on a keyboard instrument. 330. I thank Stewart Carter for information on these works by Mayr. The manuscripts of these works are accessible through the Web site for Internet Culturale, http://www.internetculturale.it.

Clarinet d’Amour and Alto Clarinet and Their Music 77 “Lamentazione terza” is written in a slow, largo tempo, and Mayr writes several exposed solos for both G clarinets; the ﬁrst part is prominent throughout with a technically demanding part. Both G clarinets have a large compass of ﬁrst from e to e3; second, e to c3.331 “Qui Sedes” is written in a slow, larghetto tempo and begins with a solo on the G clarinet (a basset horn part is not in this score, despite the mention of it as an alternative instrument on the title page). Mayr uses the instrument in a leading, soloistic manner with a compass of e to c3.332 “Sacriﬁcium” begins in a slow 3/4 larghetto tempo after a short introduction on the G clarinet (clarinetto in G dur or Clarone on the title page) with a long, swelling g2 over two dotted half notes played with a crescendo and decrescendo. After twenty-six measures of the solo G clarinet, the tenor soloist begins, accompanied by the G clarinet. This is followed by a moderato section, in which the G clarinet states a lively theme, followed by sixteenth-note passages and an obbligato part accompanying a tenor solo. The part is demanding, making use of a diminished seventh arpeggio and a compass of e to c3.333 Concertos Kne˘žek. The Czech bassoonist and composer Jan Václav Kne˘žek (1743–1806) was born in Prague and was a bassoonist in an orchestra in Poland. He became a member of the Regensburg court orchestra by the 1780s.334 Kne˘žek wrote two double concertos (MSS. 7 and 8) or “Concertante” for two G clarinets in Regensburg. Because three of his six concertos for solo clarinet are dated 1787 and 1788, they may have been written about the same time.335 The relatively narrow range of these G clarinet parts is not as limited as Gossec’s earlier use, but only in the rondeau movement of Kne˘žek (MS. 7) are there two occurrences of low e written for the second clarinet. In most movements, the second G clarinet descends no lower than d1, so that much of the second part is written in the middle of the instrument’s compass, the upper chalumeau register, and the lower clarino register. Kne˘žek wrote the ﬁrst G clarinet part slightly higher, seldom reaching d3.336 Anonymous. An anonymous double concerto for two G clarinets in Regensburg is similar in several respects to Kne˘žek’s two double concertos; namely, each clarinet alternately plays a lyrical ﬁrst theme in the ﬁrst movement, there is a pairing in thirds for the opening themes of the second and third movements, and in the third 331. Mayr, “Lamentazione terza,” fols. 1–39r. 332. Mayr, “Qui sedes,” fols. 1–30v. 333. Mayr, “Sacriﬁcium,” fols 1–54. According to Rocchetti, portions of Mayr’s “Sacriﬁcium in F” for soprano solo, basset horn obbligato and orchestra (Biblioteca civica Angelo Mai, Bergamo, MS. 222.8) are used in the Sacriﬁcium in G. See Rocchetti, “A Window on the Horn in Early Nineteenth-Century Italy,” 63. 334. See Fétis, Biographie Universelle, vol. 5, 64. 335. Regensburg, Hofbibliothek, MS., Knischek 7 and 8 are dated ca. 1790 by Haberkamp and Angerer, Die Musikhandschrift, 129; see also Titus, “The Solo Music,” 309–310. 336. Titus, “The Solo Music,” 453.

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Figure 1.10a. Anonymous, “Concertante” (ca. 1790) for two G clarinets and orchestra, ﬁrst clarinet part, Regensburg, Hofbibliothek, MS., Inc.IIc/3.

movement, the orchestra plays the ﬁrst four measures of the theme, followed by the soloists completing the eight-measure phrase.337 The range is the broadest in this concerto, b to c3 and e to c3, with chalumeau notes appearing in the ﬁrst movement of the second G clarinet (see ﬁgure 1.10a-b).338 337. Regensburg, Hofbibliothek, MS., Inc.IIc/3; Haberkamp and Angerer, Die Musikhandschrift, 380; Titus, “The Solo Music,” 459. 338. Anonymous, “Concert in G.”

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Figure 1.10b. Anonymous, “Concertante” (ca. 1790), second G clarinet part.

Chamber Music Michael Haydn. The Austrian composer Michael Haydn (1737–1806), younger brother of Joseph Haydn, is especially admired for his sacred music. At age eight, Haydn went to Vienna and entered the choir school at St. Stephens. He studied music, wrote a number of sacred music compositions, and performed on the organ. By 1760, Haydn was in Grosswardein as a chapel master and in 1762 was appointed court concert master in Salzburg, where he played the violin and organ and composed.339 Haydn also augmented his income by writing music for the 339. Dwight Blazin, “Michael Haydn,” Grove Music Online.

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musicians hired to play at St. Peter’s monastery in Salzburg.340 Among these works are “12 Minuets” ST 197 (1774) composed for two ﬂutes, two oboes, two G clarinets, bassoon, two horns, two violins, and bass. One of the minuets includes two parts for “Clarinetto ex G” (G clarinet) written in the horn parts. The compasses of these simple parts are limited to ﬁrst from c2 to c3; second, g1 to a2.341 Birsak notes that the violins in this minuet play in A major, and he states that A clarinets could only be used.342 However, we cannot be certain about the pitch of the G clarinets relative to the pitch played by the violinists. Birsak assumes that the players at St. Peter’s monastery would have played an instrument similar to one of several extant A or A alto clarinets in the Salzburg collection.343 Croes. Henri Joseph de Croes (1758–1842) was from 1775 a violinist in service of the Prince of Thurn and Taxis in Regensburg. He was made chapel master from 1776 to 1783 and wrote seven “Partia” for two G clarinets, two violas, and violone. These works include dates on the manuscript title pages from 1780 to 1788 and 1794;344 the “Partia” dated 1788 has several short movements alternating between andante and menuetto and presents a work of modest technical difﬁculty. The ﬁrst part has a compass from g1 to c3; second, g to c3, although most of the music is written in the clarino register for both instruments (see ﬁgure 1.11).345 Schacht. Theodor von Schact wrote two works including the G clarinet for players at the Regensburg court. A “Partitta Armonica” in G major (ca. 1780) is for two G clarinets, two violas, and violone,346 the same instrumentation as the Croes work. The second work is for a larger ensemble of eight players or a wind octet; it is a “Partitta” in G major (dated 1789) for two English horns, two F clarinets, two B horns, and two

340. According to Robert Münster, Haydn also worked on commission from at least two more Austrian and Bavarian monasteries, Michaelbeuren and Herrenchiemsee. See Robert Münster, Mannheim and Vienna (1760–1800), in notes to a recording of Michael Haydn’s trumpet concerto (Deutsche Grammophon Gesellschaft Archiv, no. 198415, ca. 1967); Rice, “The clarinet in the works of Joseph and Michael Haydn,” 32. 341. Salzburg, St. Peter’s Library, MS., Hay 1945, 1–2; see Birsak, “Salzburg, Haydn and the clarinet,” 37–38, ex. 3. 342. Birsak, “Salzburg, Haydn and the clarinet,” 38. Birsak reported to me (2005) that he has found additional Michael Haydn manuscripts in the Salzburg Museum: Two minuets (MS., Hs. 2549, 1778) include A clarinets and are similar to those of 1774; a trio (1786) uses A clarinet in a theme alternating with a “cornetto da postiglione” (post horn). 343. Although a tenor singer who played the clarinet and violin was active at St. Peter’s monastery in 1745, later musicians who played the clarinet among several instruments were Johannes Greiner and Antonius Schauer in 1773 and 1774. See Birsak, “Salzburg, Haydn and the clarinet,” 38; Eder, “Die SanktPetrischen Musikanten,” 113, 117. 344. Suzanne Clerck-Lejeune, “Croes, Henri-Jacques de,” Grove Music Online; Regensburg, Hofbibliothek, MS., H.de Croes 8, 16, 28–32, 36; Haberkamp and Angerer, Die Musikhandschrift, 46. 345. Croes, “Partia con due clarinetti in G, due viole et violone.” Regensburg, Hofbibliothek, MS., H.de Croes, 8; Haberkamp and Angerer, Die Musikhandschrift, 46. I thank Jean Jeltsch for sending copies of the music. 346. Regensburg, Hofbibliothek, MS., Schacht 73/I; Haberkamp and Angerer, Die Musikhandschrift, 287.

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Figure 1.11. Henri Joseph de Croes, “Partia con due clarinetti in G, due viole et violone” (1788), Regensburg, Hofbibliothek, MS., H. de Croes, 8.

bassoons. The parts reproduce the entire score but only part of the ﬁrst movement; two G clarinet parts replace the F clarinet parts.347 Schacht made use of the instruments available to the court musicians: G clarinets with corps de rechange in F. Kne˘žek. Kne˘žek’s three parthias in G major (ca. 1790) are for the same ﬁve players as works by Croes and Schacht: two G clarinets, two violas, and a bass part (cello or contra bass), written for musicians of the Thurn und Taxis court orchestra in Regensburg.348 One of the parthias consists of twelve short movements with a range of g1 to c3 and g to a2.349 Technical demands are quite limited in these charming short pieces, probably played as dinner entertainment. 347. Regensburg, Hofbibliothek, MS., Schacht 74; Haberkamp and Angerer, Die Musikhandschrift, 287. 348. Regensburg, Hofbibliothek, MS., Kne˘žek 10–12; Haberkamp and Angerer, Die Musikhandschrift, 130. 349. Regensburg, Hofbibliothek, MS., Kne˘žek 10 was published in an arrangement for two B clarinets, two violas, and cello or contrabass in Kne˘žek, Partity (Prague, 1975).

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G clarinets were probably used in wind band music in Austrian monasteries since the middle to late eighteenth century. An advertisement of a concert featuring a wind band in Danzig (now Gdanˇsk, Poland) in 1804 mentions the following instruments: clarinetto d’amour (identiﬁed with this name), two basset horns, English horn, two Invention horns, and bassoon.350 Johann Stamitz. A work for harmonie or wind band is the ﬁrst movement of a “Sextet” in C major marked molto adagio for two G clarinets, two C horns, and two bassoons by Johann Stamitz, arranged as an example in the instrumentation treatise by Francoeur (ca. 1772).351 It is a bipartite in form with eight measures in the ﬁrst part, followed by fourteen measures in the second. Francoeur explains that the G clarinet was preferable in this piece because it is the sweetest and because the air is very slow, sweet, and mournful.352 He printed baritone clefs (bass clefs placed on the third line) at the beginning to indicate the nominal pitch of the G clarinets, treble clefs to indicate the pitch of the C horns. After a double bar, the transposed parts employ a treble clef with the pitch of each part labeled at the beginning. The clarinet parts are written in F major with ranges of f1 to c3 and a to a2, the ﬁrst clarinet written a third or a sixth above the second. At the end of this example, Francoeur notes that this type of clarinet is rarely employed in other (faster) movements.353 Aside from the editing of articulation signs, Francoeur adds an additional, optional bassoon part, appoggiaturas, and a mordent. It is uncertain if this work was actually played by a wind band since it is very short and used for teaching purposes. Rousseau. Jean Jacques Rousseau (1712–1778) was a Swiss philosopher, theorist, and composer who wrote one popular opera, Le devin du village (1752).354 He wrote a march in G major (1770s) for two oboes, two G clarinets, two G horns, and one bassoon to illustrate a posthumously published article entitled “Sur la Musique Militaire.”355 Printed above the march is a single line, a sixteen-measure air in G 350. “ . . . einer Clarinetto d’Amour, 2 Corno di Bassetto, 1 engl. Horn, 2 Inventions Waldhörner und 1 Fagotto.” Danziger Nachrichten und Anzeigen 31 March 1804; see a reproduction of the advertisement in Ocieszak, Roz˙ek basetowy, 86. 351. Francoeur, Diapason général, 58. The printed example includes one part marked Fagotto, but Francoeur’s remarks on pages 55–57 on writing for a sextet of instruments make it clear that two bassoons are intended to play one part. 352. “Les Clarinettes en G-ré-sol, étant la plus douce espece, ont été préférées à toute autre pour le premier exemple, parcequ’il est d’un chant trés lent, doux et lugubre.” Francoeur, Diapason général, 57. 353. “Nota. Rarement on doit employer cette espece de clarinette dans d’autre mouvements que celuy-cy.” Francoeur, Diapason général, 58. The same music by Stamitz had been printed eight years earlier as an example for two B clarinets and two E horns in Roeser’s Essai, 20. 354. See Catherine Kintzler, “Rousseau, Jean-Jacques,” Grove Music Online. 355. The publisher Girardin initially brought the manuscript to the attention of the “comité d’instruction publique” on 13 October 1794. The text and musical examples of Rousseau’s article were initially published in Oeuvres complètes de J. J. Rousseau (Paris: Poinçot, 1793) in volume 38 of the “Recueils des oeuvres de

Clarinet d’Amour and Alto Clarinet and Their Music 83

Figure 1.12. Jean Jacques Rousseau, “Second Air pour la Musique” in Oeuvres de J. J. Rousseau, “Sur la musique militaire,” vol. 9 (1827), 414–416.

minor entitled “Premier Air pour le Fifre” to be played on a ﬁfe. The band and ﬁfe player performed their pieces alternately while marching, and side drums provided a cadence beat, even though there are no written drum parts. The ﬁfe tune was repeated at least twice between each performance of the band tune called “Second Air pour la Musique” (in G major) so the band members could have a greater rest period. The cadence of the march was played softly by drums tuned to the tonic G with the ﬁfe and to the dominant D with the band.356 The clarinet parts are in C major with compasses of c2 to e3 and c1 to a2. The ﬁrst clarinet is a third, sixth, or in unison with the second clarinet and often in unison with the oboes (see ﬁgure 1.12).357 Although the ﬁrst part ascends higher than in

musique,” according to a communication from Benoît Zimmermann, an editor for the critical edition of instrumental works of Rousseau for the Société Suisse de Musicologie. See also Correspondance complète de Jean Jacques Rousseau, vol. 48, 113. An English edition of this essay with instructions and engraved music at the end, paginated 1–6, was published as “On Military Music” in Original letters of J. J. Rousseau, 197–200; see also Turrentine, “A translation,” 43. 356. See Rousseau, “Sur la musique militaire,” vol. 9, 414–416; Original letters of J. J. Rousseau, 199–200; also trans. by Turrentine in “A translation,” 42. 357. Rousseau, “Sur la musique militaire,” vol. 9, next to 416. Kastner reproduced a portion of Rousseau’s essay and all of the music, but criticized the quality of music as extremely simple, paltry, and not written in a warlike manner; see Kastner, Manuel générale, 385–388. A transcription of Rousseau’s “Second Air pour la Musique” was given by Galli, Manuale del capo-musica, 30, ex. 8.

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Stamitz’s example, it falls within the range of the G clarinet given by Francoeur.358 Considering the didactic nature of Rousseau’s article about military music, it seems possible that it was written only for study purposes and that it probably was not performed by a wind band.

Music for F and E Alto Clarinets Music written speciﬁcally for the F alto clarinet initially appears in 1817 (discussed below). During the early nineteenth century, F and E alto clarinets were disseminated throughout Europe and played by musicians at courts, in domestic concerts, and in civic and military bands. They were also played in chamber music and occasionally were played as a solo instrument with orchestra, by Müller and another well-known orchestral player and teacher, Frédéric Berr. In a wind band and an orchestra, the alto clarinet supplies the middle notes, balancing the woodwind sound and completing the chords or harmonic progressions with soprano and bass clarinets or other wind instruments. Ivan Müller. In 1817 in Strasbourg, Ivan Müller performed violin variations by Pierre Rode in A major that he arranged for two clarinets, alto clarinet, two horns, and two bassoons, ending with a “Schweizer-Kuh-Reigen” and a rondo. This is a good indication of the type of arrangements Müller wrote for and played on his thirteenkey alto clarinet. The reporter for the AMZ states that all these works were played with virtuosity, reﬂecting positively on Müller as an inventor, virtuoso, and composer.359 At least two of Müller’s works with the F alto clarinet were published. In April 1826, the Variations sur l’Air, O dolce concento, de La ﬂûte enchantée de Mozart, pour Harpe ou Piano, Clarinette, Clarinette-Alto et Basson, ou pour Harpe ou Piano, Violon, Alto et Violoncelle was published by Ricordi in Milan. In June 1826, Tre Fantasi per clarinetto con accompaniment di Pianoforte sopra le tre Cavatini nella Gazza Ladra e nel Barbiere di Siviglia di Rossini, op. 27 was published by Ricordi.360 The third fantasy of Müller’s Tre Fantasi is the aria “Una voce poco fa” from The Barber of Seville arranged for alto clarinet and harp. Both of Müller’s works were published during the late 1820s by Friedrich Hofmeister in Leipzig.361 In the ﬁrst work, the alto clarinet is used mainly to accompany the ﬁrst clarinet solo part. The second work includes a difﬁcult solo for the alto clarinet accompanied by harp. To promote his design of a thirteen-key alto clarinet, Müller wrote thirty technical exercises in the alto clef in his clarinet method book (1821). After he completed his method, he performed some of Haydn’s string quartets, using two clarinets for the ﬁrst 358. Francoeur, Diapason général, 23, gave a range of c1 to e3 for the ﬁrst clarinet and f to c3 for the second. 359. “Nachrichten,” AMZ 20, no. 22 (3 June 1818): 403. 360. The dating of Ricordi’s published music up to 1857 is found in Laterza, Il Catalogo numerico Ricordi 1857, 86. 361. Hofmeister publications were used in a recording of these two works using modern instruments, Emmanuel Chaussade playing the alto clarinet. See notes by Luc Loubry in Romantic music from Estonia, Ivan Müller original works for clarinet, bassoon & harp, Classic DOM 2910 84, 2003.

Clarinet d’Amour and Alto Clarinet and Their Music 85 and second violin parts, one F alto clarinet for the viola, and a bassoon for the cello.362 The composition teacher A. B. Marx (1847) was also enthusiastic about the sentimental, sensual sound of the soprano clarinets, alto clarinet, and bassoon played together.363 Schneider. Georg Abraham Schneider (1770–1839) played horn, oboe, and violin in the Darmstadt court orchestra, where he studied theory and composition. In 1795, he joined the court orchestra of Prince Heinrich of Prussia in Rheinsberg, where he composed and published orchestral and chamber works. In 1803, Schneider joined the royal orchestra in Berlin and founded a series of subscription concerts in 1807. In 1813, he became a conductor of Kotzebue’s theater in Reval (now Tallinn), returning to Berlin in 1816. Here, Schneider was appointed music director of the Königliche Schauspiele in 1820 and promoted to Royal Prussian Kapellmeister in 1825.364 Schneider’s two published concertos have a solo part for “corno di bassetto” (basset horn), but the solo instrument is thought by Newhill to have been written for Müller and played on his alto clarinet. Number 1, op. 90 was published by Hofmeister in about 1818, and no. 2, op. 105 was published by Simrock in 1819 to 1820. The limited compass of the ﬁrst concerto is from e to f3 and of the second from e to e3; in addition, Iwan Müller performed a concerto by Schneider in 1808365 on his “Müllersche Bassethorn” (F alto clarinet) that may have been one of these works.366 Schneider makes use of a number of engaging and buoyant tunes throughout both concertos. In his discussion of basset horn works, Newhill ranks Schneider’s ﬁrst concerto as one of the best solo works; the second concerto has a spirited and charming solo part but is inferior to the ﬁrst concerto.367 Anonymous Quartet. The clarinetist and music editor Philippe Castejon recently discovered a collection of arrangements of about ﬁfty opera arias by Mozart, Rossini, Weber, and Spohr arranged for two B clarinets, F alto clarinet, and bassoon. The music comes from the library of Sondershausen’s court orchestra, where the famous clarinetist Johann Simon Hermstedt (1778–1846) performed in the wind band from 1801 and directed the court musicians from 1811 to 1843.368 These arrangements were probably performed by Hermstedt and the court’s clarinetists369 and bassoonist 362. Müller, Méthode pour la nouvelle clarinette & clarinette-alto, 72–101. See the enthusiastic report of Müller’s improvements to the clarinet and his use of the alto clarinet in the 1826 article published in the Berliner allgemeine musikalische Zeitung, “Ueber Herrn Professor Iwan Müller, 42. Lichenthal also mentions in 1826 that Müller formed a group of clarinets, clarinetto in fa Basso, and bassoon similar to the string quartet, Dizionario, vol. 1, 171. 363. Marx, Die Lehre, 524. 364. William J. Rogan, “Schneider, Georg Abraham,” Grove Music Online. 365. “Nachrichten,” AMZ 11 (9 November 1808), 89–91. 366. Newhill, The basset-horn & its music, 46–47. 367. Newhill, The basset-horn & its music, 45–47. 368. Beinroth, Musikgeschichte der Stadt Sondershausen, 115–122, 127, 153; cf., Pamela Weston, “Johann Simon Hermstedt,” Grove Music Online. 369. Georg Friedrich Heinrici was second clarinet in Sonderhausen’s wind band in 1802; Zenker played ﬁrst clarinet in the wind band; Karl Bendleb was ﬁrst clarinetist in the wind band in 1828, Valsberg was a clarinetist in 1835; Weston, Clarinet virtuosi of the past, 48–49, 124, 279; Beinroth, Musikgeschichte der Stadt Sondershausen, 123.

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Figure 1.13. Alto clarinet part from an anonymous collection of opera aria arrangements for two clarinets, F alto clarinet, and bassoon (1820s–1830s).

during the 1820s or 1830s, probably as table music.370 The alto clarinet (see ﬁgure 1.13) in the ﬁrst movement larghetto accompanies the ﬁrst clarinet solo, followed by a fourteen-bar solo. Its compass is e to d3, and a thirteen- or fourteen-key alto clarinet 370. Castejon was unable to identify the opera arias arranged in this quartet. Beinroth notes that an index of Sonderhausen’s library of orchestral music includes over 170 opera scores. Beinroth, Musikgeschichte der Stadt Sondershausen, 125.

Clarinet d’Amour and Alto Clarinet and Their Music 87

Figure 1.13. Continued.

was probably played.371 Coincidentally, the famous clarinetist and rival of Hermstedt, Heinrich Bärmann, arranged Beethoven’s ﬁrst string quartet in F major for a similar group of two clarinets, basset horn, and bassoon in 1831 (see chapter 3).

Wind Band Music for F and E Alto Clarinet Beginning in the 1820s, Müller’s design of an alto clarinet in F or E became well known in Germany and was introduced into a number of civilian and military 371. I thank Phillipe Castejon for a copy of the alto clarinet part and his transcription of this movement. Castjon intends to publish this work.

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wind bands.372 For example, Duke Friedrich of Mecklenburg-Schwerin established his wind ensemble at the end of 1801, and in 1812 it had ten members: two clarinets, two bassoons, two horns, oboe, ﬂute, trumpet, and serpent.373 During the 1820s, the instrumentation of this wind band was altered to twelve: one ﬂute, two B clarinets, one F alto clarinet, two oboes, two bassoons, two horns, one trombone, and one English bass horn.374 The alto clarinet was probably obtained after Müller’s 1824 performance for the Schwerin court at Ludwiglust, where he probably played both his clarinet and the alto clarinet.375 The use of alto clarinets in wind bands is documented by the stamps of the regiments on some instruments, such as “5tes WESTF.INF. REGT” (5th Westfallian Infantry Regiment) and “9.Inf.Regt./Colberg” (9th [Pomeranian] Infantry Regiment in Colberg). Alto clarinets are also listed in the instrumentation of various bands. For example, the Line and Guard Regiments (Linien- und Garde-Regimentern) band under Giacomo Meyerbeer’s tenure (1840–1848) as Generalmusikdirektor of Prussian music includes the following clarinets: one in A, two in E and F, seven to nine in B and C, and two alto clarinets in E and F, the latter having replaced basset horns.376 Gassner (1842) supported the use of Müller’s alto clarinet in military bands, and many were used throughout the nineteenth century.377 In 1853 in Paris, Adolphe Sax included two F alto clarinets in his band of seventy-four.378 In London, 372. Some makers, however, still made alto clarinets in G; see, for example, the fourteen-key G alto clarinet (I-Milano, 405) by Ziegler of Vienna described here and in appendix 2. 373. “Miscellen,” AMZ 14, no. 30 (22 July 1812), 501. An unusual and early occurrence of the term G clarinet appears in in four short works for four winds in William Whiteley’s treatise, The instrumental preceptor dating from 1816 (pages 31–32, 49, 54–55). The music is scored for two unnotated treble clef parts, probably C clarinets or oboes, a third part marked G Clarinet, and an unnotated part in bass clef probably for bassoon. Each of these “G Clarinet” parts is written as if it is pitched in F and follows the tradition of naming ﬂutes by their ﬁngering for d, with both the left and right hand ﬁngers closed. Thus, each piece is written in F major with the G clarinet written in C major. “Curphew’s Farewell to Utica” (p. 32) is written in D major with the G clarinet in G major. Because Whiteley uses G ﬂute (in modern terms a high F ﬂute) in numbers such as “Handel’s Clarionett” (p. 52), it seems likely that he was utlizing high F clarinets rather than the more rarely found large F clarinet. I thank Robert Eliason for sending copies of the music. 374. Meyer, Geschichte der Mecklenburg-Schweriner Hofkapelle, 103. 375. See Meyer, Geschichte der Mecklenburg-Schweriner Hofkapelle, 269. 376. Rode, “Zur Geschichte der königl. Preußischen Infanterie-, Jäger- und Cavalleriemusik,” 72; Matthias Brzoska, “Giacomo, Meyerbeer,” Grove Music Online. In 1859, Rode mentions in a second article that in the Prussian infantry band the basset horns (“die Bassets”) were replaced by alto clarinets; see Rode, “Zur Geschichte der k. preussischen Infanterie- und Jäger-Musik,” 151, 162; see also Kalkbrenner, Wilhelm Wieprecht, 34. 377. Gassner, Partiturkenntniß, 99–100. Heribert Haase has reported in Klarinetten-Bibliographie, a CD-ROM listing clarinet repertoire, a manuscript by Joseph Fiala of three quintets for two alto clarinets or basset horn, two horns, and bassoon in the Deutsche Staatsbibliothek, Berlin. These works could date to the mid-nineteenth century and may be arrangements of three quintettos by Fiala originally for two English horns, two horns, and bassoon dating from the 1770s. See Reinländer, Joseph Fiala, 85–87; Grass and Demus, Das Bassetthorn, 204. 378. Note pour M. Sax, appellant contre MM. Raoux et consorts intimés (Paris, 1853), 5, cited by Hemke, “The early history of the saxophone,” 202.

Clarinet d’Amour and Alto Clarinet and Their Music 89 the Royal Infantry band in 1863 included ﬁve E clarinets, eight ﬁrst B clarinets, fourteen second and third B clarinets, and one tenor clarinet (an F or E alto clarinet).379 There is no evidence that alto clarinets were regularly employed in this famous band at an earlier time. Waddell James Waddell was a British composer active during the 1840s.380 A military band march survives in a manuscript score in the Royal Music Collection of the British Library entitled “Facheltanz for H.R.H. the Princess Royall’s Marriage” (1840). There is a short score for piano and a full score for military band. The score includes an E tenor (alto) clarinet as a harmony part limited to a compass of g to g2 or possibly a2.381 The Princess Royall was very likely Queen Victoria, who became queen after her father’s (William IV) death in 1837, and she married Prince Albert in 1840.382

Music for B Clarinet d’Amour The seven extant examples of small-size clarinets d’amour in C and A indicate that these instruments were made by various makers. The only musical evidence that has surfaced so far for their use are two marches written by J. C. Bach including B clarinets d’amour. Because they were made in a common clarinet tonality, these parts could have been played with an ordinary B clarinet. Johann Christian Bach Johann Christian Bach (1735–1782) was very successful as a composer in England from 1762. In two “Marches for the Queen’s Dragoons” (ca. 1780) he wrote for a military band of seven musicians with two oboes, two B clarinets d’amours (labeled “Clarinetto d’Amor 1mo/2do in B”), two E horns, and bassoon in a set of manuscript parts.383 The ﬁrst clarinet part in the ﬁrst march subtitled “zu Pferde” (for the horse [regiment]) doubles the ﬁrst oboe with a compass of f1 to c3; the second clarinet also doubles the second oboe but ventures in the chalumeau register from a to g2. In the second march subtitled “zu Fuss” (for the foot [regiment]), the clarinets also double the oboes but are given short solos in thirds with the same compass for both 379. Farmer, History of the Royal Artillery Band, 211. 380. Waddell’s Les Cuirassiers Quadrilles for piano was published in London in 1843, located in the British Library, h.933.60. 381. British Library, R.M.21.e.2, vol. VIII, ff. 79–89. I am grateful to Francis Firth for checking this score at the British Library. The earliest use of published separate E alto clarinet parts in British band scores appears in the 1870s; see Hunsberger, “Deﬁning the wind band sound,” 7. 382. The identiﬁcation of Victoria as the Princess Royall is thought to be a likely possibility by Andra Patterson of the British Library, e-mail of 2007. 383. Berlin, Staatsbibliothek, Preussicher Kulturbesitz, MM. 381; see Bach, Music for Wind Band, IX, 168.

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Figure 1.14. Simon Mayr, “Gloria Patri” (1830s), Bergamo, Italy, Biblioteca Civica Angelo Mai, MS., Mayr 4.9.

clarinets of f to a2.384 The parts in these marches are similar to the clarinet parts in Bach’s “Sei Sinfonie” (1778–1780) for two B clarinets, two E horns, and bassoon having a tessitura primarily in the clarino register and a restricted compass. 384. Bach, Music for Wind Band, 169–175. The marches are entitled “Due marce di cavalleria et d’infanteria della maesta regina della Gran Brettagna d’un regimento di dragoni cavalleggiore” (Two cavalry and infantry marches for Her Majesty of Great Britain’s regiment of dragoons).

Clarinet d’Amour and Alto Clarinet and Their Music 91

Figure 1.14. Continued.

Music for A Clarinet d’Amour During the early nineteenth century, music was written in more remote tonalities than previous compositions. Thus, although it is unusual, it is not surprising that in nineteenth-century Italy, music has survived written for an A clarinet d’amour. One work written in the 1820s or 1830s by Simon Mayr includes a prominent part for an A clarinet d’amour in a “Gloria Patri” in A major for soprano soloist and orchestra. An example of a nineteenth-century clarinet d’amour has not been identiﬁed at present, and they must have been rarely made instruments. An A nominal pitch of eighteenth-century alto clarinets and clarinets d’amour is less certain because there is no corresponding music or references in the historical literature.385 Clearly, more research is required to correlate the originally intended pitch of eighteenth- and nineteenth-century clarinets d’amour and alto clarinets with known historical pitch standards and to the music written for them during the eighteenth and nineteenth centuries. Mayr An unusual work is Mayr’s “Gloria Patri” written for soprano solo, solo “Clarinetto dolce in Alafa” (A clarinet d’amour), and an orchestra of violins, violas, cellos, string bass, ﬂute, oboe, two E horns, and harpsichord or organ. In a similar 385. The earliest modern suggestion that clarinets d’amour were pitched in A along with G and F is found in Chouquet’s 1875 catalog, Le musée du conservatoire, 74. Later researchers who identiﬁed clarinets d’amour in A include Victor-Charles Mahillon in Catalogue descriptif, vol. 4, 356; Sachs, Sammlung Alter Musikinstrumente, 296, no. 2890; and Birsak, Die Holzblasinstrumente, 46, nos. 18/2b, 18/4, 18/5.

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manner to Mayr’s “Sacriﬁcium for G clarinet,” the Gloria Patri begins in a larghetto slow tempo with a swelling g2 for two measures with crescendo and decrescendo, followed by a soloistic, technical part requiring a large compass of e to c3. There are arpeggios in the chalumeau register and wide leaps (see ﬁgure 1.14). It is more compact in length than the Sacriﬁcium.386 This single part veriﬁes the existence and use of A clarinets d’amour in Italy during the early nineteenth century. Mayr’s part for A clarinet d’amour was probably played on a thirteenkey instrument. Conclusion G clarinets (the clarinet d’amour and alto clarinet) appeared about 1740, modeled on double-reed instruments with bulb-shaped or ﬂared bells. They appeared too late to be used in music by major Baroque composers; thus, they do not have the outstanding repertory written by J. S. Bach and his contemporaries for the oboe d’amour. However, they ﬁlled a minor musical role in chamber music, opera, stage work, symphonies, and concertos that was gradually taken over by the basset horn beginning in the 1770s. The basset horn continued its rise in popularity, and the clarinet d’amour and alto clarinet were only occasionally used, never achieving the basset horn’s prestige and importance. The bulb-shaped bell of the clarinet d’amour became faddish during the nineteenth century, but the instrument did not establish a permanent foothold in European music literature. The closely related alto clarinet with its ﬂared bell was further developed by Iwan Müller in the early nineteenth century and was slowly adopted in wind bands, where it continues to be played today. Most clarinets d’amour and alto clarinets were similarly constructed, with straight bodies and a curved metal crook or curved wooden barrel. Two alto clarinets were made in a bassoon shape, as seen in many bass clarinets, and one was made in an ophicleide form, also seen in bass clarinets. Bell shape is the only major distinction: The clarinet d’amour has a bulb-shaped bell; the alto clarinet, a ﬂared bell. Because the bulb bell shape minimally affects the tone quality, it was used for its appearance. To a certain degree, the earliest instruments reﬂect the early developments of the clarinet in Europe. For example, three-key G clarinets are similar to early threekey soprano clarinets; four-key G clarinets are similar to German-style four-key soprano clarinets with an A/E key or to French-style four-key soprano clarinets with an F/C key. Five- and six-key G clarinets are also similar to their soprano clarinet counterparts. Mention of A clarinets d’amour is also found in several important reference works, such as Altenburg, Die Klarinette, 13; Sachs, Real-Lexicon der Musikinstrumente, s.v., Liebesklarinette, 241; Carse, Musical Wind Instruments, 167; and Baines, Woodwind instruments and their history, 304. 386. Mayr, “Gloria patri,” fols. 1–10v.

Clarinet d’Amour and Alto Clarinet and Their Music 93 The majority of clarinets d’amour were made in G; some eighteenth- and nineteenth-century examples were made in F. The most active of the eighteenth-century clarinet d’amour makers were Kraus (southern Germany) and the Stinglwagners (Triftern in southern Germany). During the early to middle eighteenth century, clarinets d’amour were made in Germany and Austria, primarily for players in court ensembles. Later in the century, they were made in Belgium, Italy, Switzerland, and England for players in civic and military wind bands and were played throughout Europe and Scandinavia. Eighteenth-century French makers had limited interest in the clarinet d’amour, only two instruments by French makers are known although Schlegel (Basel) made one instrument for the French market. British makers were less interested than the French; one clarinet d’amour was made during the early nineteenth century by Cramer & Sons in London. Although there were close to thirty makers of the clarinet d’amour, this is a much smaller number than makers of basset horns and bass clarinets. During the nineteenth century, instruments were sometimes made in A (although no extant examples have been positively identiﬁed), and a few small-size clarinets d’amour were also made in C, B, and A. Clarinets d’amour were made with up to fourteen keys, although three to ﬁve keys are the most common. Music including the clarinet d’amour has not continued to be played as part of the standard repertory and has not been revived in modern times. Major composers did not write for the instrument, and performers on period instruments would be required to purchase another instrument.387 However, the unique tone quality and timbre of the clarinet d’amour were important to composers and players who wrote for and played eighteenth- and early-nineteenth-century G and F alto clarinets. Additional eighteenth- and nineteenth-century music written for the G clarinet awaits discovery. Because the surviving music for the clarinet d’amour and alto clarinet is scarce, we can assume that players of the instrument also played music written for the normal clarinet. Duos and trios based on arias from popular operas arranged for two clarinets were popular and likely to be played when clarinets d’amour, alto clarinets, and players were available. Alto clarinets in G (none can be historically veriﬁed as being in A) were made by a few German and Austrian makers during the eighteenth century; only Proff in Tours made a few alto clarinets near the end of the century. After 1800, alto clarinets were made in F and in E with ﬁve to nineteen keys, with thirteen the most common. The major innovator was the Russian player Iwan Müller, who designed a seminal 387. For example, Kne˘žek’s parthias are published for the B clarinet and have been performed on modern instruments. Kne˘žek’s double concerto in G major is recorded as a Concerto for two clarinets in A major on modern A clarinets; see the recording “Three Clarinet Concertos by Jan Václav Kne˘žek, with Dieter Klöcker and Sandra Arnold and the Südwestdeutsches Kammerorchester, Novalis CD, 150 158-2, 2000. A few modern makers of historical instruments offer clarinets d’amour, such as Andreas Schöni of Bern, Switzerland, who made a ﬁne-playing clarinet d’amour based on the Piana instrument in the Brussels Museum.

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thirteen-key clarinet and a thirteen-key F alto clarinet in 1812. He improved and redesigned the alto clarinet in F or E, and it served as a model for many instrument makers during the second decade of the nineteenth century, particularly in Germany and France. Jacques-François Simiot designed the most advanced alto clarinets during the the 1820s and 1830s. By the 1840s, the alto clarinet was adopted in regimental and civilian bands in Germany and throughout Europe and Scandinavia. Later in the century, it was adopted in Britain and America. Skorra, Seidel, Key, Stengel, and Ziegler made both alto clarinets and basset horns. The F alto clarinet was also a good musical alternative for the more expensive basset horn, as long as the music did not use the basset horn’s range of notes below E. However, even if the music used the low basset notes, the player could still play them an octave higher. During the nineteenth century, F and E alto clarinets became well known for their use in civilian and military wind bands and were played in chamber music. During the late nineteenth century, the alto clarinet was required by composers in orchestral, operatic, and stage works.388 It continues to be used as a band instrument today.

388. An alto clarinet part is found in the ﬁrst clarinet part in act three of Jules Massenet’s opera Le Cid (1885). Joseph Holbrooke includes parts for basset horn or F alto clarinet in the fourth movement of his Les hommages, Symphony no. 1, op. 40 (1905); in his Apollo and the seaman: An illuminated symphony, op. 51 (1908); and in the music drama The wild fowl: Fantasie from the children of Don, op. 56b (1912). For excerpts of the F alto clarinet part from Apollo and the seaman, see Forsyth, Orchestration, 284–285, exs. 201–202; Lowe, Josef Holbrooke and his work, 197, 210. I thank Robert Pickup and Michael Finkelman for information.

2

Basset Horn

Chapter Organization and Scope This chapter begins with a deﬁnition of the basset horn and a discussion of deﬁning features, followed by sections on terminology, origins and history, documentation, and instructional materials. Makers and their instruments are then discussed by country and within country chronologically, based on the initial date of activity of the maker. Because there are so many instruments and makers, the discussion is divided between the eighteenth and nineteenth centuries up to 1860. Important makers and signiﬁcant examples are more fully discussed. Except for some anonymous instruments, makers and instruments on the list of 167 basset horns from this period in Das Bassetthorn by Grass and Demus (2004) are included in the text. Additional basset horn makers and instruments are cited from Langwill, An index of musical wind-instrument makers (1980); Melville-Mason’s 1984 master’s thesis; Waterhouse, The new Langwill index of musical wind-instrument makers (1993);1 and from information on additional instruments collected from curators and collectors. The number of extant instruments mentioned in the text is more than 260; the total number of basset horn makers is more than 110 (not counting anonymous makers) for the period of about 1760 to 1860. There are undoubtedly more makers and instruments to be explored and discovered. Definition and Defining Features The basset horn is designed to play a major fourth lower than the C clarinet, most often in the pitch of F, but sometimes in G, D, E, or E. It is longer and larger than the soprano clarinet, midway between the soprano clarinet and the bass clarinet, and usually includes a lowest note of c, an octave below c1, achieved by the extension of the body below e, the lowest note of the clarinet. The extension is a ﬂat or fac1. Grass and Demus, Das Bassetthorn, 246–263; NLI; Langwill, An index; Melville-Mason, appendix 2.

95

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eted rectangular wooden box (in German texts, Buch or Kasten) placed below the right hand and stock joints, within which the bore takes three turns at 90 degrees or in a triangular path before emerging through a ﬂaring brass or wooden bell. This box compresses the bore into a small rectangular area to supply a bore ultimately long enough to provide the basset notes of D and C, and sometimes E and C, depending on the design of the extension. The touches of these basset note keys are mounted on the back of the instrument, to be manipulated by the thumb of the right hand, or on the earliest instruments, by the hand placed lowermost, with the arrangement of the touches left to the ingenuity and design of each maker. Unlike the soprano clarinet, a key for F/C is required because of the placement of the F/C tone hole below the reach of R4 on the right-hand section.2 Brass bells on the earliest instruments have round openings; those on instruments made during the 1780s and later can be oval, but most are round. The earliest oval bells were used on Viennese instruments by Lotz and Griesbacher.3 The oval shape of the bell was designed to take up less space than a ﬂared bell when held between the player’s legs.4 The bore of most eighteenth- and nineteenth-century basset horns is very similar to soprano Bclarinets, so the player could use his favorite clarinet mouthpiece on this instrument. Most important, the basset horn possesses the clarinet’s wide dynamic range with its own distinctive tone color. Since basset horns are transposing clarinets most often pitched in F, their music is written in the treble clef. Often the notes in the chalumeau or low register are written in the bass clef one octave lower than sounding, to save writing ledger lines. The earliest basset horns were made about 1760 by German makers, pitched in F with four keys (S, A, F/C, and C), equivalent in technical capability to, but not with the same keys as, a two-key soprano clarinet. These instrument makers modeled their instruments on the curved or sickle-shaped oboe da caccia, a doublereed instrument with a brass or ﬂared wooden bell.5 The basset horn’s development stemmed from the desire to have a ﬂexible woodwind instrument that played in a lower range and with a different timbre than the soprano clarinet. Terminology A brief chronological review of the various names used for the basset horn, beginning from the 1760s, is helpful in understanding its use. The two traditional names are Italian, corno di bassetto, and German, bassetthorn. 2. One basset horn by Friedrich Lempp (A-Linz, Mu 28) is made in an unusual bassoon shape and uses an F/C ﬁnger hole. 3. Shackleton and Puddy, “The basset horn of J. G. Eisenmenger,” 141. 4. Young, The look of music, 154, under the description for no. 187 basset horn by Heinrich Grenser. A few makers used ﬂaring, clarinet shapes or ball-shaped wooden bells. 5. Among the earliest known oboes da caccia are a pair (S-Stockholm, 170; DK-København, E-70) by Eichentopf of Leipzig dated 1724; see 4900, 68; Haynes, The eloquent oboe, 380–381.

Basset Horn 97 The nine-year-old Wolfgang Amadeus Mozart in 1767 refers to the instrument using an Italian spelling, corni di Baßsetto, its earliest known name. His Duets, K41b are among “many pieces for 2 trumpets, 2 horns, and 2 basset horns” that are unfortunately lost.6 At least three composers during the 1770s adopted the name corno di bassetto for the basset horn in their music: Schacht, Holler, and J. E. Hartmann (all discussed in chapter 3). Another name for the basset horn during the 1770s and 1780s is the Italian term clarinetto d’amore. This name is written in the scores of two operas by J. C. Bach and one opera by Ignaz Holzbauer (discussed in chapter 3). The compass of these parts is the key evidence for identifying the instruments as basset horns, and they cannot be the instrument we now know as the clarinet d’amour. In fact, the only clarinet available that could play the lowest notes of C and D written in these scores is the basset horn. Additional evidence supporting the identiﬁcation of the Italian term clarinetto d’amore with the basset horn appears in three contemporary written documents. These writers use the French name clarinette d’amour. The ﬁrst document is the 1772 observation by the Prince of Hardenberg on music making at the Mannheim court. He states that “table music of clarinettes d’amour, [which are] newly invented instruments, [that are] half clarinet [and] half hunting horn. They have a very sweet but sad tone . . . .”7 The reference to a hunting horn suggests the distinctive brass bell used on most basset horns. A second source from the Deutsche Encyclopädie (1781) is a short deﬁnition of the basset horn under the French name clarinette d’amour. Clarinettes d’amour are those clarinets newly introduced by three clarinetists of the Nassau-Weilburg court. They are lower than the ordinary clarinet and are in fact pitched in G. The third is like a bassoon and is marvelously effective for a bass continuo; it snarls like a stout metal gamba stop in one of those old organs.8 6. “Viele Stücke für 2 Clarini-für 2 Corni-für 2 Corni di Baßsetto.” The manuscript, preserved in the Bibliothèque Nationale (Paris, MS. 263), is entitled “List of everything that this 12-year-old boy has composed since his 7th year, and can be exhibited in the originals” (Verzeichnis alles desjenigen was dieser 12jährigen Knab seit seinem 7ten Jahre componiert und in originale dan aufgezeiget werden). See Bauer and Deutsch, Mozart Briefe, vol. 1, 289; for a reproduction of page 2 of the manuscript list, see Zaslaw, “Leopold Mozart’s list of his son’s works,” 357. Vester mistakenly transcribes the name as “Baßzetto” in W. A. Mozart, 209. The Mozarts spent six days in Passau from 20 to 26 December 1762, and it was probably here that Wolfgang became acquainted with the basset horn; Zaslaw, “Leopold Mozart’s list of his son’s works,” 347–348; see also Deutsch, Mozart: A documentary biography, 15. 7. “Tafelmusic von Clarinettes d’Amour, instrument nouvellement inventé, demi Clarinette, demi cor de Chasse. Il a beaucoup de douceur, mais un ton triste . . . .” See Obser, “Aufzeichnungen des Staatskanzlers Fürsten von Hardenberg über seinen Auftenthalt am Oberrhein im Jahre 1772,” 165. 8. “Clarinettes d’amour, sind jene von 3 Clarinetisten am Nassau-Weilburgischen Hofe neuerfundene Clarinette, die tiefer als die gewöhnlichen und eigentlich aus dem G gehen. Das dritte gleicht einem Fagotte, und in einem laufenden Baß macht es die herrlichste Wirkung: es schnauzt wie eine in den alten Orgenln von gutem Metall gemachte Gamba.” Deutsche encyclopädie, vol. 5, 685; trans., Gail Schamberger in Birsak, The clarinet, 70.

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The third document in the Deutsche Encylopädie (1785) is from a deﬁnition of the letter “G.” It gives an origin for the basset horn, mentions its use at the Mannheim court, and is the earliest source to list the pitches at which it was constructed. G is also the main pitch of the so-called Clarinets d’amour. It is now conventional in music, and if an instrument is modiﬁed, the newest type is loved above others. In addition the low ﬂutes are ﬂauti d’amore, ﬂutes d’amour, etc. These clarinets were invented by Polish clarinetists in Kirchheim at the princely Naussau court, and are E clarinets. At present the clarinets loved above the others are played in F but their F becomes A. The oldest attempt to use this invention was at Mannheim and was heard in all examples given at the Court. These rarities did not last very long, they were used less than a week in Mannheim at court, their parts were in D, and in F and G. This improvement made these three instruments useful, and of the three the bass is most useful. Two months later, Christian Bach set clarinets d’amour [basset horns] in an aria for his opera Temistocle and in the Andante of the Overture, and Vogler wrote for clarinets d’amour [basset horn] in G in a Pastoral-Kirchenmusik.9 The anonymous writer (probably Georg Vogler)10 of this article in Deutsche Encylopädie mentions four basset horns in G, F, E, and D. Haynes suggests that a common pitch level during the 1770s rose from A at about 392 Hz to about 435 Hz, or from F to A.11 The writer mentions that the basset horn was rare at the time and did not last long in court performances. However, it was used and apparently made an impression on the players, composers, and audience. The use of the French name clarinette d’amour for basset horn in German writings is not surprising in that the German nobility slavishly copied their French contemporaries, adopting their language and other new fashionable items, such as 9. “G ist auch der hauptton von den sogenannten Clarinets d’amour. Es ist schon herzkommlich in der Music, daß wenn ein Instrument eine Aenderung leidet, die neue Art davon der Liebe heilig sey. Also die tiefern Flöten sind Flauti d’amore, Flutes d’amour u.s.w. Tiefe Clarinette wurden von den Clarinetisten Poland in Kirchheim am fürstl. Nassauischen Hofe erfunden, und es waren Es Clarinette. Da nun die Clarinette immer lieber aus dem F blasen, so wird ihr F zu As. Den allerersten Versuch brachten diese Erﬁnder nach Mannheim, und liesen sich dort am Churpfälzischen Hofe mit allem Beyfalle hören, diese Seltenheit dauerte aber nicht lange; denn in wenig Wochen hatte man (ob sie gleich hieroglyphisch aussahen, mit unnöthigen Löchern u. zum Betruge ausgerüstet waren) sie in Mannheim am Hofe nachgemacht, mit dem Unterschiede, daß sie aus dem D stimmten, und ihr F das G vom Orchester war. Diese Vervollkommung machte diese 3 Instrumenten, wovon das dritte den Baß vorstellte, gleich brauchbar, ein paar Monate darauf setzte Christian Bach in der Oper Temistocle ein Arie und das Andante von der Ouverture, und Vogler eine Pastoral-Kirchenmusik mit den Clarinets d’amour aus dem G.” Deutsche encyclopädie, vol. 10, 737. 10. It is known that Vogler wrote the important article “Musik” in the Deutsche encylopädie, and it seems likely that he wrote additional articles about music. See Schafhäutl, Abt Georg Joseph Vogler, 245. 11. Haynes, A history of performing pitch, 315–316.

Basset Horn 99 clothes, furniture, dishes, dances, and music.12 The deﬁnition indicates that musicians of the Nassau-Weilburg court were playing three basset horns in G. It also refers to the use of three basset horns in the opera Temistocle by J. C. Bach, performed at Mannheim during the 1770s. In this work, the third basset horn part is written in the low register that sounds similar to the bassoon and is capable of producing a snarling tone quality. The earliest use of the German term Bassetthorn identiﬁed to date appears in a 1781 letter from Anton and Johann Stadler to Ignatz von Beecké seeking employment in the court orchestra at Wallerstein.13 From the 1780s, composers wrote either the Italian or German name for the basset horn. For example, Mozart wrote the German Bassetthorn in his Maurerische Trauermusik K. 479a (1785) and the Italian Corni di Bassetto in the Italian-language Rondo for soprano “Al desio, di chi t’adora” K. 577 (1789) inserted into his opera Le Nozze di Figaro.14 Contemporary German writers of musical dictionaries such as Wilke (1786),15 Albrechtsberger (1790),16 and Wolf (1792) also used both the Italian and German basset horn names.17 Several eighteenth- and nineteenth-century terms were used for the basset horn but were not adopted by later writers or performers. For example, in 1772, a basset horn by the French maker Gilles Lot is named the basse-tube in the L’Avant coureur.18 In 1774, the performer Leopold Valentin performed on the contra-clarinette at a Concert Spirituel in Paris.19 Another name for Lot’s basset horn, Baisse taille, appears in an issue of L’Almanach Dauphin for 1777.20 The writer Schink introduced the name Basset-Corni in 1785.21 In 1792, the British clarinetist John Mahon performed in Belfast, Ireland, on the basset horn in concerts calling it the Voce Claria,22 Clareovon,23 or

12. See Fauchier-Magnan, The small German courts in the eighteenth century, 26–29. 13. Originally from the Schlosse Harburg, now in the Fürstlich-Öttingen-Wallerstein’sche Bibliothek und Kunstsammlung, quoted by Saam, Das bassetthorn, 53, and reproduced with an English trans. by Poulin, “The basset clarinet of Anton Stadler,” 69–71; trans. and reproduction of the letter in Poulin, “A little-known letter of Anton Stadler,” 51, 53. 14. See Mozart’s autographs reproduced in the Neue Mozart Ausgabe and also the names he wrote for these instruments in Deutsch, Mozart’s catalogue of his works, 17, 27. 15. Wilke, Musikalische Handwörterbuch, 36. 16. Albrechtsberger, Gründliche anweisung zur composition, 427. 17. Wolf, Kurzgefasstes musikalisches Lexikon, 42–43. 18. “Industrie. Nouvelle Instrumente de Musique,” L’Avant coureur (11 May 1772), 292; see also, Pierre, Les facteurs d’instruments de musqiue, 103–104. This instrument was thought for many years to be a bass clarinet but is now considered a basset horn (see the discussion later). 19. “Vacance des spectacles,” vol. II (April 1774), 164, quoted by Pierre, Histoire de concert spiritual, 302–303. 20. L’Almanach Dauphin supplément, 45, quoted by Pierre, Les facteurs d’instruments de musique, 105. 21. Schink, Litterarische Fragmente, vol. 1, 286. 22. Belfast Newsletter June 29–July 3 1792; see Johnston, “Concerts in the musical life of Belfast,” 232. 23. Northern Star, 10 July 1792; see Johnston, “Concerts in the musical life of Belfast,” “Summary of Concerts,” an unpaginated supplement to “Concerts.”

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Voce Clara.24 Von Schönfeld (1796) mentions the Baßettklarinet, an instrument played by the Stadlers in Vienna. This term may have referred to either a basset horn or a basset clarinet, that is, a clarinet with an extended lower compass.25 The French term cor de bassette appears in the title of Johann Backofen’s quintet for basset horn and strings published in 1803.26 The same year, Mahon used the term Clara Voce in a section on the basset horn in his published clarinet tutor.27 Another basset horn name is found in the ofﬁcial account of Anton Stadler’s death in 1812. In this document, Anton’s son Antonius is described (in Viennese dialect) as “erster Passetlist” (ﬁrst basset horn player) of Vienna’s Theater an der Wien.28 Writers of encyclopedia articles wrote several names for the basset horn. Weber in 1822 mentions the terms BassetClarinette, Baß-Clarinette, and Clarinettbaß.29 Lichtenthal (1826) in his Italian dictionary states that some use the names Clarone and Clarinetto Dolce for Corno bassetto.30 In his encyclopedia, Brockhaus (1833) mentions a Tenor-clarinette by Streitwolf, a basset horn and bass clarinet maker in Göttingen.31 In his 1837 instrumentation treatise, Kastner writes a sound-related term, Clarinette Sourdine.32 In 1840, The Musical World describes Thomas Willman’s basset horn as a Cornet Bassetto.33 As late as 1844, F. Bellini states that the clarone or clarinetto dolce is a little larger than the soloist’s instrument and is in the same relation to the clarinet in C as the English horn to the oboe; that is, it is pitched in F. Despite the name, this instrument is a basset horn, not a clarinet d’amour or alto clarinet. Its lower part was covered with leather, and it has a short extension of notes descending as far as C.34 Origins and History All prior discussions of the history of the basset horn suggest that the instrument was developed in southern Germany during the 1760s.35 Some evidence for a date of the earliest basset horns is cited in an 1812 source written by the Linz chapel master

24. Northern Star, December 10–14, 1795; Johnston, “Concerts in the musical life of Belfast,” 233. 25. Von Schönfeld, Jahrbuch der Tonkunst von Wien und Prag, 192; see Rice, “The clarinette d’amour and basset horn,” 104. 26. Quintetto pour Cor de Bassette, 2 Violins, Alto, Violoncelle, Oeuv. 9, Leipzig: Bretikopf & Härtel, 1803 cited in “Recenzion” AMZ 6 (9 November 1803), 91–93. 27. Mahon, A new and complete preceptor for the clarinet, 38, 61. 28. Stadarch. Wien, Totenbeschauprotokoll, quoted by Pisarowitz, “ ‘Müaßt ma nix in übel aufnehma,’” 31–32, n. 20. 29. Weber, “Basset-Horn,” vol. 8, 49. 30. Lichtenthal, Dizionario e bibliograﬁa della musica, vol. 1, 171. 31. Brockhaus, Allgemeine deutsche Real-Encyklopädie, 7th ed., vol. 2, 696–697. 32. Kastner, Traité générale d’instrumentation, 40. 33. “Provincial,” The musical world 13 (Jan. 9, 1840): 27–28. 34. Bellini, Teoriche musicali su gli istromenti, 42. I thank Ingrid Pearson for information. 35. See particularly Nicholas Shackleton, “Basset-horn,” Grove Music Online.

Basset Horn 101 and basset hornist Franz Xaver Glöggl. He states “[The] Basset horn is a very useful instrument which was invented by a German in 1760 and in 1782 was made with many improvements by Theodor Lotz.”36 His remark is given some credence by the fact that Joseph Glöggl, Franz Xaver’s father, is known as one of the earliest basset horn teachers.37 The remainder of Glöggl’s deﬁnition is taken from Koch’s 1802 Lexicon, which Glöggl lists as a source of information.38 There are three basic designs of the basset horn: curved (sickle), angled, and straight. The ﬁve earliest examples (all unstamped) were made by German or Austrian makers and have four, ﬁve, and six keys. They are equivalent in ﬁngering to a three-key soprano clarinet and date from the mid-1750s to about 1760.39 They have a curved shape, leather covering, box, and brass bell, with a compass including a lowest or basset note of C. Early basset horns with curved wooden bodies were always covered in leather to prevent air from leaking, but they were constructed in various ways. The inside of the bore could be cut at intervals to bend the instrument in a curved form, the body could be heated and then carefully bent, or two curved halves could be glued together longitudinally. The exterior of the body of curved basset horns is shaped with hexagonal or octagonal facets, similar to the construction of the cornetto, or entirely round.40 Later instruments make use of a round body exterior. Other variations in the basset horn’s construction include the use of a curved wooden barrel or brass crook, a bassoon-shaped butt joint, a curved or knee section on the upper part of the right-hand joint, or a knee- or L-shaped joint leading to a bulb- or ball-shaped wooden bell.41 Most surviving basset horns were made in F, although a few early examples are in G and D, and a few nineteenth-century instruments are in E. The Passau makers Anton and Michael Mayrhofer boldly proclaimed themselves the inventors of the basset horn in their stamp on the boxes of their surviving basset horns (discussed later). However, their three neatly constructed instruments (D-Nürnberg, MI 133; D-Bonn, 154; D-Passau, 3160, now considered a basset clarinet in A) were made about 1770 with seven keys and are equivalent to a ﬁve-key clarinet. They are not the earliest basset horns but probably represent improvements of

36. “Bassetthorn (corno Bassetto) ist ein sehr angenehmes Blasinstrument von Holz; welches ums J. 1760 von einem Deutschen erfunden, und im J. 1782 zu meherer Vollkommenheit durch Theodor Lotz gebracht wurde. ” Glöggl, Allgemeines musikalisches Lexikon, 46. I thank Dietrich Demus for a photocopy of this source. 37. Saam, Das Bassetthorn, 51; Weston, More clarinet virtuosi, 113. 38. Glöggl, Allgemeines musikisches Lexicon, 49. 39. They are preserved in Austrian collections in Vienna, Salzburg, and Kremsmünster. See the listing of instruments given by Grass and Demus, Das Bassetthorn, 246, and in particular the discussions by Shackleton in “The earliest basset horns,” 5–6, 13, 16–17; Eppelsheim, “Bassetthorn-Studien,” 69–80. 40. See Shackleton, “The earliest basset horns,” 20. 41. Some wooden bells are made with two ridges bordering a center section.

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earlier designs by the Mayrhofers.42 The uncertainty about how the basset horn was developed is highlighted by Shackleton. I have suggested before that there may have been a direct line connecting a chalumeau of equivalent scale, and the basset horn. Even so, the invention of the basset horn that we are discussing involved two separate ideas: the curved body and ﬂared bell (which could have been taken together from the oboe da caccia) and the C-extension. Since there is no evidence to suggest that these two innovations were made sequentially it seems reasonable to regard the beginning of the history of the basset horn as an invention, rather than a development, in which case the Mayrhofers’ claim may well be just notwithstanding the fact that I have shown that their named instruments are by no means the oldest extant. Perhaps the rapidity with which competitors took up the idea encouraged them to stake their claim.43 By the 1770s, the basset horn was accepted by many makers, players, and composers as a useful addition to their ensembles and orchestras. It spread rapidly throughout Europe, and many makers introduced their own modiﬁcations of the three basic designs. For example, about 1780, the makers Königsberger, Glezl, and Dimpﬂ constructed the right-hand ﬁnger hole section with a curve or built-in knee so that when the tenon of the left-hand section is joined to the right-hand section, it forms a 90-degree angle. About 1782, Lotz constructed angled basset horns by ﬁtting the right-hand ﬁnger hole section into a small angled section or knee to form a steeper angle of about 120 degrees. Neither type of angled basset horn requires a leather covering. Later eighteenth-century instruments such as those (1780s–1790s) by August Grenser have a knee angle of about 120 to 130 degrees; steeper angles were incorporated in nineteenth-century instruments, such as those by Miraz (GBEdinburgh, 90), 138 degrees; Thomae (D-München-BNM, 22/95), 143 degrees; and Hess (D-München-BNM, MU 124), 164 degrees. August Grenser is among the earliest makers to add a low D on a stamped “1784” angled basset horn (S-Stockholm, M553). On this instrument and on another eightkey basset horn (A-Innsbruck) by Grundmann dated 1784, the four basset keys are positioned for the thumb: C, D, E/B, and F/C.44 During the 1780s and 1790s, the makers Grundmann, A. Grenser, and Doleisch altered the position of the tone holes,

42. See particularly Shackleton’s arguments regarding the Mayrhofer basset horns and his refutation of Saam’s claim that the anonymous early basset horns were primitive copies. Shackleton, “The earliest basset horns,” 7; Saam, Die Bassetthorn, 33. A fourth Mayrhofer instrument (D-München-S, 52-50) substitutes a loop for the box, is pitched in B, and is discussed as a bass clarinet in chapter 4. 43. Shackleton, “The earliest basset horns,” 14. Eppelsheim suggests that the Mayrhofers’ use of the term invent[erunt] on their basset horns was not used in the modern sense of invention, but rather to indicate a new form of the basset horn that they developed; see “Bassetthorn-Studien,” 94. 44. Shackleton and Puddy, “The basset horn of J. G. Eisenmenger,” 140.

Basset Horn 103 touch pieces, and key shanks for E/B and F/C to be positioned for L4, as found on the clarinet.45 Subsequent makers always copied this position for these keys. Franz Doleisch of Prague during the 1790s was one of the earliest to add an E key, which appears on the box of two extant instruments (CR-Praha, 466, stamped “1796”; B-Bruxelles, M938, stamped “1797”).46 By about 1800, Strobach of Carlsbad eliminated the box to make a straight basset section, circumventing the mechanical difﬁculty of attaching a low D to this section.47 Before this time, some basset horns were equipped with E and C keys on their boxes; Mozart wrote a low E in the Serenade K 371 (second basset horn part, 1783–1784) and a low D (C) in Notturnos K 436, K 437, and K 438 (1786).48 These instruments have not been found and appear to be lost. Beginning in the 1790s and during the early nineteenth century, the makers F. Hammig, Strobach, Hammig Junior, Key, Braun, Küss, Ziegler, and others constructed basset horns with a straight body, a curved brass crook or curved wooden barrel, no box, and a bulb- or ball-shaped wooden bell. Five late-eighteenth- and earlynineteenth-century makers (F. Hammig, Eisenbrandt, Braun, Grevé, and Schölnast) extended the lowest note on some of their basset horns to BB rather than C. However, this extension did not become sufﬁciently popular to be incorporated by other makers.49 The makers Doleisch and Larshof also made basset horns with the lowest note of D, but this extension was not used by later makers. After about 1800, occasionally basset horns were made as walking stick– or cane-shaped instruments, show pieces for wealthy customers. Two examples (A-Wien, 329, eight-key, ca. 1810;50 CR-Praha, 465E, ten-key, ca. 1810)51 by Strobach of Carlsbad are preserved. The ﬁrst is stained boxwood with ivory and brass ferrules and brass tip; the second is boxwood with ivory ferrules but no brass tip. Both include basset keys for D and C.52 During the 1830s, Streitwolf made high-quality instruments with a straight body and a bassoon butt joint with no box, plus a forward-pointing brass bell. Later in the nineteenth century, instruments were made with harder and denser wood that would support pillar-mounted keys. In 1848, the maker Anton Kraus in Augsburg offered a maple basset horn with seventeen

45. Cf. Shackleton, “The earliest basset horns,” 11. 46. Shackleton, “The earliest basset horns,” 11–12. 47. Shackleton and Puddy, “The basset horn of J. G. Eisenmenger,” 140. 48. Eppelsheim, “Bassetthorn-Studien,” 114. 49. One late unstamped example (D-Nürnberg, MI 228, 1840–1850) with a low BB is an angled twentykey instrument with an angled barrel. See Bär, Verzeichnis, Band 6, 183–197. 50. NLI, 391; for a description and photo, see Schlosser, Die Sammlung alter Musikinstrumente, 126, Tafel LIII. 51. Keller includes a photo of this straight instrument with a curved barrel in “Píšteˇlníci a trubarˇi,” photo, unpaginated at the end of the article. 52. I thank Frédéric Courquin and Robert Sebesta for sending photos.

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keys, ivory ferrules, and a brass bell in a new conﬁguration,53 probably in a bassoon shape like many bass clarinets. By the mid-nineteenth century, the bass clarinet had become popular, and there was much less interest in developing models of basset horns than bass clarinets for display at public and international exhibitions (see the reports of bass clarinets at various exhibitions in chapter 4). Only one maker, Widmann of Freiburg im Breisgau, exhibited a twenty-three-key-basset horn at the 1854 Munich Exhibition. After 1860, the production of basset horns slowed down, but they continued to be made in Germany by Stengel, Mollenhauer, and Heckel; in Austria by Ottensteiner and Uhlmann; and in France by Buffet-Crampon. Rendall includes a photo of an early, straight example (GB-London-H, 2004.1124, ca. 1856) made of African black wood with a nickel silver plated crook, keys, and bell. It has a butt joint pinned to the main tube positioned to the left side, and Boehm system keywork with a straight G key of French manufacture sold by Pask of London.54 This design was made by a few makers of simple system instruments as late as the early twentieth century. However, by the 1890s, a straight basset horn with a brass, upturned bell with Boehm or German system key work was adopted by most makers. These were the ﬁrst modern basset horns. By 1900, the Oehler system was ﬁtted to basset horns and, along with Boehm system instruments, continues to be produced to the present. Documentation It is certain that the basset horn was played in Salzburg during the 1760s because duos (now lost) for the instrument by Wolfgang Mozart, interchangeable with duos for trumpets or horns, are listed in Leopold Mozart’s 1768 manuscript catalog of his twelve-year-old son’s musical works.55 One year later, on 30 August 1769, the German performer Leopold Valentin played a concerto in Lyon as the last work on the concert. The announcement from the Afﬁches Lyon of 30 August reads: “Mr. Leopold Valenti, German virtuoso, plays a concerto on a newly invented instrument that has never appeared in France.”56 It seems probable that Leopold Valenti was

53. Tremmel, Blasinstrumentenbau im 19. Jahrhundert, 69, 327–329. 54. Rendall, The clarinet, 137, n. 5, photo plate 3 h; for a larger photo see Brymer, The clarinet, ﬁg. 10. Rendall dates this instrument to about 1856 and it has the inscription, “(unicorn head)/PASK/LOWTHER ARCADE/STRAND/LONDON/(unicorn head)”. It dates from between 1852 and 1859 before the name changed to John Pask & Co.; see NLI, 293. This basset horn was formerly owned by the British clarinetist Henry Lazarus; see Weston, More clarinet virtuosi of the past, 156–157. 55. “Viele Stücke für 2 Clarini—für 2 Corni—für 2 Corni di Baßsetto” K41b. See Mozart, Briefe, vol. 1, 289. 56. “Monsieur Valenti, virtuose allemande jouera un concerto de sa composition sur un instrument nouvellement inventé qui n’a jamais paru en France.” Afﬁches Lyon 30 August 1769, 187–188. See the database of the Centre de Musique Baroque de Versailles, http://philidor.cmbv.fr. I thank Jean Jeltsch for this information.

Basset Horn 105 the M. Valentin who played “sur le corno-basseto ou contra-clarinette” at a Concert Spirituel announced in the Mercure de France in April, 1774.57 In Paris, Gilles Lot (1721–1793) worked for ﬁve years with his cousin Thomas Lot and one year with Charles Bizey. Later, Lot worked for Jean Nicolas Le Clerc and became his son-in-law and successor on Le Clerc’s death in 1752.58 Lot then applied to be accepted as a wind-instrument maker in the Paris community of master makers of musical instruments. Five Parisian makers (Thomas Lot, Charles Bizey, Paul Villars, Denis Vincent, and Jacques Lusse) objected, but the Commissioners of the King’s Council granted him admission on ﬁnding the makers’ objections insubstantial and caused by jealousy.59 Gilles Lot produced a variety of woodwinds and was known for his clarinets. The earliest documented report of an unusual instrument appears in an 11 May 1772 article in the Parisian newspaper l’Avant coureur. Mr. G. Lot, a wind instrument maker living at Cour des Moines in Abbaye St. Germain, opposite the fountain, has just produced a new musical instrument, called a Basse-Tube, or a clarinet bass. No one had yet seen an instrument with such a considerable compass. It covers three and a half full octaves; reaches as low as the bassoon, and as high as the ﬂute. This instrument, which has a very particular shape, is equipped with several keys for the use of semi-tones, all very artistically arranged with a very ingenious mechanism. The tone it produces is very pleasant and so perfectly modulated that the lower notes sound almost like those of an organ in the pedal register. When a skilled artist plays this instrument it will certainly sound very agreeable, and will have the public’s approval whether it is heard by itself, or as part of an orchestra.60 57. “Vacance des spectacles,” Mercure de France (April, 1774), vol. II, 164, cited by Pierre, Histoire, 302–303. The database of the Centre de Musique Baroque de Versailles identiﬁes Leopold Valenti as Leopold Valentin. 58. NLI, 242. 59. See an English trans. of one section from the Archives Nationales de France, V7 434 (27 June 1752), Commissaires généraux de Conseil in Giannini, Great ﬂute makers of France, 13–14. The entire report is cited by Pierre, Les facteurs, 40–46. 60. “Le sieur G. LOT, facteur d’instruments à vent, demeurant dans la cour des Moines de l’Abbaye S. Germain, vis-à-vis de la fontaine, vient de faire paraître un instrument de musique d’une nouvelle invention, sous de Basse-Tube (Basso-Tuba) ou basse de Clarinette. On n’a point encore vu la nominátion d’instrument d’une étendue aussi considérable. Il est susceptible de trios octaves et demie, pleines; il descend aussi bas que le bassoon, et monte aussi haut que la ﬂute. Cet instrument qui est d’une forme tout à fait particulière, contient plusieurs clés pour l’usage des semi-tons, toutes très artistement arrangées et d’un mécanisme fort ingénieux. Les sons qu’il produit, sont très agréables, & si parfaitement sonores, qu’ils imitent de fort près, dans les tons bas, ceux d’un orgue, dans l’action des pédales. Cet instrument étant joué par un habile Artiste, ne sçaurait manquer de produire un très bon effet, & d’avoir l’approbation du public, soit qu’il soit entendu seul, ou dans l’orchestre.” “Industrie. Nouvelle Instrumente de Musique,” L’Avant coureur (11 May 1772), 292; this page from L’Avant coureur is photographed in Kalina, “The structural development of the bass clarinet,” 15; quoted by Pierre, Les facteurs, 103–104. Cf. the trans. by Coggiola, “The use of the bass clarinet in the French opera orchestra,” 19.

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The 1777 L’Almanach Dauphin enthusiastically states: “Lot, before the cour des Moines, famous for his clarinets, has made a new instrument of this type, unknown up to this time, under the name of bass voice.”61 This basset horn by Gilles Lot has not survived, although several other woodwinds by him are extant, including a ﬁvekey clarinet.62 What constitutes its “very particular shape” is uncertain. However, it seems likely that it incorporated a curved basset horn shape like the basset horns made by Amlingue and Porthaux in Paris and by Bühner & Keller in Strasbourg, described here later.63 Lot envisioned that his instrument would be useful in the orchestra, but there are no reports of its use by composers. By 1783, the basset horn was beginning to gain attention in Germany. The writer C. F. Cramer in his Magazin der Musik reported a 1782 performance at Ludwiglust by “two brave men, Anton David and Vincent Springer on largely unknown instruments which they call basset horns. They came from Russia. The instrument has a compass of four octaves, a very beautiful and even tone from top to bottom, played in a cantabile manner in which all difﬁculties have been overcome.”64 The Bohemian performers David and Springer had apparently been touring earlier in 1782 in Russia and were now concertizing in various German cities and principalities. In a later issue of his journal dated 11 June 1783, Cramer provides a more detailed description. Basset horn. In December of the previous year in this journal it was reported that Mr. Springer was heard playing several times on this largely unknown instrument. It is said this instrument was invented some time ago in the Austrian provinces; however, one does not know exactly who was the inventor and where it was ﬁrst used, but one believes that Passau is likely, in a form much less complete than at present. The well known musical instrument maker, Theodor Lotz of Pressburg in Hungary, improved and made many alterations to it. The usual form is in a half moon at the end of which is a four part box in which are found three channels. At the end of the last channel is 61. “Lot, avant-cour des moines, renommé pour les clarinettes, vient d’exécuter un nouvel instrument en ce genre, inconnu jusqu’à un nouvel instrument en ce genre, inconnu jusqu’à ce jour, sous la denomination de baisse-taille.” L’Almanach Dauphin de 1777, supplément, 45, cited by Pierre, Les facteurs, 105. 62. The ﬁve-key clarinet by Gilles Lot is in a private collection in France and photographed in Giannini, Great ﬂute makers of France, 41, pl. 25d. 63. Based on the term “basse de clarinette” quoted from the L’Avant coureur, this instrument has been described as a bass clarinet since Pierre’s book Les facteurs was published in 1893. Jean Jeltsch made the suggestion that Lot’s instrument was a basset horn in his presentation “The basset horn in France in the eighteenth Century,” Clarinet and Woodwind Colloquium 2007, University of Edinburgh. 64. “Noch spielten zwei brave Männer, David und Springer auf noch ganz unbekannten Instrumenten, die sie Bassethörner nennen. Sie kommen aus Russland. Das Instrument hat einen Umfang von 4 Octaven, einen sehr schönen und gleichen Ton von oben bis unten, und lässet sich eben so cantabel spielen, als sich grosse Schwierigkeiten darauf ausüben lassen.” Cramer, Magazin der Musik (1 January 1783), 179–180.

Basset Horn 107 placed a bell of brass. This instrument is made of wood with a black leather covering; it has seven holes and seven keys; is played like a clarinet; and also has a similar mouthpiece. The compass is written in the bass clef from g in the lowest range to d3 in the upper range, when the tuning is in G.65 Cramer is unable to designate an inventor but states that the basset horn was initially found in the Austrian provinces. He heard about instruments made in Passau, undoubtedly by the Mayrhofers, learned about the improvements made by Theodor Lotz, and provides a description of sickle-shaped instruments, although angled basset horns may have been made at this time. Cramer also gives the compass of a G basset horn that would have been equivalent to a written compass of c to g3. In the same year as Cramer’s description, the writer Johann Georg Meusel criticizes Johann Nicolaus Forkel for not including an article about the “well-known basset horn which should be praised because of its tone and range” in his Musikalischer almanach für Deutschland auf das Jahr 1783.66 In his subsequent 1784 Almanach, Forkel’s description of the basset horn is quite complimentary: “This instrument is still largely unknown, it is said to be a kind of bass clarinet. Its compass of four and a half octaves includes very beautiful equal tones from top to bottom, and plays in a very singable manner.”67 The remainder of the article speaks of the concerts played by and the abilities of the basset hornists David and Springer. Forkel’s range of four and one half octaves is a printing error for three and one half octaves. The compass is c (written one octave lower in the bass clef) to g3. J. G. L. Wilke gives a fuller description in his Musikalisches Handwörterbuch published in 1786. 65. “Bassethorn. Auf diesem hier ganz unbekannten Instrumente ließ sich im vorigen Jahre im December Herr Springer mit vielen Beyfall hören. Man sagt ebenfals von diesen Instrumente, daß es schon längstens erfunden und in den österreichischen Gegenden bekannter sey; man weiß aber nicht eigentlich, wer der Erﬁnder und wo es zuerst gemacht worden sey, doch glaubt man: in Passau, aber sehr unvollkommen in Vergleichung dessen, was es jetzt ist. Verbessert und zu der jetztigen mehreren Vollenkommenheit gebracht hat es der berühmte musicalische Instrumentmacher Theodor Lotz zu Pressburg, in Ungarn; die Form desselben ist ein halber Mond, am Ausgang beﬁndet sich ein viereckter Kasten, darinnen 3 Canäle befestigt sind. Am Ende des letzten Canals steckt ein von Messing zusammengedrucktes Schabstück. Dieses Instrument is von Holz mit schwarzen Leder überzogen, hat 7 Löcher und 7 Klappen, wird wie ein Clarinet geblasen, und hat auch ein solches Mundstück. Der Umfang ist nach den Baßschlüssel bis in das tiefste g, in einen starken Ton, und die Höhe bis in das obere d, wenn die Stimmung auch g ist.” Cramer, Magazin der Musik, 654. 66. “. . . bekannte Corno Bassetto, welches wegen seines Tones und Umfanges zu loben ist.” Meusel, “Zusätze,” 296–297. Forkel was also a music historian, theorist, and bibliographer; his annually published Musikalischer almanach für Deutschland appeared from 1781 to 1788. See George B. Stauffer, “Forkel, Johann Nicolaus,” Grove Music Online. 67. “Bassethörner. Dieses Instrument ist bey uns noch ganz unbekannt; es soll aber eine Art von Baßclarinette seyn, einen Umfang von viertehalb Octaven, sehr schönen egalen Ton von oben bis unten haben, und sich sehr singbar spielen lassen.” Forkel, Musikalischer almanach für Deutschland auf das Jahr 1784, 150.

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From the Clarinet d'Amour to the Contra Bass The corno bassetto, in German basset horn, is newly invented and now among the ordinary wind instruments. Until now, basset horns at least the good and correct in their tuning, were seldom sufﬁcient, and work is continuing on their perfection. The basset horn has a similar mouthpiece to that perfected for the clarinet. Concerning the rest, the tube of the instrument is straight for half of its length; the remaining half continues at a right angle. The lower part or bell is not of wood but of brass like the Waldhorn. The instrument has six keys with a tone and range similar to that of the bassoon, which however can be played considerably higher by strong players.68

Wilke describes the basset horn as a new instrument, although it had been in existence for about thirty years. His six-key angled basset horn corresponds to instruments made with a 90-degree angle during the 1780s. Shackleton also notes that the immediate successors to the early sickle-shaped basset horn were right-angled, that is, made with an integral knee at the upper end of the right-hand joint and with a ﬂat box. Examples were made by Königsberger, Dimpﬂ, and Glezl.69 A few later eighteenth-century and one Viennese maker Harrach (D-Berlin-M, ca. 1800) used this construction but with a right-hand joint that features a carved knee joint. Two anonymous examples in the Prague Museum include a carving of a young person’s face, perhaps a performer, on both instruments.70 By 1790, Gerber gave a more detailed description of improvements to the basset horn made by the Viennese maker Theodor Lotz. Lotz, Theodor, instrument maker at Pressburg in Hungary about 1782, brought the basset horn to its present perfection. This instrument is made of wood with a covering of black leather in the form of a half moon. At the exit one ﬁnds a square box that includes three channels. At the end of the last channel is a compressed [oval shaped] bell of brass. It has seven holes and seven keys, is played like the clarinet, and has also a mouthpiece similar to the clarinet. The compass is the same but notated in the bass clef from lowest G to upper d, if the tuning is in G, and it has a strong tone.71 68. “Corno. . . . Corno Basse¯tto, ist ein neuerfundene und iezt gewöhnlicher werden des Blasinstrumente, auf Deutsch Bassethorn. Bis izt sind die Bassetthörner, wenigstens die vollkommen guten und recht rein abgestimmten, noch selten genug und man arbeitet noch an ihrer Vervollkommung. Das Bassetthorn gleicht dem Mundstücke nach, einer Clarinette vollkommen, das übrige, oder das Rohr des Instruments geht halb gerade herab, halb völlig wagrecht, also daß es einen Winkel bildet und wie ein Winkelmaaß gestaltet ist. Das unterste oder der Trichter ist nicht von Holz, sondern wie an einem Waldhorne von Messing. Das Instrument hat 6 Klappen und den Tönen, oder dem Tonsprengel nach, ziemlich einerley Umfang mit dem Fagott, welcher leztere jedoch von starken Spielern merklich höher geblasen werden kan.” Wilke, Musikalisches Handwörterbuch, 36. 69. Shackleton, “The earliest basset horns,” 10. 70. See the color photos in Cˇížek, Encyclopédie illustrée instruments de musique, 135–136. 71. “Lotz (Theodor) Instrumentenmacher um das Jahr 1782 zu Preßburg in Ungarn; hat das Bassethorn zu derjenigen Vollkommenheit gebracht, in der es itzo gebraucht wird. Dies Instrument ist von

Basset Horn 109 Gerber describes a curved basset horn, a shape that continued to be made, along with the newer angled shapes, as late as the early nineteenth century. Like Cramer in 1783, he describes a G basset horn and not the new angled basset horns in F made by Lotz (see the descriptions of Lotz’s instruments later). By 1790, the theorist J. G. Albrechtsberger provides some details about the improvements suggested by the Viennese performers Anton and Johann Stadler. The basset horn (Corno di Bassetto). This very useful and richest toned of all wind instruments is different from the clarinet, only in that it is curved (that is why it was formerly called a Krummhorn) and that it descends about one third lower. It formerly had only the low C (which is the written C in the bass clef), followed by E and all the accidentals. But the brothers Anton and Johann Stadler, chamber musicians of the Austrian court, have by their invention also added the low bass notes of C, D, and D, now providing a range of four full octaves. Its music is written with the treble clef even though its sound is four or ﬁve tones lower than the violin. The [nominal pitch] F is older than that in G, and both are transposed into C [major].72 In this entry, Albrechtsberger describes a fully chromatic four-octave range from c to c4 and provides examples of basset horns in F and G to indicate their transpositions into C major. His reference to the instrument descending four or ﬁve tones lower than the violin refers to a lowest note of either c or B, the latter found on only a few examples discussed later. In a footnote, Albrechtsberger adds: “One also has low E,73 E, and D basset horns that because of their [large] size are difﬁcult to handle. All the rules given about the clarinet regarding the ﬁngering are the same for the basset horn. Yet, in writing for the second or third basset horn in the lower register, the bass

Holz mit schwarzem Leder überzogen, in der Form eines halben Monds. Am Ausgange beﬁndet sich ein viereckigter Kasten, darinne 3 Kanäle befestigt sind. Am Ende des letzten Kanals steckt ein von Messing zusammengedrucktes Schabstück. Hat übrigens 7 Löcher und 7 Klappen, wird wie ein Clarinet geblasen, und hat auch ein solches Mundstück. Der Umfang desselben ist nach dem Baßschlüssel vom tiefsten G bis zum obern d, wenn die Stimmung aus G ist, und hat einen starken Ton.” Gerber, Historischbiographisches Lexikon, vol. 1, 824. 72. “Das Bassethorn (Corno die Bassetto). Dieses sehr brauchbare und tonreichste aller Blasinstrumente ist von der Clarinette nur in dem unterschieden, daß es gebogen ist (weshalben es vordern Krummhorn genannt wurde) und daß es um eine Terz noch tiefer geht, als die Clarinette. Es hatte ehemals nur das tiefe C, welches im Basse das zweyte oder kleine ist, hernach E und nach diesem erst alle halben Töne, aber die Brüder, Anton und Johann Stadler, K.K. Cammermusici, haben durch ihre Erﬁndung auch das tiefe und baßmußige Cis, D, Dis hinzufügen lassen, folglich geht es jetzt in der gehörigen Ordnung durch vier ganze Octaven. Es wird zwar auch der Violin-Schlüssel vorgezeichnet, jedoch ist der Klang um vier oder fünf ganze Töne tiefer, als die Violin. Der Hauptton F aber ist älter und gewöhnlicher als G und werden beyde ins C gesetzt.” Albrechtsberger, Gründliche anweisung, 426–427. 73. An extant basset horn in E has not been found.

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clef is commonly used.”74 Johann and Anton Stadler were not instrument makers and had a professional maker such as Theodor Lotz construct their instruments. Albrechtsberger is the earliest writer to attribute the addition of the basset notes C and E to the Stadler brothers. Two years after this description, Gerber printed a brief list of inventors and improvements to various musical instruments stating that the basset horn was invented in Passau about 1770 and improved by the maker Lotz and the player Springer.75 Many subsequent encyclopedias and lexicons repeat Gerber’s date and place of invention without mention of the early instruments by the Mayrhofers or other makers. During the late eighteenth century, the court of Thurn and Taxis in Regensburg was a center for basset horn performance and new music. A circa 1790 inventory of the court’s instruments includes “2 Baßethorns,” two “G Clar: mit F Mittel Stück,” and B and A clarinets with “mittel stuck” or corps de rechange played by the clarinetists J. Schierl and J. W. Wack (see ﬁgure 1.2).76 The instruments listed are two basset horns, presumably in F, and two G alto clarinets or G clarinets d’amour with corps in F. The makers of these instruments are not speciﬁed, but Schneider, probably a dealer related to Joseph Schnieder the elder (1792–1872), a woodwind instrument dealer in Regensburg, is indicated as supplying the corps de rechange for the B clarinets. The two basset horns were most likely pitched in F, based on the number of extant works for these instruments in the Regensburg library.77 At the turn of the century, H. C. Koch (1802) reports, in a description given in his musical dictionary, that angled basset horns are made with eight keys. This instrument includes two dorsally mounted basset keys for D and C.78 This type of construction became very popular throughout the late eighteenth and early nineteenth centuries. Important documentation is found in two nineteenth-century instruction books and later sources that include sections on the basset horn.

74. “Man hat auch tiefe E, Es und D dur Bassethörner, welche aber beschwerlich wegen ihrer Größe zu behandeln sind. Uebrigens gelten alle oben angeführten Regeln der Clarinette auch für die Bassethörner, in Ansehung der Griffe. Noch ist zu merken, daß für das zweyte oder dritte Bassethorn bey tiefen Stellen gewöhnlicher der Baß-Schlüssel gebrauch werde.” Albrechtsberger, Gründliche anweisung, 426–428. The same information was repeated in 1826 in a second edition edited by Seyfried, Albrechtsberger’s student, in J. G. Albrechtsberger’s sämtliche Schriften, vol. 3, 195. The Italian writer Antolini wrote in 1813 that basset horns were made in the nominal pitches G, F, and E in his instrumentation treatise. See Antolini, La retta maniera, 51–52, Tavola II, no. 17. 75. Gerber, Historisch-biographisches Lexikon, Anhang, 80. 76. A copy of the inventory was supplied by Hugo Angerer through the courtesy of Dietrich Demus. 77. See Grass and Demus, “Theodor von Schacht,” 67; also see Haberkamp and Angerer, Die Musikhandschrift der Fürst Thurn und Taxis Hofbibliothek Regensburg. Twelve basset horn works are listed by ten composers. 78. Koch, Musikalisches Lexikon, 222–225.

Basset Horn 111 Instructional Materials Basset horn tutors or instructional materials were never published in great numbers and are rather scarce. Kalker lists a six-page Tabelle für die Klarinette und das Bassetthorn published by Hummel of Amsterdam in about 1800. However, he did not actually locate this book and relied on the publisher’s listing.79 Two clarinet tutors written by clarinet and basset horn soloists appeared after 1800 and include sections concerning the basset horn. The ﬁrst, written by the English player John Mahon, is titled A New and Complete Preceptor, for the Clarinet, . . . To Which Is Added the Gamut, for the Clara Voce or Corno Bassetto (London, ca. 1803). Although Mahon provides no speciﬁc information or didactic comments on the basset horn, he includes four well-written concertante duets that “may be played with two Corno Bassettos.” At the beginning of the duets, Mahon notes: “Where there are double Notes, the low ones are for the Corno Bassetto, the upper ones for the Clarinet. The notes that are below the compass of the Clarinet may be played an octave above.”80 Mahon includes a basset horn ﬁngering chart with an engraving of an angled, eight-key instrument (the F/C and C keys are not visible) and a compass from c to g3, but without chromatic pitches above d3 (ﬁgure 2.1).81 According to Shackleton, this instrument is clearly related to basset horns by Grundmann of Dresden; they include a low D and C.82 The clarinetist, harpist, and composer Johann Georg Heinrich Backofen published another tutor the same year as Mahon’s, titled Anweisung zur Klarinette nebst einer kurzen Abhandlung über das Basset-Horn (Leipzig, ca. 1803). His description of the basset horn provides insight into how the instrument was perceived by players and some of the practical problems and solutions in playing it. This instrument, which is basically nothing but an F clarinet, most likely has a different name for this reason: to recognize its proximity in structure and sound to the French horn and differentiate it from the F clarinet which is admittedly a whole octave higher. It also uses the violin [treble] clef. However, 79. Kalker, Die Geschichte der Klarinetten, 238. Johan van Kalker has reported to me that he did not ﬁnd the Tabelle. Weston appears to have made use of Kalker’s listing when she suggests that the Tabelle was published about 1798 and authored by Vincent Springer. Springer inherited control in 1791 of the Amsterdam publishing ﬁrm J. Schmitt by marriage; it was purchased in 1798 by the Hummel ﬁrm. See Weston, “Mozart’s K621b Concerto Fragment for Stadler or Springer?” 25; Weston, Yesterday’s clarinettists, 160, cf. Hoeprich, The Clarinet, 372, n. 63. 80. Mahon, A new and complete preceptor for clarinet, 38–53. The ﬁrst issue of Mahon’s tutor, published about 1803 by Goulding, Phipps & D’Almaine, includes a misspelling of Corno Bassetta. When the tutor was republished about 1811–1816 by Goulding, D’Almaine, Potter and Company, the spelling was corrected to Corno Bassetto. 81. Mahon, A new and complete preceptor, 3, 38–53; see Lyle, “John Mahon’s clarinet preceptor,” 52, and for a photo of the basset horn ﬁngering chart, pl. IX. 82. Shackleton, “The earliest basset horns,” 12.

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Figure 2.1. John Mahon, A New and Complete Preceptor, for the Clarinet (ca. 1803), 52.

it is pitched in tone like the F horn, being about a ﬁfth lower than the violin[s], so that the F of the latter [violin] is the C of the former [basset horn]. Also it is common that the lower tones are written in the bass clef just as [the word] chalumeau is written [indicating an octave lower] for the clarinet. To my knowledge, the best basset horns are the Viennese. However, even with these one must use wax to get many notes in tune, particularly in the E [R2] and G [L3] holes because more often than not, the f 2 and a2 are too high. Admittedly, this makes the d1 a little too low, but one can open the C key and the d1 becomes in tune again. By the way, it is too bad that water does not have its own channel provided, because it causes trouble, not infrequently, by forcing its way through the holes, or something which is still far worse, the keys. Let us hope that our inventive age will yet help remedy this imperfection.83 Backofen’s ﬁngering chart follows these comments and incorporates an engraving of a nine-key angled basset horn with a ninth key for C/G. Although the chart 83. “Dieses Instrument, welches im Grunde nichts anders als eine F Klarinette ist, und wahrscheinlich blos deswegen einen andern Namen hat, um es sowohl mit der F Klarinette, die freylich um eine ganze Oktave höher steht, als auch um dessen Annäherung an das Waldhorn in Bau und Ton zu bezeichnen, behält beynahe die ganze Scala der Klarinette bey. Es hat auch den Violinschlüssel, steht aber im Ton wie das F Horn, nehmlich um eine Quinte tiefer als die Violine, so dass das F auf dieser, das C auf jener ist. Auch wird gewöhnlich bey den tiefern Tönen der Bassschlüssel, so wie bey der Klarinette das Chalumeau

Basset Horn 113

Figure 2.2. Johann Backofen, Neue teoretisch prachtische Klarinett Schule. Vienna: J. Cappi (ca. 1812), 27 (a reprinting of Anweisung zur Klarinette (ca. 1803), 36).

includes ﬁngerings for only a few notes, he purposely omits those ﬁngerings that are the same for the clarinet because basset horn players are commonly clarinetists. Backofen surprisingly includes enharmonic ﬁngerings (having very small sound distinctions) in the upper register for g2, a2, a2, b2, d3, and c3 and for the extremely high notes of a3, b3, and c4 (the three highest notes for the clarinet at the time) found in very few nineteenth-century virtuosic works (ﬁgure 2.2).84 He includes an interesting section on holding the basset horn, with comments on reed placement. gesetzt. Die besten mir bekannten Bassethörner sind die Wiener, allein man muss sich auch bey diesen um manche Töne ganz rein zu bekommen, des Wachses, besonders bey dem e1 und g1 Loch bedienen, weil meistens das f und a zu hoch ist. Freylich wird dadurch das d etwas zu tief, allein man kann zu diesem die cis Klappe öffnen, so wird es ganz rein. Schade ist es übrigens, dass dem Wasser noch kein eigener Kanal angewiesen ist, denn nicht selten verursacht es. Unannehmlichkeiten entweder dadurch, dass es durch die Löcher, oder, was noch weit schlimmer ist, durch die Klappen dringt. Wir wollen hoffen, dass unser erﬁnderisches Zeitalter auch dieser Unvollkommenheit noch abhelfen wird.” Backofen, Anweisung zur Klarinette (ca. 1803), 36; cf. trans. in Kohler, “J. G. H. Backofen’s Anweisung,” 42. 84. Backofen, Anweisung zur Klarinette (ca. 1803), 37–38; trans. in Kohler, “J. G. H. Backofen’s Anweisung,” 43.

114

From the Clarinet d'Amour to the Contra Bass Inasmuch as the basset horn is quite heavy, it is customary to fasten a ribbon to the bottom part—as is customary with the bassoon—which hangs on a button of the clothing. Incidentally, the instrument is held in two ways. Namely those basset hornists, who play “reed-down” (that is to say that the reed of the mouthpiece lies on the lower lip when playing) hold it on the right side, as with the bassoon, and those who play “reed-up” (so that the reed rests under the upper lip), put the right foot forward a bit and place the bell of the instrument on the thigh, whereby it gains the most solid base. This constitutes the exception to the aforementioned erect posture of musicians. Yet, there are basset hornists, who in order to give a stable position to their instrument, clamp the neck of the bell between both thighs, whereby however, they make a most tragic and wooden ﬁgure. Perhaps these players came upon the idea of such clamping because a circular or sun-shaped round bell did not want to stay securely on top of the thigh. This could be easily remedied without the slightest disadvantage for the tone by giving the outer opening of the bell an .85 elongated roundness [oval shape], namely one such as

Oval bells were made by several makers during the eighteenth century, including Lotz in Vienna; August Grenser, Heinrich Grenser, and Grundmann, all in Dresden; and Griessling and Schlott, and Schlott, both in Berlin. Some basset horns by Heinrich Grenser employ a curved brass leg rest soldered to the end of the bell that enables the player to secure the bell on the thigh while playing. Backofen authored a separate ﬁngering chart, entitled Scala für das Bassethorn, published in Vienna by Steiner probably within two to ﬁve years of his 1803 Anweisung.86 In his 1811 treatise, Fröhlich describes an eight-key basset horn with 85. “Da das Bassethorn an und für sich ziemlich schwer ist, so wird gewöhnlich an dem untern Theile desselben ein Band befestigt, welches man, so wie es bey dem Fagott üblich ist, in einen Knopf des Kleides einhängt. Uebrigens wird das Instrument auf zweyerley Art gehalten, nehmlich diejenigen Bassethornisten, die unter sich blasen, (d.h. die das Blättchen des Mundstücks beym Blasen auf die untere Lippe legen,) halten es auf der rechten Seite, so wie einen Fagott; und diejenigen, die ober sich blasen, (so dass das Blättchen unter die obere Lippe zu liegen kommt,) stellen den rechten Fuss etwas vor, und legen auf dessen Schenkel den Becher (Pokal, Schedel, Stürze) des Instruments auf, wodurch es eigentlich die festeste Lage bekömmt. Diese machen daher auch von der oben erwähnten geraden Stellung eines Musikers eine Ausnahme. Noch giebt es Bassethornisten, die, um ihrem Instrument eine feste Lage zu geben, den Hals des Bechers desselben zwischen den beyden Schenkeln einklemmen, wodurch sie aber selbst eine äusserst traurige und hölzerne Figur machen. Vielleicht wurden diese durch den Umstand auf den Einfall des Einklemmens gebracht, dass der Becher durch seine Scheiben- oder Sonnenförmige Ründung, nicht gut auf dem Schenkel haften wollte. Diesem liesse sich nun aber leicht, und ohne den geringsten Nachtheil für den Ton selbst dadurch abhelfen, dass man der äussern Oeffnung des Bechers eine längliche Ründung, nehmlich eine solche gäbe.” Backofen, Anweisung zur Klarinette, 37–38; trans. Kohler, “J. G. H. Backofen’s Anweisung,” 43–44; cf. Baines, Woodwind instruments and their history, 307. 86. See Whistling, Handbuch der musikalischen Literatur, 215. The Scala für das Basset-Horn published in 1810 by Chemische Druckerei in Vienna is in the library of the Gesellschaft der Musikfreunde; see the listing on FirstSearch (OCLC), http://newﬁrstsearch.oclc.org.

Basset Horn 115 keys for low D and C but also mentions basset horns with more keys.87 However, a fully chromatic basset register is more difﬁcult to make and more costly, so basset horn makers continued to construct instruments with two basset keys for D and C for several decades during the nineteenth century. In 1819, two thirteen-key basset horns by Wolfgang Kies [Küss] of Vienna were purchased for the orchestra of the Grand Duke Ferdinando II de Medici in Florence.88 By the 1820s, the most advanced basset horns had ﬁfteen keys. Backofen reports in the second edition of his clarinet tutor (1824) that ﬁrst-rate basset horns with ﬁfteen keys were being offered by Bischoff of Darmstadt.89 By 1829, Backofen’s second short tutor, Kurze Abhandlung über das Bassethorn, was published in Vienna by Cappi.90 Two later anonymous ﬁngering charts appeared in French as Gamme de Cor de Bassette à 13 Clefs (Mainz: Schott ﬁls, 1829–1833) and in German as Scala für das Bassethorn (Mannheim: Heckel, 1828–1843).91 Eighteenth-Century Makers

The Earliest Basset Horns The earliest extant instruments are two anonymous four-key basset horns in F (A-Wien, 135, 136, on loan to A-Wien-T, 15379) of southern German (Bavarian) origin dating from the early to mid-1750s to about 1760. According to Saam, both instruments were from the estate of the Linz chapel master Franz Xaver Glöggl, purchased in 1822 by the Gesellschaft der Musikfreunde in Vienna.92 Both instruments have a round, one-piece curved body covered in leather over cloth, a mouthpiece, barrel, ﬂat box, and brass bell. The leather on the box of 135 has what appears to be an 87. “Es gibt auch Bassethorn mit mehreren Klappen.” Fröhlich, Vollständige theoretisch-pracktische Musikschule, 26; see the trans. in Rousseau, “Clarinet instructional materials from 1732 to ca. 1825,” 216. Fröhlich did not change his description in the second edition (1829) of his treatise entitled Systematischer Unterricht in den vorzüglichsten Orchester-Instrumenten, 109. 88. Archivio di Stato, Firenze; Imperiale e Real Corte, 4699, Inventario di Palazzo Pitti, 18 dicembre 1819, c. 100r. The purchase of the basset horns in 1819 is cited by Rossi Rognoni, “Per la lettura delle schede,” 213, n. 1. One of these basset horns, an angled thirteen-key instrument (I-Firenze, 1988/167) by Kies, was listed in an 1863 inventory of the Guardaroba of the Palazzo Pitti. For a transcription of the 1863 inventory, see Branca, Il museo degli strumenti musicali del conservatorio “Luigi Cherubini,” 20. 89. “Auch verfertigt er ganz vorzüglich gute Bassethörner mit allen (15) Klappen.” Backofen, Anweisung zur Klarinette (1824), 42, n. Two Bischoff basset horns are extant today: a fourteen-key (D-Markneukirchen, 966) and sixteen-key (D-Berlin, 90). 90. See Whistling, Handbuch der musikalischen Literatur, Erster Ergänzungsband, 308. This tutor has not been located. 91. See Whistling, Handbuch der musikalischen Literatur, Zweiter Erganzungsband, 62; Hofmeister, C. F. Whistling’s Handbuch der musikalischen Literatur, 103. These ﬁngering charts have not been located. 92. Saam, Die Bassetthorn, 32. Basset horn number 135 is photographed in Mandyczewski, Geschichte der K. K. Gesellschaft der Musikfreunde in Wien, Instrumententafel I; Saam, Die Bassetthorn, 35; Eppelsheim, “Bassetthorn-Studien,” Abb. 29.

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unreadable impression of a rectangular nameplate or label.93 A round bell is painted black inside. Four brass saddle-mounted keys are for S and A (on the upper joint), F/C (with a symmetrical swallowtail-shaped touch piece), and one thumb key for C (on the lower joint) that is attached to and projects up from a decorated brass ring around the top of the box.94 This thumb lever has two adjacent key heads that are linked by a ﬂoating lever (missing on 135 but present on 136)95 so as to be positioned on the back of the box, and to close together. Although this appears to be an unusual arrangement, it provides venting and proper intonation for two essential notes, low F and its twelfth c2.96 Thus, the keys on these basset horns are equivalent to a twokey clarinet, with the addition of an F/C key for the little ﬁnger of either hand and a basset key positioned for the thumb to provide a low C. There are no low E/B or D keys. The thumb C key, and lower key head are missing on 135.97 Another anonymous pair of curved F basset horns (A-Kremsmünster, ca. 1760– 1765) stamped “AA” and “SS” have six keys mounted in brass saddles for S, A, two A/E, F/C, and C. The keywork is equivalent to a two-key clarinet without the E/B key, but with two A/E keys on either side of a swallowtail touch for F/C for right or left-handed playing, plus a thumb key (or basset key) for C. They share several characteristics with the Vienna instruments: simple swallowtail-shaped touches for F/C, round brass bells with end diameters of 170 mm, and no low E/B and D keys. In addition, some key heads include pairs of nicks or lines similar to those lines on the key head used by J. W. Kenigsperger (d. 1752) on a clarinet. The differences include a hexagonal exterior body, two A/E keys, the original mouthpieces integral with the barrel, and double holes for L3 and R1 providing ﬁngerings for g2/c1 or g2/c1 and f2/b or f2/b.98 There is also a small resonance hole on the box of each instrument that enters the bore just preceding the bell. These holes may have been ﬁlled with a peg so that a shorter corps de rechange could be played with correct intonation (as found in the Stinglwagner basset horn discussed here later).99 An anonymous ﬁve-key F basset horn (A-Salzburg, 18/30, ca. 1765) shares some similarity with the two basset horns by Mayrhofer (see later). It has a one-piece boxwood body with an octagonal exterior covered with brown leather. There is a separate horn barrel with a probably original, long tenon boxwood mouthpiece;

93. Photo in Eppelsheim, “Bassetthorn-Studien,” Abb. 30. 94. Shackleton, “The Earliest Basset Horns,” 16, 20; photo in Eppelsheim, “Bassetthorn-Studien,” Abb. 31. 95. Photo in Eppelsheim, “Bassetthorn-Studien,” Abb. 32. 96. Shackleton, “The earliest basset horns,” 5; Eppelsheim, “Bassetthorn-Studien,” 69–74. 97. See Eppelsheim, “Bassetthorn-Studien,” Abb. 33. I thank Frédéric Courquin for sending a photo. 98. Cf. Shackleton, “The earliest basset horns,” 5–6, 16, 20 and Eppelsheim, “Bassetthorn-Studien,” 75–80, Abb. 34–36. I thank Hans Stalder for sending a photo of these instruments. 99. Suggested by Jean Jeltsch in his presentation “The basset horn in France in the eighteenth century,” given at the Clarinet and Woodwind Colloquium 2007, Edinburgh University.

Basset Horn 117 double hole for R1; saddle-mounted keys for S, A, swallowtail F/C touch (similar to the Mayrhofers); single A/E key for R4; and thumb key for C.100 In ﬁngering, it is equivalent to a two-key clarinet with additional keys for A/E, F/C, and C. Its metal bell is too large and was probably originally made for an orchestral horn.101 An owner’s stamp is embossed on a piece of leather glued on the box “JO. PAUL PLEIDINGER/MUS. DE. S.A.S. MONS LE/PRINCE DE LA TOUR ET/TASSIS A RATISBONNE” (Johann Paul Pleidinger, musician of his majesty the Prince of Thurn and Taxis at Regensburg). This piece of leather may cover the maker’s mark. Because of the many similarities in construction, Shackleton attributes this instrument as an early example by the Mayrhofers.102 An eight-key anonymous southern German or Viennese F basset horn (DNürnberg, MIR 465, ca. 1765) is stamped “1/AS” on the box and “2/AS” on the top of the curved body. It has a one-piece hexagonal exterior, mouthpiece (missing), separate barrel (probably from a clarinet), box, and separate wooden bell (most likely added later). The keys are in brass mounts: S, A, two for A/E (the right key is a replacement from a clarinet), swallowtail touch for F/C between the A/E keys, and thumb keys for F/C, E/B, and C. The upper part of the touch of the E/B key is positioned in a curve next to that of the C key103 (ﬁgure 2.3). According to Günther Egold, both the A/E and F/C keys were added at a later time.104 Aside from the F/C key and the basset key for low C, this instrument is equivalent to a four-key clarinet with S, A, A/E, and E/B keys. Shackleton suggests that the maker may have been Antoni Schintler (Antonius Schindler), who supplied oboe and bassoon reeds to Haydn’s Esterhaza orchestra in 1777 and 1778.105

Germany The Stinglwagners During the second half of the eighteenth century a curved basset horn (stamped ISTW) was made by Johann Michael Stinglwagner (1709–1771) or his relative Joseph Stinglwagner (1726–1805) from Triftern, a small town in southern Germany.

100. Shackleton, “The earliest basset horns,” 7, 17, 20. 101. Birsak, Die Holzblasinstrumente, 50; photo in Saam, Die Bassetthorn, 33. According to Egold, the A/E key was added later; see Grass and Demus, Das Bassetthorn, 246. 102. Shackleton, “The earliest basset horns,” 7, 17, 20; stamp photographed in Birsak, Die Holzblasinstrumente, Tafel XV, no. 29. Young also attributes this anonymous basset horn to the Mayrhofers; see 4900, 154, Y4. 103. A description and photos are in Eppelsheim, “Bassetthorn Studien,” 80–86, Abb. 37–39; see the description and photos in Bär, Verzeichnis, Band 6, 76–84. 104. Grass and Demus, Das Bassetthorn, 247. 105. Shackleton, “The earliest basset horns,” 13, 17, 20. An unlikely suggestion is that the stamp AS indicates in German the nominal pitch of A, see the description of the two AS basset clarinets in Paris (nos. E. 190 and E. 199) on the Musée de la Musique web site, http://mediatheque.cite-musique.fr.

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Figure 2.3. A.S., 8-key basset horn (ca. 1765, D-Nürnberg, MIR 465).

Joseph was making instruments by 1775 but may have been working with Johann earlier or simply took over the shop after Johann’s death.106 Their curved instrument (A-Salzburg, 18/31, ca. 1765) has a two-piece leather-covered wooden body with an octagonal exterior.107 There are seven brass-mounted keys: S, A, two A/E (for use with either hand lowermost), F/C (with swallowtail touch), and thumb keys for E/B and C. It is equivalent to a four-key clarinet. On the box near the bell end is a hole with a pin plug. It may have been used to keep the bell from falling off,108 as a hole to remove water condensation,109 or for use with a shorter corps de rechange.110 The large brass bell has stamped on the garland “MACHT FRANZ SCHOFFTLMAYR IN BASSAU” and, next to it, an incised relief of the Virgin mother and child within an oval.111 Schofftlmayr (ﬂ. 1760–1788) was a brass maker in Passau who made brass bells for basset horns by the Stinglwagners and the Mayrhofers.112 106. NLI, 387. 107. A photograph is in Birsak, Die Holzblasinstrumente, Tafel XII. 108. Shackleton, “The earliest basset horns,” 6, 17, 20. 109. Grass and Demus, Das Bassetthorn, 247. 110. Suggested by Jeltsch in his presentation “The basset horn in France in the eighteenth century,” given at the Clarinet and Woodwind Colloquium 2007, Edinburgh University. 111. A photo of the relief of the mother and child is in Saam, Die Bassetthorn, 31; a small photo of the inscription and relief is in Birsak, Die Holzblasinstrumente, Tafel XV, no. 33. 112. See Saam, Das Bassetthorn, 30–32; Birsak, “Zu Josef Saams Buch,” 336–337; NLI, 361.

Basset Horn 119 The Mayrhofers Anton Mayrhofer Sr. (ca. 1716–1774) and Michael Mayrhofer (1707–1778) of Passau are the best-known makers of the basset horn.113 Two of their extant curved basset horns dating from about 1770 are stamped with their famous claim “ANT: et MICH:/MAYRHOFER/INVEN.&ELABO:/PASSAVII.” (Anton and Michael Mayrhofer inventors and improvers, Passau). This stamp appears in an elaborate rococo cartouche on the leather covering the side of the box.114 Two of these instruments (D-Nürnberg, MI 133; D-Bonn, 154) are pitched in G with a one-piece curved body and six keys in brass saddles. The Nuremberg basset horn is in ﬁve sections: mouthpiece (missing), horn barrel (replacement), octagonal body probably of fruitwood covered in brown leather, box with octagonal chimney, and brass bell (replacement, possibly from a natural horn).115 The Bonn basset horn is in ﬁve sections: mouthpiece (replacement), barrel (replacement), octagonal body, box, and brass bell (replacement).116 Both instruments have a doubled ﬁnger hole for R1, which is particularly useful for playing an in tune c1 and g2.117 Like the earliest Bavarian and Austrian instruments, both basset horns are made with several small cuts along the inside of the bore to facilitate bending the wood, and then covered with leather.118 A now missing seventh key for F/ C, positioned for the thumb along with the E/B and C keys, was present on both but has been removed.119 Their original keywork for S, A, A/E, F/C (with swallowtail touch), F/C, E/B, and C is equivalent to a ﬁve-key clarinet with the addition of the F/C and low C keys. Each of the ﬂat springs attached to the underside of the keys presses against the body of the wood.120 The original barrels for both are missing, the Nuremberg instrument has a replacement horn barrel from a B clarinet, and the bell of the Bonn instrument was replaced.121 113. Saam suggests that three members of the Mayrhofer family were involved in building basset horns: Anton Sr. contributed skills as a clarinetist, Anton Jr. as wood carver, and Michael as an organ builder. Saam, Das Bassetthorn, 20; NLI, 257. 114. Description and photos in Saam, Das Bassetthorn, 28; Young, The look of music, 153; Eppelsheim, “Bassetthorn-Studien,” 86, 88, Abb. 40; Bär, Verzeichnis, Band 6, 69, 70, 75. 115. Shackleton, “The earliest basset horns,” 15; Bär, Verzeichnis, Band 6, 69. 116. Zimmermann, Von Zinken Flöten und Schalmeien, 53; Shackleton, “The earliest basset horns,” 15. 117. See 4900, 154. 118. Shackleton, “The earliest basset horns,” 8. The cuts are clearly seen along with the three parallel directions of the bore inside the box in a radiograph of the Nuremberg example; see Dullat, Klarinetten, 100, Abb. 59; Bär, Verzeichnis, Band 6, 76. 119. A sketch of the overlapping thumb keys for E/B and C on both basset horns is given in Eppelsheim, “Bassetthorn-Studien,” 110, Skizze 51. 120. 4900, 154. 121. Shackleton, “The earliest basset horns,” 20; Eppelsheim, “Bassetthorn-Studien,” 87; cf. 4900, 154, nos. Y1–3; Bär, Verzeichnis, Band 6, 75. See also the restoration report of the Bonn basset horn (December 1991) by Weber, Zur Restaurierung von Holzblasinstrumenten, 165–182.

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The bore inside the boxes takes three 90-degree turns to the bell.122 These instruments are among the few basset horns pitched in G instead of F. There are a few musical works that require instruments in G (see chapter 3). These instruments are not the earliest basset horns but were probably improved versions of earlier attempts by the Mayrhofers. A third Mayrhofer curved instrument (D-Passau, 3160) is very similar to the basset horns but pitched in A or A and considered a basset clarinet.123 Königsberger There are three woodwind makers named Königsberger (name variants: Königsperger, Kinigsperger, Kinigsberger) active in Roding from the beginning of the eighteenth century. Johann Andreas Königsberger (d. 1753/1757) and Johann Wolfgang Königsberger (d. 1752) made a variety of woodwinds. In Roding, the latter was a maker of many different types of woodwinds, including a three-key clarinet (D-München-DM, MU 110).124 Franz Königsberger (d. 1805) also constructed woodwinds and headed a ﬁrm that was active in Roding from about 1774 to 1812.125 One basset horn (D-Berlin, 578, ca. 1780) by Franz is known. It is constructed of maple with horn ferrules, with its left- and right-hand joints at 90 degrees. Its seven keys are for S, A, two A/E keys, F/C (with swallowtail touch), and thumb keys for E/B and C. There are six sections: mouthpiece (replacement), barrel (replacement), left-hand joint, right-hand joint with a large socket, ﬂat box, and brass bell.126 Three similar examples were made by Dimpﬂ and Glezl (see the next two makers). Dimpﬂ I. G. Dimpﬂ of Stralfeld (near Roding) ﬂourished during the late eighteenth century. Two examples by Dimpﬂ are known, similar in shape to the Königsperger basset horn. One is a seven-key instrument made at a 90-degree angle (CR-Praha, 468E, ca. 1780) with a ﬂat box and a trumpet bell engraved by Josef Rosmeisel of Graslitz. This instrument carries the same keys in the identical positions as the Königsberger basset horn, has overlapping touches for the thumb E/B and C keys, 122. See the radiograph of the Nuremberg instrument in Bär, Verzeichnis, Band 6, 76. 123. See Shackleton, “Appendix 2,” 85; Rice, The clarinet in the classical period, 71. Another Mayrhofer instrument (D-München-S, 52–50) has a partially curved body and makes use of a loop on its lowest section instead of a box. Although some writers suggest that this instrument is a low-pitched basset horn, its large bore and B pitch indicates that it is a bass clarinet (see chapter 4). 124. See the description and photos in Wackernagel, Holzblasinstrumente, 245–247; for a description and color photo, see Young, The look of music, 26, no. 100. 125. NLI, 211. 126. See the description in Eppelsheim, “Bassetthorn-Studien,” 85; Grass and Demus, Das Bassetthorn, 247, no. 3; photo in Sachs, Sammlung alter Musikinstrumente, Tafel 29. The author studied this instrument in 2005.

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and a ﬂat box.127 The second basset horn is an eleven-key instrument (A-Linz, Mu 27, ca. 1785) made of plumwood with horn ferrules, has a ﬂat box, and a wooden clarinet bell. The left hand ﬁnger hole joint is made at about a 100-degree angle to the right-hand joint socket and includes a large copper ferrule (probably a later repair) at the upper end. The keys are for S, A, A/E, F (swallowtail touch), F/ C, E/B, D, and C. Unusually, all four of the last keys are placed for the right thumb from left to right: E/B, D, C, and F/C.128 There are three added keys: G in the ring adjacent to the A key, G/C mounted in right hand socket, and F/C placed for L4. A duplicate, second touch for E/B is placed for L4. At its end is a metal ball that pushes up against the E/B touch. All of the ﬂat springs are riveted to the underside of the keys except the basset keys for E/B, D, and C.129 Glezl Georg Glezl of Bavarian Forest (Bayerischer Wald) worked during the late eighteenth century. One example of an eight-key maple instrument with horn ferrules (D-München-BNM, MU 111, ca. 1780) is very similar in shape to the Königsberger basset horn. It includes a right-hand section with a large socket that meets the lefthand section at approximately 90 degrees, and a ﬂat box. Its eight keys are the same as on the Prague Dimpf basset horn including two A/E keys on either side of a swallowtail F/C key, and thumb keys for D and C. An eighth key is F/C for L4 (added) and there is a double hole for R1. The instrument is marked with the pitch letter “G.”130 August Grenser One of the most accomplished basset horn makers is Carl Augustin (August) Grenser (1720–1807). He trained in Leipzig under the woodwind maker Johann Poerschmann. In 1739, Grenser moved to Dresden and established himself as an independent maker in 1744. In 1753, he applied for and received a privilege as court musical instrument maker, possibly as a safeguard against competition from Jacob 127. Keller mistakenly describes this basset horn as by the brass maker Rossmeisel, whose trumpet bell stamped “1782” is ﬁtted to this instrument. Bohuslav Cˇížek, formerly curator of the Prague Museum, identiﬁes this instrument as stamped by Dimpﬂ. See Keller, “Píšteˇlníci a trubarˇi,” 206, and a photo at the end of the article; description in Grass and Demus, Das Bassetthorn, 251, no. 27. 128. See the description and photos of the basset keys by Eppelsheim, “Bassetthorn-Studien,” 100, Abb. 48; see also a sketch of the basset keys, 111, Skizze 61. 129. Young, Die Holzblasinstrumente, 168–169. This photo shows the right hand side of the right stock, box, and bell. Young points out the similarity of the Königsberger and Dimplﬂ instruments and suggests a connection between the makers since Roding is very close to Stralfeld. 130. For a description and photos, see Wackernagel, Holzblasinstrumente, 282–284; a photo is also in Baines, European and American musical instruments, ill. 645. Another Glezl basset horn (D-Berlin, 295) was destroyed during World War II. See Eppelsheim, “Bassethorn-Studien,” 86; NLI, 136. For a description and sketch, see Sachs, Sammlung alter Musikinstrumente, 297, Abb. 33; for a sketch, see Sachs, RealLexikon der Musikinstrumente, 36.

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Grundmann, who had arrived in Dresden and had also studied under Poerschmann. Grenser trained two famous and accomplished makers, Friedrich Kirst from about 1763 to 1770 and his nephew Heinrich Grenser from 1779 to 1786. In 1789, Grenser supplied two angled basset horns made with a separate knee joint to the Duke of Ludwiglust.131 The earliest documented maker to use a knee joint is Theodor Lotz of Vienna in 1782 (see later). There are ﬁve angled basset horns with oval or round brass bells: eight-key (S-Stockholm, M553) stamped “1784”;132 ten-key (NL-Den Haag, 0840386) stamped “1795/1” and nine-key (NL-Den Haag, 0840387) stamped “1795/2,” suggesting they were made to be played together;133 nine-key (D-München-DM, 10224);134 and twelve-key (D-Darmstadt, KG 67:132).135 The instrument in Stockholm is boxwood with horn ferrules. It is in eight sections: mouthpiece (missing), barrel, brass crook, left-hand joint, knee (missing), right-hand joint, box, and bell (missing).136 The use of a barrel joint and brass crook is similar to the clarinet d’amour and unlike other Grenser basset horns.137 Grenser uses a wider box than previous makers to accommodate three bores in a triangle rather than a side-by-side conﬁguration, thereby enabling the touch of the D key to be placed more conveniently for the thumb.138 The undated example in Munich is boxwood with black horn ferrules. It has seven sections: ivory mouthpiece, long curved barrel, left-hand joint, curved boxwood knee, right-hand joint, box, and oval brass bell. There are eight keys: S, A, A/E, F/C, F/C, E/B, D, and C. The F/C key is positioned to the left of the A/E, as found on other late-eighteenth- and early-nineteenth-century basset horns, thus retaining the positions of the F/C tone hole and A/E key of the soprano clarinet. The touch pieces for F/C and E/B are positioned for L4 as on the soprano clarinet, and the touch pieces for D and C are positioned for the right thumb. The ﬁngering on Grenser’s instruments was now the same as the clarinet and much easier for clarinetists to learn. Grenser’s slightly convex rounded boxwood box is wider at the back, where three facets are for the E/B, D, and C tone holes.139 131. NLI, 145. 132. A photo is in Baines, European and American musical instruments, no. 642; see also the photo and reproduction of the stamps in Saam, Das Bassetthorn, 39, which incorrectly states that this is the earliest straight basset horn. 133. See the descriptions in 4900, 97, Y3–Y4. 134. For a description and photo, see Seifers, Die Blasinstrumente im Deutschen Museum, 84–85; Dullat, Klarinetten, 179. 135. Two additional keys for B/F and E/B mounted in saddles, probably added at a later time; see Musik Instrumente aus dem Hessischen Landesmuseum, 50. 136. See the photos on the Musikmuseet Web site, http://www.musikmuseet.se; 4900, 97, n. 4 Y1. Previously this basset horn had a replacement section for the knee described as a “crude cylindrical piece of wood with two modern clarinet barrel rings.” See Karp, review of Saam, 154. 137. 4900, 97, n. 4. 138. Shackleton, “The earliest basset horns,” 11. 139. The Munich basset horn was studied by me in 2005.

Basset Horn 123 The nine-key basset horn (NL-Den Haag, 0840387) is made of stained rosewood with horn ferrules in seven sections, a straight barrel, and has the inside of its bell painted red. In addition to the same eight keys as the Munich example there is an A-B key with a curved touch, mounted in the upper ring and a block.140 The tenkey basset horn (NL-Den Haag, 0840386) is made of stained rosewood with horn ferrules, a curved boxwood barrel (replacement), and a modern mouthpiece. It includes one additional cross key for Bb/F.141 Grundmann Jakob Friedrich Grundmann (1727–1800) was a well-known and accomplished contemporary of August Grenser whose ﬁrm in Dresden was active from 1753 to 1800. He trained Floth and Bormann, and his woodwinds were highly praised and ordered from Poland and Latvia, as well as throughout Germany.142 His workshop seems to have specialized in oboes, with ﬁfty-four reported by Young, although all types of woodwinds were produced, including seven basset horns with rounded boxes.143 The latter were angled instruments: eight-key (A-Innsbruck) stamped “1784”; eight-key (D-Hamburg, 1912.1560) stamped “1787”;144 an incomplete seven-key example (GB-Edinburgh, 5565, Ex Shackleton, right-hand section, knee, and box) stamped “1787”;145 seven-key (US-MA-Boston, 17.1881) stamped “1791/2”;146 two eight-key (D-Lübeck, 4423, 4424), both stamped “1792”;147 and eight-key (D-Hamburg, 1922.70) stamped “1799.”148 The earliest example dated 1784 has F/C, E/B, D, and C keys positioned for the thumb, the keyheads for the lowest three notes are mounted on the rounded box (with a triangular bore) in thick wooden blocks. This arrangement of basset keys was apparently not successful since it does not appear on Grundmann’s later instrument.149 The incomplete example in Edinburgh is missing its left hand joint, barrel and mouthpiece and has its F/C, E/B, and C keys positioned for the thumb. Like the Boston example, this basset horn does not have a D key. All Grundmann basset horns include horn or ivory rings, curved barrels, and round 140. This basset horn in The Hague was studied by me in 1990. 141. I thank Frédéderic Courquin for a photo. Shackleton also commented on the originality of the B/F key in his notes taken during a visit in April 1990. The instrument is described as made of palisander (Brazilian rosewood), and erroneously dated 1793, Historische blaasinstrumenten, 31. 142. NLI, 149. 143. See 4900, 112–116. A basset horn was recently discovered by Rudolf Tutz in Innsbruck. 144. For a description and photo, see Young, The look of music, 154, no. 186; for a photo, see Rendall, The clarinet, pl. 6e. 145. I thank Arnold Myers for photos of this instrument, which does not appear in the catalog of the Shackleton Collection. 146. For a description and photo, see Museum of Fine Arts, Boston, http://www.mfa.org; Bessaraboff, Ancient European musical instruments, 102, plate III, no. 116. 147. For a description and photo, see Althöfer, Von Zinken, 122–123. 148. For a photo, see Rendall, The clarinet, pl. 6d. 149. I thank Rudolf Tutz and Ernst Schlader for information and photos.

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or oval brass bells, sometimes painted red inside.150 The boxes were positioned to the right of the main bore, from the front of the instrument, which facilitates positioning the E/B key.151 Kirst Friedrich Gabriel August Kirst (ca. 1750–1806) apprenticed with August Grenser of Dresden and from 1768 to 1770 worked for C. F. Freyer of Potsdam. Following Freyer’s death in 1772, Kirst married Freyer’s widow and took over the Freyer ﬁrm. The Kirst ﬁrm operated from 1772 to 1804. Basset horns by Kirst follow August Grenser’s design by having a rounded box in which the three segments of the bore are in a triangle rather than connected by parallel segments.152 This construction detail means that the second bore in the box, which must carry the hole through which low D sounds, can be conveniently placed for ﬁngering by using a thumb key that was earlier designed by Lotz. Kirst’s stepson Johann Gottlieb Freyer and the later ﬁrm Freyer & Martin, both of Potsdam, also made similar basset horns. The Kirst ﬁrm constructed all types of woodwinds but specialized in ﬂutes.153 There are nine examples of his basset horns made with an angled body, including one with the earlier curved construction. Most of them include mouthpiece, curved wooden barrel, ivory knee, and either a round or oval brass bell: eight-key (DLeipzig, 1528), eight-key (D-Gotha), nine-key (D-Rostock),154 nine-key (D-Leipzig, 1529),155 nine-key (D-Hamburg, 1912.1561),156 nine-key (F-Paris, E. 2199),157 ten-key (S-Hälsingborg, F.137),158 twelve-key (D-Eisenach, I 149).159 The earliest of these is probably the nine-key curved example in Hamburg made with a two-piece body glued together longitudinally.160 Bär attributes an anonymous eleven-key example (D-Nürnberg, MIR 468) to the Kirst/Freyer workshop.161 Kirst was among the ﬁrst 150. 4900, 116. 151. Shackleton, “The earliest basset horns,” 11–12. 152. Basset horns by other makers that share this type of construction are by August Grenser of Dresden, Grundmann of Dresden, Doleisch of Prague, and Porthaux of Paris. 153. See 4900, 130–134. 154. I thank Thomas Grass for the information on the instruments in Gotha and Rostock, and Frédéric Courquin for sending a photo of the Rostock instrument. 155. A photo is in Rubardt, Führer durch das Musikinstrumenten-Museum, Tafel XIV. 156. A photo is in Rendall, The clarinet, pl. 6b. 157. For a color photo, see Musée de la Musique: Guide, 131; Musée de la musique, http://mediatheque. cite-musique.fr; Dullat, Klarinetten, 269, Abb. 177. 158. A photo is in Utställning av musikinstrument ur Daniel Fryklunds samling i Hälsingborg, 40, plate XI. 159. A description of the twelve-key basset horn and photo are in Heyde, Historisiche Musikinstrumente, 228, 230. A nine-key (D-Berlin, 2914) basset horn by Kirst was lost during World War II; for a description see Sachs, Sammlung alter Musikinstrumente, 298. 160. Shackleton, “The earliest basset horns,” 8. 161. Bär, Verzeichnis, Band 6, 116–124.

Basset Horn 125 basset horn makers to construct ornately decorated brass covers to protect the E/B, D, and C key heads from being accidentally bent out of place.162 The Eisenmengers One the oddest and most recognizable instruments is the quadrilaterally shaped nine-key basset horn (D-München-BNM, 128) stamped “✱/IOH. GEORG/EISENMENGER/✱” (Johann Georg Eisenmenger), a maker in Mannheim active from 1722 to 1742.163 This boxwood instrument, however, dates from the 1780s and was rebuilt during the late eighteenth century despite the presence of this early maker’s stamp. It consists of four sections: mouthpiece-socket, barrel (replacement), lacquered rectangular body, and oval brass bell painted black inside. The mouthpiece is unusual because it is angled upward at about 20 degrees when turned so the opening is positioned against the upper lip. The pitch after restoration is D = circa 430 Hz.164 Evidence indicating a late-eighteenthcentury date is the straight basset section without a box and four thumb keys for F/C, E/B, D, and C, which are all original, deduced from the shape of the body where they are mounted; all the ﬂat springs are riveted to keys; the ninth or G key is mounted on a saddle and may be an addition; the bell is oval; the bell is in one piece, whereas early bells have a gusset or a narrow piece of brass riveted around the rim (hidden by a broad garland); the speaker and A keys are mounted in blocks; the key heads for the lowest keys are mounted in saddles with screw pivots uncommon in Germany; and the style of the maker’s stamp suggests a later maker.165 This instrument has been attributed to Georg Peter Eisenmenger (1726–1781) and Johann Peter Eisenmenger (b. 1752), both of Mannheim, who ﬂourished during the third and fourth quarters of the eighteenth century.166 Rainer Weber, who restored this instrument in 1982, proposes that the present quadrilateral shape is constructed from two earlier basset horns, one a 90-degree instrument and the other an angled instrument.167 162. Theodor Lotz of Vienna used rather plain covers, while Johann Gottlieb Freyer of Potsdam, Doleisch of Prague, and Griessling & Schlott of Berlin, among other makers, made ornately decorated covers. 163. NLI, 104. 164. Wackernagel states the angle of the mouthpiece is about 160 degrees; see Holzblasinstrumente, 285, 288. 165. Shackleton and Puddy, “The basset horn of J. G. Eisenmenger,” 140–141; for a photo see Joppig, “Holzblasinstrumente,” 76; Dullat, Klarinetten, 101, Abb. 61; see also the description and photos in Wackernagel, Holzblasinstrumente, 285–290. 166. Attribution suggested by Eppelsheim in “Bassetthorn-Studien,” 102, 121, n. 68. Peter and Erasmus Eisenmenger are listed in 1779 as instrument makers for the Mannheim and Munich orchestras by Vogler in Betrachtungen der Mannheimer Tonschule, 355. Günter Hart suggests that the three Eisenmenger brothers Johann Michael, George Peter, and Erasmus shared a workshop; see Mannheimer Hefte (1961), vol. 2, 40 as cited by NLI, 105. 167. See Weber’s speculative sketches of two basset horns and his arguments for this conclusion in Weber, “Ein Bassetthorn von Johann Georg Eisenmenger im Bayerischen Nationalmuseum,” 68–69, 71; see also Demus and Grass, “Wie die Bassetthörner 1772 ins Mannheimer Hoforchester kamen,” 35; Grass and Demus, Das Bassetthorn, 56–57, 59.

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Johann Georg Otto (1762–1821) of Neukirchen ﬂourished from 1784 to 1821.168 An eight-key angled example (D-München-DM, MU 116) is made of black-stained maple with horn ferrules. It has a mouthpiece (replacement), two different-size barrels stamped “2” (62 cm) and “3” (49.3 cm), left-hand joint, knee, right-hand joint, ﬂat box, basset keys for F/C, D, and C, and brass bell (replacement). The touch of the F/C key is made in a swallowtail form and placed to the left of the A/E key. This reﬂects the inﬂuence of the earlier eighteenth-century basset horns by Stinglwagner, Mayrhofer, and Glezl, whose instruments have a swallowtail F/C key and two A/E keys on either side to provide the option of placing the right or left hand lowermost. The box is stamped “(crossed swords) /OTTO/NEUKIRCHEN/1801/(ﬂeur-de-lis).”169 Hesse Wilhelm Hesse (1760–1795) of Braunschweig was a clarinetist and chamber musician since 1784 and became court instrument maker in 1786. He ﬂourished as a maker until 1795.170 An eight-key angled example (US-MI-Ann Arbor, 634) of boxwood with ivory ferrules is stamped “1789.” It has seven sections: mouthpiece, curved wooden barrel, left-hand joint, knee, right-hand joint, rounded box, and brass bell. The F/C and E/B keys are positioned for L4, as found on basset horns made from the 1780s.171 However, the F/C key is placed to the left of the A/E key, as on earlier eighteenth-century basset horns. In fact, the touch is highly curved to the left and may originally have been a swallowtail touch in keeping with its placement (web photo 7). There are three different stamps: “W.HESSE/CAMMERMUSICUS” (W. Hesse, Chamber Musician) on the left-hand joint, “W.HESSE” on the right-hand joint, and “W.HESSE/BRUNSWIG./1789” on the box.172 Johannes Jehring Johannes Jehring (1744–1825) of Adorf ﬂourished from 1771 to 1774, in Siebenbrunn around 1777 to 1790, and in Adorf about 1790 to 1825.173 One example (D-Markneukirchen, 695, ca. 1810) is attributed, a nine-key angled basset horn of 168. In 1784, two basset horns were ordered from Otto. See Weller, Der Blasinstrumentenbau, 229–230. 169. For a description and photos, see Wackernagel, Holzblasinstrumente, 291–294; for a color photo see Dullat, Klarinetten, 270, Abb. 178; a sketch of the thumb keys for F/C, D, and C is given by Eppelsheim, “Bassetthorn-Studien,” 110, Skizze 54. 170. Gerber, Historisch-biographisches Lexikon der Tonkünstler, 632, and Neues historisch-biographisches Lexikon der Tonkünstler, 662; NLI, 174. 171. For a description and photo, see Borders, European and American wind and percussion instruments, 41. 172. I thank Christopher Dempsey of the Stearns Collection for sending photos of this instrument. 173. For a chronology of Jehring’s activities, see Weller, Der Blasinstrumentenbau, 210.

Basset Horn 127 plum with horn and brass ferrules. It has seven sections: dark wood mouthpiece (replacement), curved boxwood barrel, left-hand joint, knee (boxwood), righthand joint, ﬂat box, and brass bell.174 The curved barrel and knee of this instrument were most likely later replacements because they are considerably lighter in color than the other sections. Johann Heinrich Grenser Johann Heinrich Grenser (1764–1813) was a nephew of the famous maker August Grenser of Dresden and apprenticed with him from 1779 to 1786. His own ﬁrm was established in Dresden in 1796 and continued after his death to 1817.175 He distinguished himself by inventing a usable bass clarinet in 1793 (see chapter 4). Thus, Heinrich, although still working for his uncle, made some instruments stamped with his own name by 1793. Heinrich specialized in woodwinds, making high-quality, ﬁne-sounding instruments.176 There are eight angled basset horns with rounded boxes, and oval brass bells: eight-key (GB-Oxford, 489),177 eight-key (GB-Edinburgh, 5059, Ex Shackleton),178 twelve-key (GB-Edinburgh, 5255, Ex Shackleton),179 fourteen-key (US-MI-Ann Arbor, 633),180 fourteen-key (CH-Burgdorf, 13-1124), ﬁfteen-key (CH-Zürich-AMG, 2685),181 ﬁfteen-key (private collection),182 and ﬁfteenkey (S-Stockholm, M1225).183 The Oxford example resembles many basset horns from the late eighteenth century: boxwood with horn ferrules. It has seven sections: ivory mouthpiece, curved barrel, left-hand joint, ivory knee, right-hand joint, box, and oval brass bell. This instrument carries eight keys, including basset keys for D and C.184 At least four of Grenser’s instruments include a completely chromatic basset register with E, D, C, and C (US-MI-Ann Arbor; CH-Zürich-AMG, 2685; 174. For a description and color photo, see Weller, Der Blasinstrumentenbau, 211, 304; Grass and Demus, Das Bassetthorn, 58, 260 no. 18. 175. See NLI, 145. 176. Surviving instruments include 56 bassoons, 47 ﬂutes, 36 oboes, and 28 clarinets; see 4900, 99–107. 177. For a description and photo, see Baines, Woodwind instruments and their history, pl. XXVIII. 178. For a description and color photos, see Shackleton Collection, 712. 179. For a description and photo, see Shackleton Collection, 714. I thank Arnold Myers for sending photos and information concerning the basset horns (Ex Shackleton) in the University of Edinburgh’s collection. 180. For a description and photo, see Borders, European and American wind and percussion instruments, 42, no. 633. 181. For a description and photo, see Jakob, Die Instrumente der Zürcher Musikkollegien, between 32 and 33, 41. 182. This instrument was sold at Sotheby’s in 1991 and includes an ivory knee and oval bell. For a description and photo, see Sotheby’s Sussex 4, 12 Early Musical Instruments, 9, no. 8 (mislabled 9). I thank Tony Bingham for information. 183. Photos of this instrument were received from Jörn Öierstedt; cf. 4900, 104. 184. Additional photos are in Young, The look of music, 154; Montagu, The world of baroque & classical musical instruments, 89, pl. 71; see also the description in 4900, 104, Y1.

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GB-Edinburgh, 5255; S-Stockholm, M1225). The examples in Ann Arbor and Zürich have in addition a curved brass leg rest attached to the rim of the brass bell. Heinrich Grenser’s earliest basset horns are the eight-key examples in Oxford and Edinburgh, both of which include basset keys for D and C. Among the earliest of the completely chromatic instruments is the twelve-key example (GBEdinburgh, 5255, ca. 1805) restored in 2004 by the Swiss maker Andreas Schöni (web photos 8–9). In his restoration for the late collector Nicholas Shackelton report, Schöni carefully compares this instrument with a ﬁfteen-key instrument in the Allgemeine Musikgesellschaft Collection (CH-Zürich-AMG, 2685). The Edinburgh instrument was purchased with two barrels, one stamped with a crown and two ﬂowers, the other with a crown and three ﬂowers. Schöni repaired the box, made a long touch for the E key, remade the C key, added new brass mountings for the basset keys, and made a new bell modeled after the bell of the Zürich basset horn. Schöni also made one additional barrel and three mouthpieces based on the three barrels and two mouthpieces with the basset horn in Zürich tuned to 430, 435, and 440 Hz.185 Schicker Johann Christoph Schicker of Germany ﬂourished during the late eighteenth century. An eight-key angled example (D-Leipzig, 1527, ca. 1795) is made of rosewood with ivory ferrules. It has seven sections: mouthpiece (missing), slightly curved barrel, left-hand joint, knee, right-hand joint, box, and brass bell.186 Freyer Johann Gottlieb Freyer (ca. 1764–1808) of Potsdam ﬂourished from the last quarter of the eighteenth century to 1808. Four examples are known. A nine-key angled boxwood instrument (D-Berlin, 4769, ca. 1800) has ivory ferrules. It is in seven sections: mouthpiece (dark wood), curved barrel, left-hand joint, ivory knee with two brass guards on either side of the knee for balancing the instrument, righthand joint, box, and slightly upward-angled brass bell.187 A similar nine-key angled boxwood instrument (US-NY-New York, 53.56.12) includes ivory ferrules, ivory knee, box, and brass bell.188 A fourteen-key angled instrument (F-Paris, E.198) is boxwood with ivory ferrules and includes a curved barrel, dark-stained knee, 185. Schöni, “Restorationsbericht.” I thank Andreas Schöni for sending photos and his restoration report; see also Shackleton Collection, 714. 186. For a description and photo, see Grass and Demus, Das Bassetthorn, 61, 260, no. 13. 187. For a description and photo, see Restle and Fricke, Faszination Klarinette, 76; description in Grass and Demus, Das Bassetthorn, 263, no. 58. A photo of another basset horn is erroneously identiﬁed as the Freyer basset horn in Lexikon Musikinstrumente, 41. 188. The Freyer is the ﬁrst basset horn on the left in Winternitz, Musical instruments of the Western world, 257. I thank Herbert Heyde for clarifying the basset horns in the Metropolitan Museum with their accession numbers.

Basset Horn 129 and a brass bell.189 An incomplete example (GB-Edinburgh, 5061, Ex Shackleton) includes only the ivory knee with a G/C key and right-hand section with six keys, including basset keys for D and C.190

Austria Baur Among the earliest Austrian basset horn makers is Jakob Baur (ca. 1743–1797, also known as Bauer, Baure, and Paur), active in Vienna from 1774 to 1797. In 1780, he became court instrument maker and supplied oboe, bassoon, and English horn reeds to Haydn’s orchestra in Esterhaza from 1776 to 1780.191 A seven-key curved basset horn (D-Nürnberg, MI 134, late 1770s) by Baur is round in exterior with a two-piece body, ivory ferrules, ﬂat box, and brass bell. It has a nonoriginal mouthpiece, original barrel, and nonoriginal bell. The E/B and C keys have been moved from the back of the instrument, using the original saddles, to be controlled by L4.192 Lotz Theodor Lotz (1747/1748–1792, also known as Lots, Locz, Loz, and Lutz) was born in Vienna and ﬁrst noticed in 1772, when he performed a clarinet concert at the Kärntnerthor Theater for the Tonkünstler Societät.193 By 1775, he was a Kammer Musicus to the Prince Joseph von Batthyány in Pressburg (now Bratislava, Czech Republic) and mentioned in the Pressburger Zeitung when he performed his clarinet concerto.194 Lotz’s 1777 marriage certiﬁcate also mentions his work as a musician 189. See 4900, 81, Y3. For a description and photo, see Musée de la Musique, Paris, http://mediatheque. cite-musique.fr. The Web site erroneously states that this instrument has eight keys. 190. Cf. description in Shackleton Collection, 747. This instrument was studied by me in 2007. 191. Hopfner, Wiener Musikinstrumentenmacher, 43–44; NLI, 24. 192. Shackleton, “The earliest basset horns,” 17; see also the description and photos of the left side and back of the instrument in Eppelsheim, “Bassetthorn-Studien,” 92–94, Abb. 43–44; Bär, Verzeichnis, Band 6, 85–92. 193. 17 December 1772, C. F. Pohl, Denkschrift des Anlass des hundertjährigen Bestehens der TonkünstlerSocietät (Vienna, 1871), 57; cited by Morrow, Concert life in Haydn’s Vienna, 241. 194. “Preßburg: Vergangenen Sonntags, als am 9. April wurde dis letzte musikalische Akademie, auf hohe Veranstaltung Titl. Herrn Generalen Graf Anton Esterházy von Galantha in der zahlreichsten Anwesenheit eines hohen Adels und Ritterstandes zum allerseitigen ausnehmendsten Vergnügen gehalten. Herr Zimmermann erwarb sich hiebey durch seine goustuöse Komposition verschiedener Symphonien den lautesten Beyfall, und Herr Theodor Lotz, Kammermusikus Sr. Exzellenz des Herrn Erzbischof Grafen Battyhányi hatte bey deiser feyerlichen Unterhaltung abermal die Ehre sich mit einem von ihm selbst verfertigeten Koncert auf dem Klarinett hören zu lassen, dessen Annehmlichkeit alle Anwesende in die vollkommenste Zufriedenheit versetzte.” Pressburger Zeitung No. 29 (12 April 1775); see Pandi and Schmidt, “Musik zur Zeit Haydns und Beethovens in der Preßburger Zeitung,” Haydn yearbook 8 (1971): 171–172.

130 From the Clarinet d'Amour to the Contra Bass for Prince Batthyány in Pressburg,195 where he played viola and ﬁrst clarinet in the orchestra.196 He is noted as a clarinetist in the prince’s wind band and by 1780 was the director of music, conducting and rehearsing concerts, for which he received 600 gulden, more than any other musician.197 According to Cramer, Lotz improved the basset horn in 1782 while living in Pressburg.198 In 1783, Prince Batthyány’s court orchestra was dissolved, and Lotz moved to Vienna, where he worked as a maker, composer, and performer on the clarinet and basset horn.199 From April 1784 to March 1786, Lotz was paid by the Viennese court for making C clarinets with corps de rechange (Mutationen) in B for the Vienna court clarinetists Anton and Johann Stadler.200 In 1785, Lotz married a second time, his ﬁrst wife having died in childbirth.201 He played the contra bassoon in a partita for six winds written by Anton Stadler and his brother Johann, and possibly the string bass part in Mozart’s Maurerische Trauermusik K479a at the Crowned Hope Masonic Lodge in Vienna on 7 December 1785.202 In 1788, Lotz became a court musical instrument maker.203 He died in 1792 and left a will and testament listing several debtors, including Anton Stadler for making two newly invented bass clarinets (basset clarinets).204 Lotz’s improvements to the basset horn probably include constructing a separate ivory knee joint, thus eliminating the curved form and creating the angled basset horn;205 adding a D key;206 and mounting keys on brass saddles.207 The hard ivory knee joint helps in managing the weakest section of a curved basset horn and may 195. He married Mary Elizabeth Kluger on 18 August 1777; see Municipal Archives, Bratislava, Marriage Register 1764–1784, No. 298; cited in Sebesta, “Theodor Lotz: Musician,” 53. Some biographical details were presented by Melanie Piddocke in her presentation “The Viennese wind instrument maker, Theodor Lotz (ca. 1747–1792),” given at the Clarinet and Woodwind Colloquium 2007 held at Edinburgh University. 196. Lotz’s position as violist and ﬁrst clarinetist is mentioned by Forkel in Musikalischer almanach für Deutschland für das Jahr 1783, 99. 197. Meier, “Die Preßburger Hofkapelle,” 83, 86. His title as director of music is mentioned in the birth certiﬁcate of his eldest son, Friedrich Theodor Lotz, born on 4 November 1780. Municipal Archives, Bratislava, Birth Register 1778–1797, I. No. 288; cited by Sebesta, “Theodor Lotz: Musician,” 54. 198. Cramer, Magazin der Musik, 654; see also Maunder, “A biographical index,” 186. 199. Hopfner, Wiener Musikinstrumentenmacher, 307; Sebesta, “Theodor Lotz,” 55. 200. Hellyer, “Some documents,” 51, 53. 201. He married Anna Barbara Heldenfeld on 31 January 1785; see Municipal Archives, Bratislava, Marriage Register 1785–1803, I.No. 299, cited by Sebesta, “Theodor Lotz,” 54. 202. Deutsch, Mozart: A documentary biography, 257. 203. NLI, 243–244. 204. “für 2 neue erﬁndene Basklarinet”; see Lotz Testament, Archiv der Stadt Wien-Konradsworth, Abhandlung 15, 28 June 1792, cited by Sebesta, “Theodor Lotz,” 56. 205. See Ignaz de Luca, Beschreibung der kaiserlichen, königlichen Residenzstadt Wien (Vienna, 1784), cited by Hopfner, Wiener Musikinstrumentenmacher, 307–308; Lawson, “The basset clarinet revived,” 489; Shackleton, “Clarinet making in Mozart’s time in Vienna,” 50. 206. Shackleton “The earliest basset horns,” 10. 207. Hoeprich, “A trio of basset horns,” 231.

Basset Horn 131 contribute to the quality of sound.208 Lotz’s addition of the D key was utilized by Mozart in the second basset horn part of his Serenade in B-ﬂat K 361, completed in 1784. Shackleton includes Lotz in a list of major basset horn makers in the ViennaPrague region during Mozart’s time. Shackleton also lists basset horns by Griesbacher, who like Lotz, was directly associated with Mozart; Hammig and Merklein, whose basset horns are made in a similar style; two instruments by Strobach, because they are made with a bulb bell now associated with Stadler’s basset clarinet; and Doleisch who was a signiﬁcant basset horn maker in Prague.209 These instruments are of the type played in Mozart’s important basset horn works. Ten angular basset horns by Lotz are known with an ivory knee, a ﬂat box, and an oval or round bell: eight-key (D-Berlin, 2911),210 eight-key (CR-Praha, 1365E), eight-key (CR-Praha, 2094E),211 eight-key (SK-Betliar, three examples),212 nine-key (D-Frankfurt(O), V/J-432), nine-key (D-Frankfurt(O), V/J-433),213 ten-key (DKonstanz, I19),214 and ten-key (D-Nürnberg, MI 135).215 The example in Konstanz includes a circular cord attached to the back of the box that may have been used to help support the instrument while it was played. Hoeprich observes that Lotz made a unique set of three basset horns for Count Georg Andrássy, a Freemason, who after visiting Vienna and hearing Mozart’s music played on basset horns, commissioned these instruments, which were shipped to the Andrássy castle Krásna Hôrka.216 Each of these basset horns is typical of eightkey instruments of the period having a body of stained boxwood with horn ferrules, ivory knee, a maple ﬂat box, and oval brass bell. All of the keys on these instruments 208. I am grateful to Melanie Piddocke for this observation. 209. Shackleton, “Appendix 2,” 86–87. 210. The mouthpiece, barrel, and bell are missing. For a color photo of a close-up detail of the righthand section, part of the stock, part of the left-hand section, and knee, see Restle and Fricke, Faszination Klarinette, 72; see also Grass and Demus, Das Bassetthorn, 248–249, no. 2. 211. A color photo of both Lotz basset horns in Prague is in Cˇížek, Encyclopédie illustrée, 136; no. 1365E is photographed in Grass and Demus, Das Bassetthorn, 63. 212. A photo of all three basset horns (Slovakia-Betliar) and sketches of instrument number two are in Hoeprich, “A trio of basset horns,” 229, 232–235. 213. Grass and Demus, Das Bassetthorn, 249, no. 7. This information was sent by Dr. Jost of the Museum Viadrina to Thomas Grass in 2007. I thank Thomas Grass for information and Frédérick Courquin for photos. Both instruments are incomplete, consisting of a barrel; short joint or corps de rechange (originally made for the right-hand section); ivory knee; right-hand joint with one key for B/F stock joint with A/E and F/C; box with F/C, E/B, D, and C; and oval brass bell. 214. A color photo of this left-handed basset horn is in Restle and Fricke, Faszination Klarinette, 71; a black-and-white photo is in Dullat, Klarinetten, 101, Abb. 60. 215. Photos of the left side, the back of the instrument, and a close-up of the two sections below the right-hand section are in Eppelsheim, “Bassetthorn-Studien,” 97–99, Abb. 45–47; for a list and description of the Lotz basset horns, see 4900, 153. 216. Today, the Andrássy Castle is the Betliar Museum. The black leather on the top of each basset horn case is embossed “COMTE GEORGE ANDRASSY./(anchor).” A photo of two of these basset horns and the third in its case is in Hoeprich, The Clarinet, 240.

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are mounted in metal saddles, and the brass springs are riveted to the underside of the keys. These instruments may be dated around 1790 because many earlier instruments have their ﬂat springs pressing against the surface of the body. In addition, all the tone and ﬁnger holes are undercut, particularly those for the left index ﬁnger and the basset notes. There are key covers or guards for the key heads of the E/B, D, and C keys. And the basset keys for low D and C are operated by thumb touch pieces of unequal length; the D touch is longer. There are two surviving but damaged ebony mouthpieces that indicate Lotz used a horn-clad base on his basset horn mouthpieces to make it easier to construct a ﬂat table, where the reed is placed, and a short mouthpiece facing. Indeed, Hoeprich found by experimentation that short reeds play more freely than long reeds on this mouthpiece design. The third instrument is missing the barrel and mouthpiece; the instruments are marked “1,” “2,” and “3.” Although there are slight differences in construction, such as the length of joints and position of tone holes, they are basically identical. With a mouthpiece copied from another Lotz basset horn, they play equally well throughout the registers.217 The ten-key boxwood instrument (D-Nürnberg, MI 135, ca 1790; ﬁgure 2.4) has ivory ferrules and eight sections for mouthpiece, barrel, left-hand section, curved ivory knee, right-hand section, stock, ﬂat box with chimney, and brass oval bell. All the keys (except the block-mounted A/E) are mounted by saddles screwed into the body. In addition, two brass guides on the stock joint secure the lever shank for the F/C key. This basset horn is equivalent to a seven-key early-nineteenthcentury clarinet with additional keys for G and C/G.218 Friedrich Lempp Friedrich Lempp (ca. 1723–1796) made a wide variety of woodwind instruments, according to an advertisement in the Wiener Zeitung of 25 February 1789. The list includes “Newly invented E or G basset horn, invented by himself ” and a “Basset horn in F.”219 His son Martin Lempp (1766–1836) of Vienna ﬂourished from 1788 to 1823, succeeded his father, became a citizen (Bürger) in 1788, and became a court musical instrument maker (Hofmusikinstrumentenmacher) in August 1800.220 Friedrich’s only basset horn (A-Linz, Mu 28, ca. 1789) is unique, made of boxwood with seven keys in bassoon form. This instrument resembles a small bassoonshaped bass clarinet in six sections with horn ferrules: mouthpiece with socket, curved brass crook, left-hand joint, butt joint with ﬁnger holes for the right hand, long joint, and curved brass bell pointing upward. Lempp includes the ﬁve keys of

217. Hoeprich, “A trio of basset horns,” 228–229, 231, 236; see a photo of the three basset horns and sketches of instrument number two, 229, 232–235. I thank Robert Sebesta for sending photos of these instruments. 218. See also Eppelsheim’s description and photos of this Lotz basset horn in “Bassetthorn-Studien,” 96–100, Abb. 45–47; Bär, Verzeichnis, Band 6, 93–101. 219. Maunder, “A biographical index,” 183–185. 220. Maunder, “A biographical index,” 185; Hopfner, Wiener Musikinstrumentenmacher, 299; NLI, 232–233.

Basset Horn 133

Figure 2.4. Theodor Lotz, Vienna, 10-key basset horn (ca. 1790, D-Nürnberg, MI 135).

a soprano clarinet, S, A, A/E, F/C, and E/B, with the addition of basset keys for D and C mounted in a block and rings on the back of the long joint.221 Because of the butt joint construction, a tone hole for F/C is used instead of a key, which is not found on any other known basset horn. Friedrich Hammig Friedrich Hammig (ﬂ. 1791–1823) advertised in the 12 December 1791 Wiener Zeitung that he makes all kinds of wind instruments, including “a newly invented type of basset horn, whose special feature is the depth and power of its tone.”222 Hammig announced in an advertisement in the Wiener Zeitung of 5 December 1817 that he sold “all types of wooden wind instruments: clarinets from A to F, basset horns, oboes, etc.”223 One straight eight-key basset horn (RU-St. Petersburg, 16516/1010 A564) 221. For a description and photo, see Young, Die Holzblasinstrumente, 170–171; 4900. A photo of the front and back of the Lempp basset horn without its bell is in Kalina, “The structural development of the bass clarinet,” 23, ﬁg. 9. 222. Maunder, “A biographical index,” 182. 223. Nagy, “Zum Fagottbau in Wien,” 37.

134 From the Clarinet d'Amour to the Contra Bass includes a knee joint and a wooden bell.224 The tantalizing possibility exists that this instrument was made during the 1790s for Anton Stadler because it has the same shape as his basset clarinet engraved in programs for his 1794 Riga concerts.225 Griesbacher Raymund Griesbacher (1751/1752–1818) of Vienna ﬂourished about 1794 to 1818. Griesbacher was a clarinetist in Haydn’s orchestra at Esterhaza from 1776 to 1778 and until 1781 played basset horn for the wind band of Count Palffy. During 1794 and 1795, he appears on bills in Viennese court accounts for his work as a clarinetist and for supplying English horns.226 In 1796, he was the director of Count Grassalkowitz’s wind band (Harmoniemusik).227 Griesbacher’s petition in 1799 for an appointment as court supplier was declined, but in 1800 his renewed petition was granted, and he became court musical instrument maker. In 1804, he was granted a citizen’s oath and master’s rights and in 1808 was listed as “bürgerlicher Waldhorn-, Trompeten-, und Holzblasinstrumentenmacher.”228 Griesbacher’s surviving instruments include clarinets, bassoons, and basset horns. According to Hoeprich, his basset horns are “virtually identical” to those by Lotz,229 suggesting that he studied instrument making with Lotz.230 Similarities with Lotz’s instruments include the use of an ivory knee, ﬂat box, and an oval bell. A price list of Griesbacher’s instruments found in the Ludwigsburg archive includes a basset horn with ivory at 45 ﬂorins, his most expensive instrument, along with a contra bassoon at the same price.231 His seven surviving basset horns often include ivory mouthpieces and knees and oval brass bells: eleven-key (GB-Totternhoe), elevenkey (I-Roma-ASC, 50),232 twelve-key (GB-London-RCM, 242),233 thirteen-key (GBEdinburgh, 4797, Ex Shackleton),234 fourteen-key (USA-MA-Boston, 17.1882),235

224. I thank Thomas Grass and Dietrich Demus for information and I thank Eric Hoeprich for a description. Hoeprich studied and played this instrument. 225. For a description and engraving of Stadler’s basset clarinet, see Rice, The clarinet in the classical period, 71–74. 226. NLI, 147. 227. Gerber, Neues historisch-biographisches Lexikon der Tonkünstler, 409; Maunder, “A biographical index,” 182. 228. NLI, 147. 229. Hoeprich, “A trio of basset horns,” 229. 230. Maunder, “A biographical index,” 182. 231. Staatsarchiv Ludwigsburg, Bestand E 18 I (Hof-Staatstheater); Nagy, “Zur Geschichte und Entwicklung der Wiener Holzbläserschule,” 271. 232. For a description by Marco di Pasquale and a photo of the stamp, see Il liuto e la lira, 78. 233. A description and photo is in Ridley, European wind instruments, Part 1, 42–43. 234. For a description and photos, see Shackleton Collection, 715. 235. For a description and photo, see Museum of Fine Arts, http://www.mfa.org; Besseraboff, Ancient European musical instruments, 102, pl. 3, no. 117.

Basset Horn 135 ﬁfteen-key (I-Modena, 33-1981),236 and ﬁfteen-key (GB-Edinburgh, 4796, Ex Shackleton).237 These ﬁnely made instruments are all presumed to have been modiﬁed with additional keys to lengthen their useful playing life.238 Harrach Franz Harrach (1750–1831) of Vienna ﬂourished from 1797 to 1826.239 Two examples of his work are known. One is an angled basset horn (A-Salzburg, 18/32) of stained maple with ivory ferrules, straight barrel, boxwood knee, ﬂat box, eight brass keys (some mounted in saddles), and oval bell.240 Another instrument (D-Berlin-M) with seven keys is made at a 90-degree angle.241

Czech Republic (Bohemia) Doleisch Franz Doleisch (also known as František Doleysch, Doleyssý, Dolegschy, Dolegssy; 1748/1749–1806) was active as a woodwind maker in Prague from 1781. On his death, the workshop was taken over by his son Franz Doleisch Junior (ca. 1774–1810). After the son’s death, the workshop was managed by Anna Doleischova, the widow of Franz Senior.242 The Doleisch ﬁrm produced high-quality oboes, clarinets, bassoons, and basset horns. Of the latter, thirteen are known, including two that are attributed. These angled instruments were made of boxwood with horn ferrules and, rather than a separate knee joint, have an integral knee on the upper section of the right-hand joint to provide an angle between the left and right sections. They also include a curved wooden barrel, rounded box, and brass bell. Doleisch basset horns and clarinets have distinctive axle pushpins with knobs at each end to hold the keys in place; they are easy to remove by hand. They also include distinctive ridges bordering the rings used for mounting keys and ornately decorated touches for A/E and F/C keys. Of the thirteen basset horns, ten are stamped with a date: “1791,” eight-key (CRPraha, 467E); “1793,” eight-key (CR-Praha, 464E); “1793,” eight-key (US-SD-Vermillion,

236. For a description and photo, see Antichi strumenti musicali, 122–123. 237. For a description and photos, see Shackleton Collection, 716. This basset horn (GB-Edinburgh, 4797) was displayed at the fortieth anniversary of the Galpin Society and described as having twelve keys; see Made for music, no. 103. It corresponds to 4900, 109, Y2. 238. See 4900, 109, particularly the comments in the footnotes regarding the basset horns; Hoeprich, “A trio of basset horns,” 231, n. 9. 239. See Hopfner, Wiener Musikinstrumentenmacher, 181. 240. See the description and photo in Birsak, Die Holzblasinstrumente, 50, Tafel XII; for a color photo, see Ocieszak, Roz˙ek basetowy, 26, ﬁg. 11. 241. See Grass and Demus, Das Bassetthorn, 253, no. 6. 242. NLI, 92.

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3541);243 “1796,” nine-key (CR-Praha, 466E);244 “1797,” nine-key (B-Bruxelles, M938);245 “1798,” ten-key in G (CR-Praha-P, M I/43);246 “1798,” twelve-key in G (CR-Praha-P, M I/42);247 “1798,” incomplete (CR-Praha-P, M I/44);248 “1800,” thirteen-key (US-AZ-Tucson);249 and “1803,” nine-key (GB-London-RCM, 90).250 The examples stamped “1796,” “1797,” and “1803” all include a key for low E.251 Another basset horn (CR-Praha-M) is undated, and two more are attributed: eight-key (D-Halle, MS406)252 and seven-key (CR-Praha, 476E).253 The instrument in Tucson stamped “1800” has thirteen keys, ﬁve of which were added (A-B, G, E/B, C/G, and B/F), in brass saddles, except for the G key, which was mounted in a ring next to the A key.254 Riedl Ignaz Josef Riedl (Riedel) of Graslitz (now Kraslice) ﬂourished around 1790 to 1821. An eight-key example (DK-København, 494) with thumb keys for F/C, E/B, D, and C is known.255

France Amlingue Michel Amlingue (Amelingue, 1744–1816) was born in Trier in what is now the western part of Germany. He arrived in Paris about 1766, working as a “tourneur sur bois” or

243. A description and photo are on the Web site of the National Music Museum, http://www.usd. edu/smm/Exhibitions/Muzika/Muzikabassethorn.html. See the photo in Hoeprich, The Clarinet, 241, ﬁg. 10.4. This instrument was studied by me. 244. For a short description and color photo, see Cˇížek, Encyclopédie illustrée instruments de musique, 130; for a black-and-white photo of the front and back of this instrument, see Keller, “Píšteˇlníci a trubarˇi,” at the end of the article, n.p.; a description and photo are in Grass and Demus, Das Bassetthorn, 62, 255, no. 4. 245. 4900, 65, Y8. 246. This instrument has ten keys, including one basset key only for low D; see Grass and Demus, Das Bassetthorn, 263, no. 60. 247. Grass and Demus, Das Bassetthorn, 254, no. 4. 248. This instrument is missing its mouthpiece, upper joint, and bell and has a basset key only for low D; see Grass and Demus, Das Bassetthorn, 263, no. 61. 249. I thank Charles Aurand for allowing me to study his basset horn. 250. For a description, see Ridley, European wind instruments, part 1, 42. 251. Shackleton, “Appendix 2, surviving instruments: 3 basset horns,” 100, n. 6. 252. See the description and photo in Heyde, Katalog zu den Sammlungen des Händel-Hauses in Halle, 224–225. In his description, Heyde mistakenly omits the F/C key. 253. For a description, see Grass and Demus, Das Bassetthorn, 252, no. 39. For a partial list of Doleisch basset horns, see 4900, 65, Y6; Shackleton, “The earliest basset horns,” 87. 254. Hubbert, “Notes on the restoration of a basset-horn by Franz Doleisch,” 4. This instrument was studied by me. 255. NLI, 327; Langwill, An index, 145; Melville-Mason, appendix 2; Grass and Demus, Das Bassetthorn, 253, no. 2. Claudius mistakenly reports seven keys; see Claudius, Carl Claudius’ Samling, 296.

Basset Horn 137 wood turner, and probably was apprenticed to a Parisian woodwind maker.256 Within a few years, the quality of his work was sufﬁciently known that in 1778 the French court ordered three pairs of clarinets with “all the different corps” from him.257 In 1780, he attained master status in the community of Parisian makers, thereafter making all types of woodwinds but specializing in clarinets.258 Amlingue is one of three French makers of basset horns during the eighteenth century. His only known extant basset horn is a seven-key example (F-Paris, E.2002.11.12, ca. 1775) sold in 2002 at auction in Paris.259 He was considered one of the better makers in Paris and in 1785 supplied more sets of clarinets with different corps de rechange to the French court.260 Amlingue’s basset horn is made in a curved shape in two sections with octagonal sides covered in brown leather, brass ferrules, short stock, ﬂat box, and long brass oval bell. Like the Mayrhofer basset horn (D-Nürnberg, MI 133) and the Pleidinger basset horn (A-Salzburg, 18/30) attributed to Mayrhofer, this basset horn was made with many ﬁne, regularly spaced saw cuts on the inside of the bore. Wooden reinforcements are found inside the bore, as in the Mayrhofer and Pleidinger basset horns.261 The left-hand section is damaged, tone holes for L2 and L3 are missing, and the right-hand section is missing the tone hole for R1. The barrel and mouthpiece are missing, and a later clarinet barrel and mouthpiece have been substituted. There are seven brass keys: S, A, two A/E keys on either side of an F/C with a swallowtail touch, and basset keys for E/B and C. This position of keys without the F/C key is identical to the German anonymous four-key clarinets and a seven-key curved basset horn (A-Salzburg, 18/31) by Johann Stinglwagner of Triftern. In addition, the basset keys for E/B and C are mounted on the back of the instrument in two brass saddles, one above the other, so that the touch piece for E/B is below that for C. This arrangement is identical to the basset keys on the Mayrhofer basset horns, although the use of two saddles probably improved the balance of Amlingue’s keys over the single saddle used by the Mayrhofers.262 This suggests that Amlingue either studied with the Mayrhofers in Passau or studied an instrument by them. One side of the

256. Watel, “Michel et François Amlingue,” 16–21; Sallaberry, “Catalogue de la collection,” 104. Xavier Sallaberry reported to me that Amlingue arrived in Paris in 1760 but was unable to provide speciﬁc documentation from the Paris archives. 257. Greenberg, “Musical instruments in the archives of the French court,” 30–31, 76. 258. Jeltsch and Watel, “Maîtrises et jurandes,” 26; Rice, The clarinet in the classical period, 30. Young lists surviving instruments as piccolo, ﬂutes, oboes, clarinets, and bassoons in 4900, 4–5. 259. The instrument was initially offered by Vichy Auctions on 15 June 2002 on http://www.intereres.com. 260. See Greenberg, “Musical instruments in the archives of the French court,” 31, 78. 261. Jeltsch measured the width and number of saw cuts of three basset horns from x-ray photos: Amlingue (0.6 mm, a minimum of 33 regularly spaced cuts); Mayrhofer (Nuremberg, 1.8 mm, 31 irregular cuts); “Pleidinger” (very ﬁne, about 25 cuts). Presented in “The basset horn in eighteenth-century France,” Clarinet and Woodwind Colloquium 2007, Edinburgh University. 262. For a photo of the basset keys on the Mayrhofer basset horn in Nuremberg (D-Nürnberg, MI 133), see Eppelsheim, “Bassetthorn-Studien,” 89, Abb. 41.

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box is stamped “A MELINGUE A PARIS”;263 Amlinger was the original spelling of his name, but the spelling changes to Amlingue after 1778 in the archival records of the French court.264 Jeltsch compared the positions of the ﬁnger holes and tone holes for the A/E and F/C key heads to those key heads on basset horns by Mayrhofer and the anonymous basset horn (A-Salzburg, 18/30) attributed to Mayrhofer.265 Although parts of the Amlingue instrument are missing, the measurements and comparison with F basset horns suggest that this basset horn was originally made in the nominal pitch of D. Amlingue’s instrument also includes a small 3-mm hole on the front of the box, capped with a perforated circular brass cover that only slightly affects the sound of the lowest note (C); it may have been used as a type of mute for this note that might otherwise play too loudly.266 Porthaux Dominique Antony Porthaux (ca. 1751–1839) married Elisabeth Thierriot, Thierriot Prudent’s sister, in 1778 and became a master in 1780. Porthaux purchased Jean Baptiste Prudent’s business in 1786 and was also active as a music publisher and dealer.267 He made all types of woodwinds but specialized in bassoons, of which more than twenty are extant.268 Porthaux’s only extant basset horn is an early seven-key curved instrument (F-Paris, E.603, ca. 1790) with an hexagonal exterior covered with black leather made in two halves glued together lengthwise. There is an unusual straight section or chimney joined to a ﬂat box, where the keys for the right hand are mounted; an ivory ferrule on the upper end of the stock; and a brass bell. The bore of the box is made in a triangular path and the box has a resonance hole (6.5 mm), presumably employed to correct intonation of the lowest notes. Its small mouthpiece is constructed with a socket and a large ivory ring at its base, stamped on both sides “(crown)/PORTHAUX/A PARIS.” This ebony mouthpiece is tilted backward at an angle of about 20 degrees, similar to the angle of the mouthpiece with a socket on the Eisenmenger basset horn (described previously).269 On the center of the body

263. This instrument was studied by me in 2005. 264. The maker is listed as “Hamelingue” in a 1778 document, 01 3053, 6, no. 60; see Greenberg, “Musical instruments,” 31, n. 134. I thank Denis Watel for archival information. 265. The measurements were taken at the Musée de la Musique in 2005 with the author present. 266. Jeltsch presented his ﬁndings in his presentation “The basset horn in France in the eighteenthcentury” given at the Clarinet and Woodwind Colloquium 2007, University of Edinburgh. 267. Jeltsch, “ ‘Prudent à Paris,’” 138; NLI, 307. 268. 4900, 179–180. 269. Porthaux’s purchase of the Prudent workshop in 1786 included many woodwind instruments and a square clarinet (clarinette carrée). See Jeltsch, “ ‘Prudent à Paris’, ” 147, 150. Jeltsch made the suggestion that this square clarinet was an instrument with the rectangular shape of the Eisenmenger’s basset horn in his presentation “The basset horn in France in the eighteenth-century,” given at the Clarinet and Woodwind Colloquium 2007, Edinburgh University.

Basset Horn 139 is stamped “(crown)/PORTHAUX/A PARIS”; there is no stamp on the box, which was damaged and poorly repaired.270 It originally had seven keys (S, A, A/E, F/C, F/C, E/B, and C), making it equivalent in ﬁngering to a ﬁve-key clarinet; the F/ C key positioned for L4 was removed. The touch for the E/B is longer than the C touch, and the upper part passes around the end of the C touch,271 as found on the basset keys of an eight-key basset horn (D-Nürnberg, MIR 465) marked “AS”272 and a basset horn (A-Linz, Mu 27) by Dimpﬂ. Bühner & Keller Isaac Keller (ca. 1739–1802) and his brother Jean-Philippe Keller (ca. 1742–1794) made woodwinds in Strasbourg under the name of “Keller frères” from 1782 to 1794. In 1794, Isaac Keller and Jean Keller IV (1776–1833) joined with Gabriel Sébastien Bühner (ca. 1755–1816) to establish the ﬁrm of Bühner & Keller. Bühner arrived in Strasbourg about 1777 and married before 1791. After Bühner’s death, his son Jean Bühner IV (b. 1796) worked with Jean Keller IV.273 All types of woodwinds were made by this large ﬁrm, which continued operating until 1844. The only known remaining basset horn (F-Paris, E.189, ca. 1795) is missing its mouthpiece, has a curved wooden barrel (replacement), and a curved body covered with leather, made in a round exterior in two halves glued together lengthwise. The curved body includes two wooden tenons and two wooden reinforcement pieces glued inside. It has brass ferrules, a ﬂat box with a large hole (13.5 mm) in the front entering before the bell, probably meant to be used to play a low B, and seven brass keys: S, A, A/E, F/C (originally double wing, ﬁled down to a single wing), F/C (for right thumb), E/B, and C basset keys.274 All of the keys are mounted on brass saddles. The barrel is stamped “(ﬂying angel playing a trumpet)/BÜHNER & KELLER/A STRASBOURG/(ﬂying angel playing a trumpet).” The box is stamped “BÜHNER & KELLER/A STRASBOURG.” Like the Porthaux basset horn, there is a long section or chimney attached to the box, where the keys for the right hand are mounted. The box is constructed of two additional pieces glued together to allow for three 90-degree angles of the bore.275 The brass bell is missing.276 270. This instrument was studied by me in 2005. Inexplicably, the Musée de la Musique Web site, http://mediatheque.cite-musique.fr, states that the maker’s mark is unreadable, and the instrument is photographed without its bell. 271. Shackleton, “The earliest basset horns,” 17. 272. See the sketch of the two basset keys for C and D of the “AS” basset horn by Eppelsheim, “Bassetthorn-Studien,” 110, Skizze 50. 273. See NLI, 48, 201; detailed information on the Kellers and Bühner was compiled by Jean Jeltsch from the Strasbourg archives; I thank Jeltsch for this information. 274. Shackleton, “The earliest basset horns,” 17, 20. 275. Jeltsch provided x-rays of the box and determined the lowest pitch by the use of a plastic model based on the instrument, in his presentation “The basset horn in Paris during the eighteenth century” given at the Clarinet and Woodwind Colloquium 2007, Edinburgh University. 276. In the photos of this basset horn on the Musée de la Musique Web site, the right-hand joint is inserted upside-down into the box, and the barrel is put on the wrong end of the joint. See the description and photos on http://mediatheque.cite-musique.fr.

140 From the Clarinet d'Amour to the Contra Bass

Poland Döhring Döhring of Posen (Poznan´) worked during the late eighteenth and early nineteenth centuries. His only known instrument is an angled eight-key basset horn (D-Nürnberg, MIR 466, after 1792). It is boxwood with boxwood ferrules. It has eight sections: dark wood mouthpiece (added later), horn barrel, brass crook, left-hand section, knee, right-hand section, ﬂat box with the bore traveling at three 90-degree angles, and brass bell. There are decorated key covers, with six-petal ﬂowers placed above the key heads for E/B and D. The maker’s stamp on the barrel is “(eagle)/DÖ/HRING/F/ POSEN/✶✶”; on the upper joint, “(eagle)/ DÖHRING/F/POSEN/✶✶ ✶.”277 Nineteenth-Century Makers The earliest surviving basset horns with four chromatic basset keys for E, D, C, and C were made by Heinrich Grenser, such as a twelve-key example (GB-Edinburgh, 5255, ca. 1810). Later examples with these four basset keys were also constructed by Grenser & Wiesner of Dresden (ﬂ. 1817–1826) and Johann Joseph Ziegler of Vienna (ﬂ. 1820–1858).278 However, during the early nineteenth century, the majority of makers, such as Griesling & Schlott of Berlin (ﬂ. 1801–1815), constructed a standard eight-key boxwood angled instrument with ivory ferrules, a rounded box, and an ivory knee. Although many makers constructed traditional angled basset horns, a few makers constructed angled and straight basset horns without a box, and with a knee joint at the upper socket of the right-hand stock joint. Some makers constructed straight and angled instruments with a butt joint and brass bell, some with two knee joints below the right-hand joint, and some with a brass crook instead of a wooden barrel. In addition, the shape, composition, and position of the bell varied a great deal. Many makers used traditional brass bells; others used wooden ones, shaped like clarinet bells,279 bulb shaped like the clarinet d’amour,280 or bulb shaped with two ridges bordering a center section and a large resonance hole281 or a brass bell pointing toward the audience.282 277. See the description and photos in Bär, Verzeichnis, Band 6, 102–109; Grass and Demus, Das Bassetthorn, 253; for a photo, see Van der Meer, Musikinstrumente, 214. 278. Shackleton, “The earliest basset horns,” 12; Eppelsheim, “Bassetthorn-Studien,” 108. 279. Johann Gottlieb Karl Bischoff (D-Markneukirchen, 966, early nineteenth century); see the photo in Grass and Demus, Das Bassetthorn, 58 (the basset horns are mislabeled). 280. Gottfried Schuster (D-Markneukirchen, 106, early nineteenth century); see the photo in Grass and Demus, Das Bassetthorn, 54. 281. Johann Benjamin Eisenbrandt (D-Berlin, 1208, ca. 1820); photo in Restle and Fricke, Faszination Klarinette, 70; Johann Georg Braun (D-Leipzig, 1537, ca. 1825), photo in Grass and Demus, Das Bassetthorn, 70; Braun (D-Berlin, 4707), photo in Restle and Fricke, Faszination Klarinette, 75. 282. Johann Heinrich Gottlieb Streitwolf (D-Göttingen-U, 91, ca. 1835); see the photograph in Dullat, Klarinetten, 229, Abb. 147; Anonymous (D-Leipzig, 3531, ca. 1840), see the photo in Grass and Demus, Das Bassetthorn, 68.

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Germany Instruments stamped “Grundmann et Floth” (ﬂ. 1800–ca. 1805) of Dresden are presumed to have been made by Johann Friedrich Floth (1760/1761–1807), an assistant to Grundmann from 1788. This ﬁrm produced several woodwind instruments, including an angular basset horn (formerly in S-Stockholm-D) stamped “1802” made of boxwood with horn ferrulles, eight keys, and brass bell.283 Floth married Grundmann’s widow in 1801, was granted citizen’s rights in 1805, made a number of instruments under his own mark, and died in 1807.284 Johann Christian Kretzschmann (1776–1854) of Neukirchen (now Markneukirchen) ﬂourished before 1800 to about 1850. One seventeen-key basset horn (CHZürich-L, 2960) is extant.285 Christian Gottfried Schuster of Neukirchen ﬂourished 1800 to 1832.286 Four examples are known: ten-key straight basset horn (D-Markneukirchen, 106) with a curved barrel, left-hand section, right-hand section, long stock, no box, and globular shape bell;287 ten-key (F-Paris-P);288 ten-key including two added (GB-Oxford, x400);289 and fourteen-key angled basset horn (S-Stockholm-N, ITB 107).290 Griesling (Griessling) & Schlott of Berlin (ﬂ. 1801–1815) started their business in 1801 and published a testimonial concerning their ﬂutes, bassoons, clarinets, oboes, and basset horns in the December 1802 AMZ. The famous Berlin clarinetist Franz Tausch is listed in the testimonial, suggesting that he played both clarinets and basset horns by Griesling & Schlott.291 Griesling & Schlott basset horns are boxwood with ivory ferrules and often have ivory knees and oval bells. Eleven basset horns are recorded: nine-key (DKKøbenhavn, CL.495), nine-key (US-PA-Franklin), twelve-key (US-DC-Washington-S, 384,091), twelve-key (GB-London-H, 167),292 twelve-key (GB-Oxford, 486),293

283. 4900, 77–78, 117. I thank Hans Riben for sending a photo and card description of the Grundmann and Floth basset horn when it was on loan to the Stockholm Museum from the Dalarö Tullmuseum in Stockhom, and Jörn Öierstedt for information. 284. NLI, 119, 149. 285. Melville-Mason, appendix 2. I am grateful to Hans Rudolf Stalder for information. Dates of activity in Weller, Der Blasinstrumentenbau, 216. 286. Dates of activity are provided by Weller, Der Blasinstrumentenbau, 246. 287. See the photo in Weller, Der Blasinstrumentenbau, 305. 288. Melville-Mason, appendix 2. 289. La Rue, The Bate collection of historical wind instruments, 26. 290. A list of instruments in the Nydahl Collection may be accessed from http://web.comhem.se/smf. I thank Jörn Öierstedt for sending a description in 2007. 291. “Intelligenz-Blatt zur Allgemeinen Musikalischen Zeitung” no. X, 1; reproduced in Haase, “Der Berliner Blasinstrumentenbau,” 50. 292. For a description, see Carse, The Adam Carse collection of old musical wind instruments, 51; photo in Jenkins, Musical instruments, 87. 293. Three keys were added; see La Rue, The Bate collection of musical instruments, 26.

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thirteen-key (BR-Rio de Janeiro), ﬁfteen-key (D-Hamburg, 1924.216),294 sixteen-key (sold at Sotheby’s in November 1987),295 and one with an unknown number of key (S-Stockholm, 81858).296 Two instruments are attributed: ﬁfteen-key (US-NY-New York, 89.4.1387) and nineteen-key (D-Berlin, 4852); the latter is stamped “Doerfeldt & Zielcke,” a dealer in St. Petersburg, and includes basset keys for E, D, C, and C.297 A sixteen-key basset horn (D-Leipzig, 1550)298 was lost during World War II. As found with other basset horns, several instruments have added keys in order to extend their playing life.299 The nine-key angled example (DK-København, CL.495) includes straight barrel, knee, box, and round bell.300 A twelve-key angled example (US-DC-Washington-S, 384,091) includes keys mounted in saddles and on pillars, ivory knee, box, and oval brass bell with three barrels of different length, stamped “1” (9.2 cm), “2” (8.3 cm), and “3” (7.5 cm).301 Gebrüder Alexander of Mainz ﬂourished from 1802 into the twentieth century. The ﬁrm was established by the brothers Claudius (1783–1816) and Philipp (1787– 1864) after the death of Franz Ambros Alexander (1753–1802). It was continued into the nineteenth century by Martin Alexander (1797–1826) and Kaspar Anton Alexander (1803–1872); they employed Küss and Koch, who later became important Viennese woodwind makers.302 Two basset horns were made by this ﬁrm in 1826 for the use of the orchestra of the Royal Prussian music choir.303 A twelve-key example in a private collection in London was exhibited in 1986.304 Friedrich August Peuckert of Breslau worked from about 1802 to 1835. An angled example (CH-Zumikon) includes fourteen keys with a G/C key, double hole for L3, knee, box, and brass bell.305 294. For a description and photo, see Schröder, Verzeichnis der Sammlung alter Musikinstrumente, 82, Abb. 20c; see also a photo in Rendall, The clarinet, pl. 6c. 295. The instrument has two barrels, ivory knee, and oval bell; description and photo in Sotheby’s London, 11, 13 Early musical instruments, 52, no. 307. 296. I thank Jörn Öierstedt for information. 297. NLI, 92. Description in Grass and Demus, Das Bassetthorn, 256, no. 8; a sketch of the basset keys is given by Eppelsheim, “Bassetthorn-Studien,” 112, Skizze 68. 298. Description in Grass and Demus, Das Bassetthorn, 262, no. 40. However, Fontana sent the author a list (dated 14 October 2002) of the Leipzig Museum’s clarinets, and this basset horn is listed as lost during World War II. 299. See 4900, 111, Y5, Y8. 300. Description and photo in Claudius, Carl Claudius’ Samling, 297–298. 301. A large photo of this instrument with two additional and longer barrels is in Young, The look of music, 155; “Clarinets and basset-horns from the Division of Musical History Smithsonian Institution.” The author has studied this instrument. 302. NLI, 5. 303. See Duttenhöfer, Gebrüder Alexander, 32. 304. Melville-Mason, appendix 2; this instrument was exhibited at the University of Edinburgh and is brieﬂy described in Dibley and Myers, The Historic Clarinet, no. 107. I thank Arnold Myers for additional information. 305. Description in Grass and Demus, Das Bassetthorn, 251 n. 22.

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Johann Samuel Stengel of Bayreuth ﬂourished 1805 to 1826. The ﬁrm was continued by Johann Simon (1803–1885), who ﬂourished 1826 to 1885, and his son Johann Christoph (1833–1902), who worked from the 1860s to 1902. An 1827 testimonial in the AMZ cited Stengel as “one of the leading woodwind instrument makers of Bavaria.” He worked with his son and four other assistants.306 By 1832, Stengel reports having sold Müller-type clarinets to Switzerland, Italy, Sweden, Denmark, Russia, and Brazil.307 During the 1860s, the Stengel ﬁrm had a workforce of ﬁve or six and exported to Italy, Russia, and Egypt.308 Three examples of Stengel basset horns have been reported. Two are early instruments: a nine-key angled basset horn (D-Leipzig, 1531, ca. 1810) with ivory knee, box, and brass bell,309 and a nine-key angled boxwood example (I-Firenze, 159) with ivory ferrules, ivory knee, no box, and straight clarinet bell.310 A later fourteen-key angled example (CH-Zumikon, ca. 1840–1850) of stained rosewood includes nickel silver keys and ferrules, knee, no box, globular wooden bell, and two basset keys for D and C. Several of the key heads have rivets at the end of the key shaft in the center of the key head. There are also ring keys for L1, L2, L3, R1, and R2.311 A unique and unstamped F tenor clarinet (D-Nürnberg, MI 388), may be considered a basset horn. It is tentatively attributed to Johann Simon Stengel and was made about 1840.312 Its maple body is bassoon-shaped with brass keys and ferrules and is made with a split butt joint in the style of an English basshorn. It includes a mouthpiece and a rather long wooden barrel set about a 95- to 100-degree angle, comfortable to the player. The barrel ﬁts into a knee joint at 90 degrees to separate right- and left-hand ﬁnger hole sections; these are set into a short brass butt at a slightly oblique angle of about 95 degrees. On the ﬁnger hole sections, there are thirteen pillar- and post-mounted keys, equivalent to a thirteen-key clarinet. In addition, there are two long vertical sections; the lowest tenon is set into a connecting butt section at a 90-degree angle. On these joints, there are ﬁve open keys for

306. NLI, 386. 307. Stengel, “Etwas über die Clarinette,” 665. 308. NLI, 386. 309. A B/F key was added to this instrument on a saddle. Description and photo in Grass and Demus, Das Bassetthorn, 60, 262, no. 39; photo in Kinsky, Kleiner Katalog, Tafel 28; see 4900, 228, Y1. 310. A detailed drawing with measurements of every section is given in Gai, Gli strumenti musicali, 221; a short description and color photo are in Antichi strumenti, 103, 114; see 4900, 228,Y2. 311. A Stengel basset horn reported by Melville-Mason to be in a private Paris collection was probably the instrument now in the Stalder Collection. This instrument was purchased in Paris by Richard D. Gilbert during the 1960s. It was subsequently purchased by Jack Coleman, Tarzana, California, who sold it through a dealer to Hans Stalder. Description in Grass and Demus, Das Bassetthorn, 251, no. 23; photo on the cover of “Musik aus der Blütezeit des Bassetthorns,” Jecklin, LP, 1981 CD, JD 560–2, 1988. 312. The attribution to Stengel was made by a dealer who sold it to the Nuremberg Museum in 1894; Bär, Verzeichnis, Band 6, 209.

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low D, C, C, BB, and BB, played by the outward pressure of the right and left thumbs.313 The position of the eighteen pillar-mounted keys is experimental and requires the thumb of the right hand to close up to three keys by outward pressure as the thumb of the left hand closes up to two keys by outward pressure.314 On the basis of the distances between ﬁnger holes, the length and bore diameter of the instrument, and the nonfunctional key design, Frank Bär suggests that this instrument is an experimental tenor clarinet and should be considered neither a basset horn nor a bass clarinet.315 The Freyer & Martin ﬁrm of Potsdam ﬂourished around 1808 to about 1816. Johann Gottfried Martin (ca. 1772–ca. 1842) continued to use the Freyer name for at least eight years after Johann Gottlieb Freyer’s death in 1808. Subsequently, Martin stamped his instruments with his name only.316 Two examples are known: a ﬁfteenkey angled instrument (NL-Den Haag, 0840910) stamped “1816” including a low E317 and a ﬁfteen-key angled unstamped instrument (GB-London-P) attributed to Freyer & Martin with an ivory knee and oval bell.318 The ﬁrm founded by Adam Friedrich Piering (1783–1824) of Berlin ﬂourished 1808 to about 1848/1850. A ﬁfteen-key angled basset horn (D-Berlin, 243) was lost during World War II.319 Max Stiegler (1784–1858) of Munich ﬂourished 1808 to 1855. A twelve-key boxwood angled basset horn (D-Leipzig, 1532, ca. 1820) with horn rings includes a horn knee and oval bell. The box is stamped “S.Jigler 1822.”320 Johann Gottlieb Bischoff (1780–1870) of Darmstadt ﬂourished 1813 to 1870. Three basset horns are known: fourteen-key angled instrument (D-Markneukirchen, 966) of ebony with ivory ferrules, ivory knee, no box, and clarinet shaped bell;321 sixteenkey angled example (D-Berlin, 90) of brown stained walnut with ivory ferrules,

313. See Bär, Verzeichnis, Band 6, 215. Van der Meer believed that this instrument was a bass clarinet in B see “The typology and history of the bass clarinet,” 70; photos, 71, ﬁgs. 2a and 2b. 314. See the description and photos in Van der Meer, “The typology and history of the bass clarinet,” 70–71; Bär, Verzeichnis, Band 6, 206–213. 315. Frank Bär, e-mail to the author, 2007; also see Bär, Verzeichnis, Band 6, 206–213. 316. NLI, 123–124. 317. See NLI, 124; 4900, 82; manuscript notes about selected instruments in The Gemeentemuseum by Nicholas J. Shackleton, April 1990. 318. See notes for “Golden Age of the Clarinet: Keith Puddy Period Instruments with Kenneth Mobbs Keyboards” Capriole CAPT 1004 cassette, 1984; for photos, see the booklet, “The Early Clarinet Family: Works by Graupner, Handel, Beethoven, Danzi, Keith Puddy clarinets, chalumeaux, basset horn,” Clarinet Classics CC0004, CD, 1993. 319. Description in Sachs, Sammlung alter Musikinstrumente, 298. 320. Description and photo in Grass and Demus, Das Bassetthorn, 60, 260, no. 12. 321. Description in Grass and Demus, Das Bassetthorn, 258, no. 28; for a photo, see Dullat, Klarinetten, 271, Abb. 183.

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ivory knee, no box, and a straight brass bell;322 and an instrument listed in the sales catalog of O. Weishaupt and Co. sold in Paris in 1895 (no. 32).323 J. Hauth of Überlingen ﬂourished in the early nineteenth century. There are two angled examples with ﬂat boxes (D-Konstanz, I18; NZ). They both have nine keys including basset keys for E, D, and C. The angled instrument in Konstanz is made of boxwood with ivory and horn ferrules and is missing two keys; the angled instrument in New Zealand is made of dark-stained boxwood with brass ferrules.324 Johann Benjamin Eisenbrandt (1753–1822) of Göttingen ﬂourished 1785 to 1822. One straight example (D-Berlin, 1208, ca. 1820) with thirteen keys is now missing the righthand joint, lost during World War II. Sachs describes this instrument with sixteen keys, so the right-hand joint must have had three additional keys.325 It includes an angled wooden barrel, left- and right-hand joints, knee joint at about 100 degrees attached at the end of the right-hand stock-joint, bulb bell with two external ridges deﬁning a center section, and large resonance hole between the ridges. Unusually, it includes a lowest note of BB in a chromatic basset register of E, D, C, C, and BB.326 The shape of the body and bell with a large resonance hole is almost identical to the basset clarinet played by Anton Stadler during his 1794 Riga tour.327 The bell of Eisenmenger’s basset horn is constructed so that the socket has ridges to screw onto a tenon with ridges, with a wooden cap with an ivory ferrule made to screw into the outside of the cap.328 Johann Georg Braun (ca. 1790–1833) of Mannheim ﬂourished 1816 to 1833. Two basset horn examples are recorded: A seventeen-key (D-Leipzig 1537) has a curved ivory barrel, straight body, no box, knee joint below the right-hand stock, bulb bell with two ridges deﬁning a cylindrical section, large ivory cap, large resonance hole, and basset keys for E, D, C, C, and BB.329 The second basset horn (D-Berlin, 4707) is very similar to the Leipzig example, except that it has a curved boxwood

322. Description in Sachs, Sammlung alter Musikinstrumente, 297. A plateau key is for R1 and two rings were removed for R2 and R3. I thank Frédéric Courquin for sending a photo. 323. Melville-Mason, appendix 2. 324. See NLI, 165; Melville-Mason, appendix 2. I thank Thomas Reil for photos of the Konstanz instrument and David Smith for information and photos; for the latter, see photo in Sotheby’s London 22, 11 and 23 11 Musical Instruments: 22nd November 1989, 23rd November 1989, 13. 325. Sachs, Sammlung alter Musikinstrumente, 300. 326. Description in Grass and Demus, Das Bassetthorn, 256, no. 7; a sketch of the basset keys is in Eppelsheim, “Bassetthorn-Studien,” 113, Skizze 75. 327. This resemblance is shown by a photo of the engraving of the instrument in Stadler’s program next to the assembled parts of the Eisenbrandt basset horn in Restle and Fricke, Faszination Klarinette, 70. For speciﬁcs about Stadler’s instrument and what he played in Riga, see Rice, The clarinet in the classical period, 71–74. 328. The author studied this instrument in 2005. 329. Description and photo in Grass and Demus, Das Bassetthorn, 259, no. 4, 70; sketch of the basset keys in Eppelsheim, “Bassetthorn-Studien,” 113, Skizze 74.

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barrel and ﬁfteen keys.330 Both instruments retain almost the identical shape of the instrument by J. B. Eisenbrandt (ca. 1820) except that the knee joint on the Braun instrument is at 90 degrees; the Eisenbrandt is at a steeper angle, approximately 100 degrees. Georg Simon Kollmus (1798–1863) of Markneukirchen ﬂourished from 1822 to 1863.331 One example is known: a seven-key curved two-part basset horn (D-Markneukirchen, 1052, ca. 1825) with basset keys for D and C. It is unusual that a curved basset horn was made during the early nineteenth century. The instrument also includes the stamp “LONDON” on its ﬂat box, suggesting that it was made for export to England.332 Carl August Schauﬂer (Schaufele, 1792–1877) of Stuttgart ﬂourished 1816 to 1877. A sixteen-key basset horn (CH-Genève-AH, IM 143, ca. 1825) is an angled instrument with a straight body, no box, integral thumb rest, and brass bell.333 It includes a hinged, brass ring attached to its E key lever on the back side of the instrument, used with a sling to hold the instrument.334 Grenser & Wiesner of Dresden ﬂourished 1817 to 1826. It is assumed that Samuel Gottfried Wiesner (1791–1868) used the stamp “(crown)/H.GRENSER & WIESNER/ DRESDEN” from 1817 after working for Heinrich Grenser from 1811 and marrying his widow four years after Grenser’s death in 1817. Wiesner subsequently used his own name after he was granted a trading license in 1826.335 Three angled examples are known, including ﬁfteen keys (CH-Basel, 1906.3158), dark brown–stained boxwood, ivory and brass ferrules, knee, box, and oval brass bell;336 and in E with sixteen keys (US-MA-Boston, 17.1883), dark brown–stained boxwood, ivory and brass ferrules, knee, box, and oval brass bell.337 Both include chromatic basset keys for E, D, C, and C.338 The third example (S-Stockholm, N81858) is incomplete, boxwood with ivory ferrules, ivory knee, right-hand joint, box, originally with four chromatic basset keys, and oval bell.339 330. Description and photo in Restle and Fricke, Faszination Klarinette, 75. 331. Weller, Der Blasinstrumentenbau, 215. 332. Description and photo in Weller, Der Blasinstrumentenbau, 215, 304. 333. NLI, 351; Langwill, An index, 156. I thank Frédéric Courquin for sending a photo. 334. This instrument closely resembles other straight examples in design and turning by four makers: Rudhard (D-München-DM, 46354), Bischoff (D-Berlin, 90), Hess (D-München-BNM, MU 124; D-Nürnberg, MIR 473; GB-London-RCM, 77), and Skorra (D-Leipzig, 1535). I thank Frédéric Courquin for pointing out the similarities between these basset horns. 335. NLI, 146. 336. Description in Kirnbauer, “Die Rohrblattinstrumente,” 74; for a photo see Dullat, Klarinetten, 181, Abb. 113; for a color photo, see Ocieszak, Roz˙ek basetowy, 23, ﬁg. 8. I thank Frédéric Courquin for sending a photo. 337. The approximate length of the air column is 118.5 cm., indicating its lower pitch of E; a description and photo are on the Web site of the Museum of Fine Arts, Boston, http://www.mfa.org. 338. See Shackleton, “The earliest basset horns,” 12. 339. For photos, see the Musikmuseet Web site, http://www.musikmuseet.se. This is probably the alto clarinet listed by Young in 4900, 108, Y2.

Basset Horn

147

B. Schott ﬁls of Mainz ﬂourished about 1818 to about 1840. Bernhard Schott (1748–1809) was a clarinetist and music publisher in Mainz from 1780. His two sons, Johann Andreas Schott (1781–1840) and Johann Joseph (1782–1855), succeeded their father in 1817, using the name B. Schott ﬁls or B. Schott’s Söhne. By 1825, the ﬁrm was producing a wide variety of woodwind, brass, and percussion instruments.340 A ﬁfteen-key angled basset horn (B-Bruxelles, M174) includes an ivory knee and basset keys for D and C.341 Karl Friedrich Adler (1795–1888) of Bamberg ﬂourished 1820 to 1888. Two basset horns are known: a fourteen-key angled instrument (D-München-DM, 25967) made of six boxwood sections with ivory ferrules, wooden mouthpiece, two barrels, left-hand joint, knee, right-hand joint, stock section, box, and brass bell342 and an eleven-key basset horn listed in the sales catalog of the collection (no. 85) of E. Landolci of Siena; it was sold in Brussels in 1891.343 Johann Carl Thomae (b. 1822) of Markt-Redwitz ﬂourished around 1845 to 1852. A ten-key angled example (D-München-BNM, 22/95) includes a slightly curved barrel, integral knee on the upper section of the right-hand joint (similar to Strobach instruments), stock, knee, short straight section, and globular wooden bell with horn ferrules around the end of the bell and around the large resonance hole. It includes the early features of a swallowtail F/C key placed to the right of the A/E key. The construction of this basset horn is very similar to basset horns by Strobach. Wackernagel dates this instrument before 1852 based on information about the maker preserved in the archives of Mark-Tredwitz.344 Johann Andreas Mollenhauer (1798–1871) of Fulda ﬂourished 1822 to 1870. There are three examples known: fourteen-key angled basset horn (D-P, ca. 1840) with a straight barrel, knee, box, and brass bell;345 a sixteen-key angled basset horn (GBTotternhoe, ca. 1845) with an ivory knee, right-hand joint-stock, butt joint, conical brass bell pointing upward;346 and an incomplete eleven-key example (GB-Edinburgh, 4980, Ex Shackleton), with a curved barrel, left-hand joint, and knee.347 Johann Baptist Rudhard of Stuttgart ﬂourished from 1823 to 1863.348 There are ﬁve examples known: ﬁfteen-key (D-Leipzig, 1536)349 made with curved ivory barrel, 340. NLI, 362. 341. See Mahillon, Catalogue descriptif, vol. 1, 222–223; for a photo, see Chambure, “Clarinette,” 552; Dullat, Klarinetten, 104, Abb. 64. 342. Description in Seifers, Die Blasinstrumente im Deutschen Museum, 84. The author studied this instrument in 2005. 343. Melville-Mason, appendix 2; Langwill, An index, 205; NLI, 495. 344. See Wackernagel, Holzblasinstrumente, 295–298. 345. Description in Grass and Demus, Das Bassetthorn, 262, no. 38; photo in Dullat, Klarinetten, 199, Abb. 128. 346. I thank Eric Hoeprich for sending a photo. 347. For a description and photos, see Shackleton Collection, 713. I thank Arnold Myers for information. 348. See NLI, 339. 349. Photo in Kinsky identiﬁed as by Rudhard is actually the basset horn by Braun (D-Leipzig, 1537); see Kinsky, Kleiner Katalog, Tafel 29.

148 From the Clarinet d'Amour to the Contra Bass straight body, no box, and wooden ﬂared bell;350 ﬁfteen-key (D-Lautlingen);351 sixteen-key (D-München-DM, 46354), an angled instrument with ivory knee, straight body, no box, and straight brass bell, integral thumb rest, and basset keys for E, D, and C;352 a similar sixteen-key (D-Nürnberg, MIR 472) angled example;353 and a sixteen-key (GB-Brighton, R5773/60) boxwood angled basset horn with ivory knee and straight bell.354 The ﬁrm of Piering & Poehla of Berlin ﬂourished from 1824 to 1838. H. G. Poehla worked for Adam Friedrich Piering (1783–1824) and on his death, entered into a partnership with Piering’s widow. After 1838, Poehla had a separate directory listing.355 A sixteen-key angled basset horn (S-Stockholm, M112) is boxwood with ivory ferrules, ivory knee, box, and oval bell. The basset keys are for E, D, and C and there is a second, shorter barrel.356 Wilhelm Hess (1800–1874) of Munich ﬂourished from 1825 to 1874. Three examples are known: ﬁfteen-key boxwood basset horn (D-München-BNM, MU 124, ca. 1840) with ivory ferrules, slightly angled body, straight barrel, ivory knee, no box, and brass bell;357 sixteen-key (D-Nürnberg, MIR 473) with a half-ring key for B/Fadded at a later time;358 and sixteen-key (GB-London-RCM, 77) dark brown– stained wood, which is practically identical to the Munich instrument.359 Johannes Pfaff (d. 1829) of Kaiserslautern ﬂourished during the early nineteenth century. A ten-key angled instrument (F-Paris, E.313, ca. 1825) of stained boxwood and horn ferrules is known. There are seven sections: mouthpiece (dark wood), barrel, left-hand joint, knee, right-hand joint-stock, square knee with tenon at 90 degrees, and a ball-shaped boxwood bell. There are ten keys: S, A, G, C/G (mounted on a saddle on the knee), A/E, F/C, F/C, E/B, D, and C with ﬂat, round key heads. There is also a block on the right-hand joint for a B/F key that was never added.360 Engelreid (ﬁrst name unknown) ﬂourished in Mühringen during the second quarter of the nineteenth century. An eleven-key basset horn (US-WV) is extant.361 350. Description and photo in Grass and Demus, Das Bassetthorn, 70, 262, no. 41. 351. Langwill, An index, 152; Melville-Mason, appendix 2. 352. Description and photo in Seifers, Die Blasinstrumente im Deutschen Museum, 85–86; a sketch of the basset keys is given by Eppelsheim, “Bassetthorn-Studien,” 112, Skizze 66. This instrument was studied by me in 2005. 353. Description in Demus and Grass, Das Bassetthorn, 259, no. 2; description and photos in Bär, Verzeichnis, Band 6, 154–163. 354. Description in Melville-Mason, “Clarinets,” 29, no. 195. 355. NLI, 303, 305. 356. See the photos on the Musikmuseet Web site, http://www.musikmuseet.se. 357. Description and photos in Wackernagel, Holzblasinstrumente, 299–302. 358. Description in Demus and Grass, Das Bassetthorn, 261, no. 33. 359. Description and photo in Ridley, European wind instruments, 43–44, photo on 44. 360. See the description in Grass and Demus, Das Bassetthorn, 259, no. 3; for a photo, see Dullat, Klarinetten, 271, Abb. 182; see the Paris Musée Web site, http://mediatheque.cite-musique.fr. 361. Langwill, An index, 47; Melville-Mason, appendix 2.

Basset Horn

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Schürer (ﬁrst name unknown) ﬂourished in Rotenthal during the second quarter of the nineteenth century. Two examples are recorded: an instrument (CR-Praha, 1800E) with fourteen keys including four basset keys362 and an example with an unrecorded number of keys (S-Stockholm-N, 23).363 C. Werner of Leipzig ﬂourished during the second quarter of the nineteenthcentury. A fourteen-key angled basset horn (B-Bruxelles, M937) with a curved barrel, a box, and an oval brass bell is known.364 Schmidt (Schmitt, ﬁrst name unknown) of Bayreuth worked during the nineteenth century. Two basset horns are known: one that was part of the Baron de Léry’s collection sold at Paris in 1910365 and an example reported to be in a private collection in Paris.366 Carl Friedrich August Jehring (1798–1837) of Mainz ﬂourished from 1829 to 1837. One basset horn (CH-Zürich-H) is reported to be owned by Hug & Company in Zürich.367 Johann Heinrich Gottlieb Streitwolf (1779–1837) of Göttingen fashioned a new basset horn design during the 1830s. In his Verzeichniss (Index) of about 1830, Streitwolf provides a sketch of an instrument featuring a short, curved barrel and mouthpiece attached to straight left-hand and right-hand joints, ending in a short butt joint, and large, curved, upward-pointing brass bell. As with his most expensive clarinets, this instrument has thirteen keys with the addition of basset keys for E, D, and C.368 Two extant examples (D-Göttingen-U, 91; D-Berlin, 91) are made of boxwood with ivory ferrules. They have sixteen keys, curved barrel, left- and righthand joints, and bassoon-style butt joint. The butt includes a U-bend with a metal band around the ﬂat-bottom metal plate encircling a screw held by an adjustable, large butterﬂy-shaped hand screw. The band acts as a stand because the instrument can be placed on a stool or small table; there is a large, curved, forward-pointing brass bell.369 The Berlin example is practically identical to the Göttingen instrument. It is also missing its mouthpiece and includes a raised ridge around the middle of the curved barrel to help the player grasp and adjust it when necessary. The keys are mounted in blocks and have round key heads. The three basset keys are, from left to right, E, C, and D. All three depressed together open the D key head, ﬁrst and 362. Grass and Demus, Das Bassetthorn, 258, no. 25. A clarinet d’amour in C by Schürer (NL-Den Haag, Ea 24 19390) includes a date “1820” scratched on the bell. 363. Langwill, An index, 162; Melville-Mason, appendix 2. 364. See Mahillon, Catalogue descriptif, vol. 2, 217–218; cf. Grass and Demus, Das Bassetthorn, 250, no. 17. 365. NLI, 355, 495. 366. Melville-Mason, appendix 2. The basset horn in the private collection may have been the instrument sold in 1910. A nine-key angled basset horn is by Winckler, Leipzig (ca. 1825, F-Toulouse, 209). 367. Melville-Mason, appendix 2. 368. “. . . wie die Clarinetten 13 auch 14 Klappen, auserdem aber unter dem tiefen E noch Es D und C.” Streitwolf, “Verzeichniss,” 2. 369. For a description, see Grass and Demus, Das Bassetthorn, 262, no. 37; for a photo of the Göttingen example, see Dullat, Klarinetten, 229, Abb. 147.

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From the Clarinet d'Amour to the Contra Bass

second together produce C, and ﬁrst alone produces E. The ﬁrst two levers are mounted in two brass saddles; the third is mounted on pillars with a long rod below the ﬁrst and second levers (web photo 10).370 The workmanship of these two basset horns is very high quality. Johann Adam Heckel (1812–1877) of Biebrich ﬂourished 1831 to 1877. A boxwood example (D-Biebrich, BK 1, ca. 1840) with ivory ferrules has seventeen keys, ivory knee, bassoon-style butt joint (like Streitwolf ’s), and round, upward-pointing brass bell. There are two metal rollers for two of the four basset keys; originally there were two ring keys that have been removed.371 Johannes Josef Roedel Junior (1810–1840) of Bremen ﬂourished from 1832 to 1840. A nine-key angled instrument (CH-Zumikon) with a straight body, no box, and brass bell is reported.372 Balthasar Melchior Schlott (1773/1778–after 1841) of Berlin established his own ﬁrm in 1835 that continued to about 1841. He had been a partner in the Berlin ﬁrm of Griesling and Schlott from 1801 to 1835. One beautiful sixteen-key angled basset horn (S-Göteborg, 8364) is boxwood with ivory ferrules in seven sections: mouthpiece (black wood), barrel, left-hand joint, ivory knee, right-hand joint, box, and oval brass bell. It has decorated brass guards placed over the E/B and C keys.373 Carl Grevé (ca. 1808–1876) of Carlsruhe ﬂourished 1835 to 1876. An eighteen-key straight basset horn (CH-Basel, 1908.397) is made with boxwood and ivory ferrules, a curved barrel, two ﬁnger hole joints, a long stock, no box, short knee joint, and oval brass bell pointing away from the audience. The key heads are mounted in blocks and brass saddles and include round, slightly domed key heads. The basset keys are D, C, C, and BB, the lowest of which is mounted in a block above the knee with the tone hole on the knee, preventing the bell from being turned toward the audience.374 Heinrich Joseph Haseneier (1798–1890) of Coblenz ﬂourished around 1835 to 1890. An example owned by Geoffrey Rendall was destroyed in an air raid on the British Museum in 1942.375

370. For a description and color photo, see Restle and Fricke, Faszination Klarinette, 84. The author studied this instrument in 2005. 371. Description and photo in Grass and Demus, Das Bassetthorn, 72, 252, no. 40. This instrument was erroneously described and photographed as a bass clarinet in Heckel, Der Fagott, 23; Heinz Becker, “Klarinette,” MGG vol. 7 (1958), Tafel 43, Abb. 7; and by Dullat as a basset horn with 19 keys, Klarinetten, 270, Abb. 178. 372. Description in Grass and Demus, Das Bassetthorn, 251, no. 21; Melville-Mason, appendix 2. 373. I thank Jörn Öierstedt for sending photos. Langwill, An index, 158; Melville-Mason, appendix 2. 374. I thank Stephen Fox for photos and a description, and Frédéric Courquin for a photo. See NLI, 147; Kirnbauer, “Die Rohrblattinstrumente,” 74; for a color photo, see Ocieszak, Roz˙ek basetowy, 29, ﬁg. 14. 375. Melville-Mason, appendix 2.

Basset Horn

151

Gottlieb Lindemann of Leipzig is credited in 1838 with an improvement to the basset horn by the addition of a water key, which was requested by Backofen as early as 1803 (as mentioned earlier) in his ﬁrst clarinet and basset horn tutor. The water key is a metal cylinder placed in the metal plate of the box where the E tone hole is located. G. M. Uhlrich of Leipzig is credited with applying this water key to a basset horn.376 Basset horns by Uhlrich have not been found. Josef Ignaz Widmann of Freiburg im Breisgau ﬂourished from 1838 to 1863. Two examples are known: nineteen-key (US-DC-Washington-S, 66.851, ca. 1850) of maple with ivory ferrules377 and twenty-key (sixteen plus four basset keys) basset horn (Oxford, 488, ca. 1850).378 Widmann exhibited a basset horn in F made of cocus wood with twenty-three keys at the Munich Exhibition of 1854; it is not extant.379 Gottlieb Ludwig Zencker (G. Zencker Junior, 1813–1886) of Adorf and Dresden ﬂourished about 1838 to 1886.380 An angled basset horn (D-Hamburg, 1924/215) with ﬁfteen keys is made with light boxwood, horn ferrules, knee joint, box, and brass bell.381 Carl Eduard Simon Skorra (1807–1865) of Berlin ﬂourished 1838 to 1865. A slightly angled, nickel silver sixteen-key instrument (D-Leipzig, 1535) includes ebony with ivory ferrules, ivory knee, no box, straight body, and nickel silver bell. The turning and shape of the bell is very similar to the earlier straight basset horn (CH-GenèveAH, IM 143) by Schauﬂer of Stuttgart. However, the keyheads are round and ﬂat, and there is a roller on the touch of the A/E key next to the F/C touch.382 Josef Franz Seidel (1806–1872) of Mainz ﬂourished from 1846 to 1868/1869. One stained boxwood basset horn (US-NY-New York, 56.94, ca. 1860) is constructed of four sections with brass ferrules, cocus wood mouthpiece, curved wooden barrel, straight body, short butt joint below the right-hand stock, and slightly angled, upward-pointing, nickel silver bell. The overall appearance is similar to the basset horns made by Streitwolf but with a smaller butt joint and bell pointing upward instead of toward the audience. There are seventeen pillar-mounted gold-plated keys with two rings for R2 and R3. It is equivalent in ﬁngering to a thirteen-key

376. Fink, “Verbesserung des Bassethornes,” 169–170; see also NLI, 236, 409. Later, a simple closed key with a pad functions as a water key and was added to the bottom of the U-bend below the stock joint on basset horns. One example is by Stengel of Bayreuth (ca. 1870, US-CA-Claremont, W271). 377. Described in a checklist of clarinets and basset horns, Smithsonian Institution (1990); Langwill, An index, 187; Melville-Mason, appendix 2. 378. La Rue, The Bate collection of historical wind instruments, 26. This instrument has a butt joint and small wooden bell. See photo in Montagu, The world of romantic and modern musical instruments, 66, pl. 47. 379. Katalog der allgemeine deutschen Industrie-Ausstellung zu München in Jahre 1854, 3. Widmann also exhibited an eleven-key metal clarinet and a boxwood bass clarinet in C. 380. Weller, Der Blasinstrumentenbau, 266. 381. Description in Schröder, Verzeichnis der Sammlung alter Muiskinstrumente, 82; for a photo, see Rendall, The clarinet, pl. 6f. 382. Description in Grass and Demus, Das Bassetthorn, 260, no. 14. I thank Frédéric Courquin for sending a photo.

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From the Clarinet d'Amour to the Contra Bass

clarinet with duplicate cross keys for f/c and B/F and two basset keys with touches positioned on the back for D and C.383 Anton Kraus (1813–1901) of Augsburg ﬂourished from 1848 to 1864. There are four examples known: a sixteen-key plus two-ring basset horn (S-Stockholm-N, ITB 108),384 an eighteen-key basset horn (D-Augsburg, 6901) with ring keys for f1 (L1) and b (R1),385 and a pair of basset horns (D-München-S, 57–35, 97–15).386 Georg Jakob Berthold (1824–1904) of Speyer ﬂourished from 1849 to 1894. There are two examples known: a seventeen-key instrument (B-Bruxelles, M936) with a curved barrel, a butt joint of 13 cm, four thumb key chromatic basset keys for E, D, C, and C;387 and a seventeen key instrument (GB-Oxford, 485).388 The clarinetist and harpist Johann Georg Heinrich Backofen (1768–1839) established a workshop making ﬂutes, oboes, clarinets, and basset horns. His son Heinrich Backofen emigrated in 1847 to Texas and then returned to Darmstadt in 1850 to continue the family business.389 An advertisement in the 1850 Neue Zeitschrift für Musik extols the virtues of Backofen’s woodwind instruments, particularly the basset horn with its many successful improvements.390 No basset horns by Backofen are known. Julius Jehring (1821–1905) of Adorf ﬂourished about 1850 to 1905. An unstamped ﬁfteen-key angled basset horn (D-Markneukirchen, 705, 1850s) is attributed to Jehring. It has a straight barrel, knee, box, brass bell, and basset keys for E, D, and C and includes brass keys with square key heads mounted in wooden rings and blocks.391 Fehr of Mainz ﬂourished during the mid-nineteenth century. One example (CHZürich-B) is made of ebony with ﬁfteen keys.392 Singer of Carlsruhe ﬂourished during the mid-nineteenth century. One example (CH-Basel, 1936.146) is known. It has a straight body of boxwood or maple stained dark brown, ivory ferrules, seventeen keys, and rings for R2 and R3. There are six

383. I thank Herbert Heyde and Kenneth Moore for information. Information sheets reviewed by Laurence Libin were also sent to the author. 384. See the listing on the Nydahl Collection Web site, http://web.comhem.se/smf. I thank Jörn Öierstedt for sending a description in 2007. 385. Eppelsheim, “Bassetthorn-Studien,” 107; Grass and Demus, Das Bassetthorn, 254, no. 11. 386. Description in Grass and Demus, Das Bassetthorn, 263, no. 55. 387. See Mahillon, Catalogue descriptif, vol. 2, 217. 388. See La Rue, The Bate collection of historical wind instruments, 26; Grass and Demus, Das Bassetthorn, 263. 389. See the interesting article by Albrecht, “Heinrich Backofen, Sohn,” 7–9. 390. “Vermischtes,” Neue Zeitschrift für Musik, 100. 391. This basset horn is attributed to Johannes Jehring by Weller and Julius Jehring by Langwill and the restorer F. Fickelscherer-Faßl; see Weller, Der Blasinstrumentenbau, 211; Langwill, An index, 87; Grass and Demus, Das Bassetthorn, 260, no. 20. 392. Langwill, An index, 50; Melville-Mason, appendix 2, NLI, 112.

Basset Horn 153 sections: mouthpiece, curved barrel, left-hand joint, right-hand joint with stock, straight stock, and brass bell curved to point toward the audience.393

Austria Johann Baptist Merklein (Märklein, 1761–1847) of Vienna ﬂourished from 1799 to 1847.394 A manufacturer of all types of woodwinds, Merklein was among the most active and well-known basset horn makers. Like Doleisch, Merklein added an E key395 to his later angled instruments. They are based on Lotz’s design and include a knee joint, ﬂat box, and oval bell, using metal saddles for mounting keys. There are seven extant basset horns: ten-key (CR-Brno, E171)396, two thirteen-key (RU-St Petersburg, 227, 1154),397 ﬁfteen-key (A-Wien, 328) with the addition of a low E key,398 ﬁfteen-key (D-Halle, Ms. 408) with the addition of a low E key,399 and two (H-Budapest, 1951.17, 1961.1337) with an unknown number of keys.400 Friedrich Hammig Junior ﬂourished during the early nineteenth century. This maker is not recorded in city listings, although a few woodwinds are extant, including four basset horns. The basset horns are an angled eight-key example (F-Mantes la Jolie, ca. 1820), eleven-key (B-Antwerpen, 67.1.57, ca. 1830), twelve-key (A-Graz, 1400, ca. 1830), and fourteen-key (I-Torino, 3537, ca. 1830). The instrument in Mantes la Jolie is made of stained boxwood with ivory ferrules. It is in seven sections: mouthpiece (missing), barrel, left-hand joint, ivory knee, right-hand joint-stock, ﬂat box, and brass bell and includes a second, longer right ﬁnger hole joint with a barrel. The eight keys are for S, A, A/E, F/C, F/C(L4), E/B (L4), D, and C are mounted in small brass saddles, as found on earlier Viennese basset horns. There 393. Cf., Kirnbauer, “Die Rohrblattinstrumente,” 74; Langwill, An index, 165. For a color photo and description, see Ocieszak, Roz˙ek basetowy, 31, pl. 16. I thank Frédéric Courquin for photos. 394. Dates are provided by Hopfner, Wiener Musikinstrumentenmacher, 332–333. 395. Shackleton, “Appendix 2,” 87, 100, n. 6. 396. Melville-Mason, appendix 2. This instrument is missing its brass bell and F/C key head; it also has a brown-stained mouthpiece with a wide horn base, as found on basset horn mouthpieces by Lotz. I thank Frédéric Courquin for photos. 397. Blagodatov and Vertkov, Katalog sobraniia muzykal’nykh instrumentov, 73. 398. For a description and photo, see Schlosser, Die Sammlung alter Musikinstrumente, 125, Tafel LIII; see also the description and color photo in Stradner, Die Klangwelt Mozarts, 309–310; another color photo is in Dullat, Klarinetten, 269, Abb. 175. This instrument was incorrectly described as having twelve keys by Schlosser, Die Sammlung alter Musikinstrumente, 125. A sketch of the position of the three thumb keys E, D, and C is given by Eppelsheim, “Bassetthorn-Studien,” 112, Skizze 65. 399. For a description and photo, see Heyde, Katalog zu den Sammlungen des Händel-Hauses in Halle, 226–227. Heyde mistakenly left out the F/C key and listed a C rather than an E key in his description. 400. The instruments in Budapest were reported by Rainer Weber according to Grass and Demus, Das Bassetthorn, 261, no. 30.

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is a ring attached to the chimney of the box for a strap.401 The stamp on the box is “(double eagle)/HAMMIG/JUNIOR/WIEN/3.”402 The Antwerp example is straight, constructed of boxwood with ivory ferrules. There are seven sections: mouthpiece (black wood), curved barrel at about 45 degrees, left-hand joint, right-hand joint with very long stock, 90-degree knee joint, second 90-degree knee joint, and bulb bell pointing upward. Ivory ferrules deﬁne the cylindrical portion of the bell, and there is large, ivory ring inside the bell opening. The bell includes a large resonance hole on one side, which is positioned toward the player. This instrument descends to a low B.403 The angled example in Graz is made of dark-stained boxwood, ivory ferrules, and ivory knee. It is similar to the Antwerp basset horn, with two 90-degree knee joints and a bulb bell pointing upward. Ivory ferrules deﬁne the cylindrical portion of the bell, and there is a decorative wooden button on the top of the bell. The basset keys are D and C.404 A fourteen-key Hammig Junior basset horn (I-Torino, 3537) was in an exhibition in Mantua in 2006. It is similar to the instrument in Antwerp, made of reddish-stained boxwood with ivory ferrules, ivory barrel curved at about 30 degrees, two 90-degree knee joints, and a bulb bell pointing upward with a large resonance hole positioned toward the audience. The bell has a large, ivory ring inside the opening, and is missing an ivory ring, several levers, and keys.405 Stephan Koch Senior (1772–1828) of Vienna ﬂourished from 1809 to 1828. His work was continued by his sons Franz, Stephan Junior, and Friedrich.406 Koch’s instruments are often made of boxwood with oval bells. Seven examples are known:

401. For a photo, see Fessard, L’evolution de la clarinette, 38. I thank Jean Jeltsch for information and Frédéric Courquin for excellent photos. This instrument is also mentioned by Shackleton in “Appendix 2, surviving instruments: 3 basset horns,” 87. A reproduction is currently offered by Schwenk & Seggelke on their Web site, http://www.schwenk-und-seggelke.de. 402. An early (ca. 1800) anonymous angled seven-key basset horn (F-Paris, E.2200) is similar in several details of construction to the Hammig Junior basset horns. It is ebony or wood stained black with brass ferrules. There are seven sections: mouthpiece (missing), barrel, left-hand joint, knee, right-hand joint-long stock, 90-degree knee, 90-degree knee, and an upward-pointing bell with a large resonance hole. Because of the distinctive construction, shape of the bell, and mounting of almost all the key heads in metal saddles, this instrument is thought to have been made in Vienna. I thank Jean Jeltsch for photos. 403. For a description and photo, see Catalogus van de Muziekinstrumenten, 72. I thank Frédéric Courquin for photos. 404. For a description and photo of the knee joints and bell, see Stradner, Musikinstrumente in Grazer Sammlungen, 32, Abb. 14, 91; for a photo, see Sowinski, “Steirisches Volksmusikinstrumente,” Tafel 6; Grass and Demus, Das Bassetthorn, 250, no. 15; the basset keys are sketched in Eppelsheim, “BassetthornStudien,” 111, Skize 57; Hammig Jr. does not appear in Hopfner, Wiener Musikinstrumentenmacher. 405. For a description and photographs, see Gli strumenti a ﬁato all’epoca di Mozart, 74–75. I thank Luigi Magistrelli for a copy of the catalog. A ﬂap of a low B is on this instrument. 406. NLI, 208–209; see also Hopfner, Wiener Musikinstrumentenmacher, 265–266.

Basset Horn 155 eight-key (CH-Neuchâtel, AA3838),407 twelve-key (S-Hälsingborg, F.327),408 fourteen-key (S-Linköping, A 10 885),409 ﬁfteen-key (S-Stockholm, M2360),410 ﬁfteen-key (DK-København, CL. 496),411 ﬁfteen-key (D-Halle, MS 407),412 and seventeen-key (A-Wien-T, 15380/26).413 The early angled instrument in Neuchâtel is stained boxwood with ivory ferrules and has an oval brass bell and basset keys for D and C.414 The ﬁrst two instruments are constructed in the earlier angled form with a ﬂat box. The remaining basset horns are also made in an angular form with the addition, below a right-hand joint-stock, of a short butt section and forward-pointing, curved, brass oval bell.415 Heyde describes the combination of the U-shaped butt joint and bell as a tobacco pipe–form lower joint.416 Koch’s sons appears to be the originator of this design during the 1830s; it was copied in a rosewood nineteen-key instrument (D-Biebrich, BK 1) with ivory ferrules about 1840 by Heckel of Biebrich.417 Carl Doke (ca. 1778–1826) of Linz ﬂourished around 1810 to 1826. There are two examples of his work known: a fourteen-key angled boxwood instrument (D-Nürnberg, MIR 469, ca. 1820) with horn ferrules, straight barrel, knee joint, no box, knee joint at about 90 degrees, and wooden clarinet-type bell that may be pointed forward or backward418 and an anonymous ﬁfteen-key instrument (F-Nice, 130) of the same design attributed by the author to Doke.419 In both examples the C touch is below the D touch. Wolfgang Küss (often stamped Kies, ca. 1779–1834) was an active woodwind instrument maker in Vienna from 1811 until his death. His widow succeeded him and the ﬁrm was taken over by Johann Stehle in 1839.420 Five instruments are known: 407. I thank Robert Adelson and Fédéric Courquin for sending photos. 408. Utställning av musikinstrument ur Daniel Fryklunds samling i Hälsingborg, 40, photo in plate XI; see also 4900, 138, Y2. 409. I thank Jörn Öierstedt for information and photos. 410. For a photo, see Dullat, Klarinetten, 100, Abb. 57; 4900, 138, Y1. According to Hans Riben, this basset horn was owned by Count Carl Gustaf Löwenhielm and given to the Stockholm Museum in 1951. 411. See the photo in Claudius, Carl Claudius’ Samling, 297. I thank Frédéric Courquin for sending a photo. 412. For a description and photo, see Heyde, Katalog zu den Sammlungen des Händel-Hauses in Halle, 228–229. Heyde mistakenly omits the F/C key. 413. See 4900, 138, Y3. 414. I thank Robert Adelson for obtaining this information from Caroline Junier, curator at the Musée d’art et d’histoire in Neuchâtel. 415. See 4900, 138, additional details for Y4, Y5. In 1836, Nemetz includes an engraving of a Koch basset horn in this shape without mentioning the maker in Allgemeine Musikschule, 36. 416. “Tabakspfeifen-förmigen Unterstück”; see Heyde, Katalog zu den Sammlungen des HändelHauses in Halle, 229. 417. For a photo see Dullat, Klarinetten, 270, Abb. 178. 418. See Grass and Demus, Das Bassetthorn, 250; photos in Van der Meer, Musikinstrumente, 214, Abb. 349; Dullat, Klarinetten, 106, Abb. 62. 419. I thank Robert Adelson for sending photos of this basset horn. 420. Hopfner, Wiener Musikinstrumentenmacher, 289; NLI, 218.

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a ten-key straight example (US-DC-Washington-S, 95.295) includes keys mounted in saddles, curved barrel, second barrel, left- and right-hand sections, stock, second stock, no box, and brass bell;421 thirteen-key angled basset horn (I-Firenze, 1988/167) with an ivory knee and rounded box;422 sixteen-key instrument (I-Modena, 34) with straight body, curved barrel, no box, and oval brass bell;423 a basset horn (F-Paris-P); and another sold in 1888 in Paris at the E. Loup sale.424 The maker’s stamp on the Washington instrument is “W.KIES/WIEN.” It seems likely that this spelling was adopted for easier pronunciation when the maker exported instruments to nonGerman-speaking countries such as Italy.425 Johann Tobias Uhlmann (1776–1838) operated his woodwind ﬁrm in Vienna from 1811 until his death. His two sons, Jacob and Leopold continued the business to 1848.426 Four examples are recorded: a fourteen-key angled (D-Braunschweig, Ck 39) boxwood example with ivory ferrules and ivory knee but missing its brass bell;427 ﬁfteen-key angled (D-Nürnberg, MIR 470) with basset keys for D and C;428 seventeen-key straight basset horn (A-Wien-GM, 416, ca. 1845) of brown wood with pillar-mounted nickel silver keys and ferrules, curved barrel, straight body of two ﬁnger hole sections, stock joint, upward-pointing nickel silver bell, and chromatic basset key register with the touches for E, D, C, and C one above the other;429 and eighteen-key straight basset horn (GB-London-RCM, 326 C/17) with no box, later addition of ring keys (brille) for R2 and R3, and straight brass bell.430 A price listing (1836) of woodwind instruments made by Uhlmann & Söhne includes a drawing of a curved basset horn with a butt joint at the end and an upper bell, similar to those made by Koch in Vienna, along with three sizes of single reeds. No basset horns of this type by Uhlmann are known today.431 421. This instrument was studied by me. 422. For a description with detailed drawings and measurements, see Gai, Gli strumenti musicali, 217–220; for a color photo, see Antichi Strumenti, 114; for a recent description and photo, see Rossi Rognoni, “Per la lettura delle schede,” 212–213. 423. For a description and photo of the Modena example, see Antichi strumenti musicali, 124–125. 424. Langwill, An index, 98; Melville-Mason, appendix 2. 425. See the list of basset horns in 4900, 141–143. 426. Dates of activity are in Hopfner, Wiener Musikinstrumentenmacher, 519–520; NLI, 407. 427. For a description and photo, see Ulferts, Führer durch die Sammlung Historische Musikinstrumente, 47, 92. 428. For a description and photos see Bär, Verzeichnis, Band 6, 134–142; Grass and Demus, Das Bassetthorn, 250, no. 11. A sketch of the basset keys is given by Eppelsheim in “Bassetthorn-Studien,” 110, Skizze 55. 429. The dates of activity are given by Hopfner, Wiener Musikinstrumentenmacher, 520. See the description and photo in Schlosser, Die Sammlung alter Musikinstrumente, 126, Tafel LIV; the description in Grass and Demus, Das Bassetthorn, 256, no. 10; photo in Saam, Das Bassetthorn, 42. A sketch of the chromatic basset keys is given by Eppelsheim in “Bassetthorn-Studien,” 112, Skizze 69. 430. For a description and photo, see Ridley, European wind instruments, part 1, 44. 431. The entire price list (in A-Salzburg) is reproduced and dated by Meucci in “Produzione e diffusione degli strumenti,” 127–128, ﬁg. 1a (incorrectly dated 1873); the basset horn and reeds are reproduced in Hoeprich, The Clarinet, 247.

Basset Horn

157

Augustin Rorarius (Rosarius, 1788–1848) of Vienna ﬂourished 1813 to 1848.432 Rorarius was a Viennese maker of a wide range of instruments. There is one ﬁfteen-key angled example (A-Wien-GM, 139) with ivory knee, straight barrel, straight body without box, brass forward-pointing bell with long metal tenon, and basset keys for D and C.433 Johann Joseph Ziegler Senior (1795–1858) of Vienna ﬂourished from 1820 to 1858.434 His large ﬁrm produced all types of woodwind instruments. Four basset horns are recorded: eight-key straight (B-Bruxelles, 87.027) with slightly curved barrel, no box, and wooden clarinet-type bell;435 ﬁfteen-key basset horn (RU-St Petersburg, 1132);436 and two seventeen-key (D-Nürnberg, MIR 474, 475, ca. 1830–1835) with curved barrel, straight body, no box, wooden bell, and chromatic basset keys for E, D, C, and C. Both instruments include a Müller-type F/C key and a thumb key for RT connected by a brass lever to the touch of the A/E key.437 Balthasar Kapeller of Vienna ﬂourished from 1845 to 1850.438 A boxwood example (D-Bonn, 153) has twenty nickel silver keys, curved barrel, straight body, no box, and wooden bell with a nickel garland. There are four chromatic basset keys with rollers.439

Slovakia Franz Schölnast (Schöllnast, 1775–1844) of Pressburg ﬂourished from 1811 to 1844; his ﬁrm was continued by his son Johann Schölnast (1810–1882) of Pressburg, who ﬂourished from 1844 to 1882.440 Four examples are known: eight-key (GB-Oxford, 487, 1830s),441 sixteen-key angled (US-MI-Ann Arbor, 632, ca. 1835),442 sixteen-key 432. Dates provided by Hopfner, Wiener Musikinstrumentenmacher, 405–406. 433. See the description in Grass and Demus, Das Bassetthorn, 250, no. 11; photo in Saam, Das Bassetthorn, 35. A sketch of the basset keys is given by Eppelsheim in “Bassetthorn-Studien,” 110, Skizze 55. 434. The dates of activity are given by Hopfner, Wiener Musikinstrumentenmacher, 564–565. 435. A photo with an incorrect identiﬁcation as a basset clarinet is given in Haine, Musica, 130, and by Poulin in “A report on new information,” 951. In 1990, the curator of the museum, Ignace De Keyser, and the author determined that this straight basset horn is pitched in F by comparing the ﬁnger hole placement of a ﬁve-key clarinet d’amour (B-Bruxelles, M932) by Pietro Piana stamped with the pitch letter “F.” This pitch identiﬁcation was later conﬁrmed by a playing test. 436. Blagodatov and Vertkov, Katalog sobraniia muzykal’nykh instrumentov, 73. 437. See the description in Bär, Verzeichnis, Band 6, 173–182; Grass and Demus, Das Bassetthorn, 256, no. 12. A sketch of the basset key design is in Eppelsheim, “Bassetthorn-Studien,” 113, Skizze 71. An unmarked straight ﬁfteen-key basset horn (GB-Edinburgh, 970) is similar in appearance to the Nuremberg Ziegler instruments but includes an extension only to D and C. See Fricke, Historic musical instruments in the Edinburgh University Collection, 113; photo in Myers, Historic musical instruments in the Edinburgh University Collection, 103. 438. Dates of activity are in Hopfner, Wiener Musikinstrumentenmacher, 242. 439. Grass and Demus, Das Bassetthorn, 258, no. 30; Zimmermann, Von zinken ﬂöten und schalmeien, 50. 440. NLI, 361. 441. La Rue, The Bate collection of musical instruments, 26. 442. See the description and photo in Borders, European and American wind and percussion instruments, 42.

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angled (A-P) with shell shaped key heads and bulb bell at a 90 degree angle,443 and seventeen-key (H-Budapest, 1927–1961) with four basset keys and bulb bell.444 The Ann Arbor instrument is very ﬁnely made with a knee joint, ﬂat box, pewter plug key heads, basset keys for E, D, and C, and a wide integral thumb rest (web photo 11). Schölnast was one of the few basset horn makers to use pewter plugs on the key heads of his instruments.

Czech Republic (Bohemia) Simon Joseph Truška (1734–1809) trained in Prague as a cabinet maker. In 1758, he entered the Strahov monastery as a lay brother, where he stayed the rest of his life. He was a violinist, cellist, and organ maker. In addition, Truška built various wind instruments, including basset horns in bent and angled forms. According to Dlabacˇ, the latter was his own invention.445 Unfortunately, Truška’s dates of activity as a maker are unknown, although his only surviving instrument is a highly decorated ﬁve-key contra bassoon (CR-Praha, 183E) that is thought to have been made before 1800.446 He was a successful maker who was asked to construct two angled basset horns for the Count of Klebelsberg, for which he was paid 40 ducats.447 None of his basset horns are known. Franz Strobach of Carlsbad (Karlsbad, now Karlovy Vary) ﬂourished from 1800 to 1812. A specialist in clarinet and basset horn, his basset horns were made with an angled boxwood body with ivory or horn ferrules without a box, usually with a slightly curved or straight barrel, left-hand joint, right-hand joint-stock with an integral knee at the socket (similar to basset horns by Doleisch), short elbow joint, and globular bell with a large resonance hole. A plug and ivory cap are on the top of the bell, opposite the tenon. Unlike the later Eisenbrandt basset horn, Strobach’s bells have a normal tenon and do not screw into the knee joint. They can be placed 443. Stradner, Die Klangwelt Mozarts, 310. 444. For a description, see Grass and Demus, Das Bassetthorn, 256, no. 10. Two later bassoon-shaped instruments made by the Schölnast ﬁrm during the 1870s or early 1880s have nineteen keys (A-Wien-GM, 142; N-Oslo-N, MH-L7) and include a lowest note of BB. The Vienna instrument is described in Mandyczewski, Geschichte der K. K. Gesellschaft der musikfreunde in Wien, 168; Grass and Demus, Das Bassetthorn, 256, no. 9. The Oslo Schölnast is very similar in appearance to the bassoon-shaped basset horn of Stephen Pauer of Pressburg (D-Nürnberg, MIR 476, 1880s). See Bär, Verzeichnis, Band 6, 198–205. I thank Jörn Öierstedt for a description and photo of the Oslo instrument. An unstamped basset horn in bassoon form with twenty keys (A-Wien-GM, 141) is similar to the Schölnast and Pauer basset horns. See Mandyczewski, Geschichte der K. K. Gesellschaft der musikfreunde in Wien, 168, Instrumententafel I, no. 141. 445. “Er beschäftigte sich nebst dem mit Verfertigung verschiedener Blaseninstrumente, als: der Bassethörner, sowohl in krummer als auch in Angular-Stellung. Die leztere Art ist seine eigene Erﬁndung . . . .” Dlabacˇ, Allgemeines historisches Künstler-Lexikon, vol. 3, 279; see Oromszegi, “Bassoons at the Narodni Museum, Prague,” 101. 446. For a description and photo, see Cˇížek, Encyclopédie illustrée instruments de musique, 140–142. 447. Keller, “Píšteˇlníci a trubarˇi,” 230; Langwill, An index, 323; NLI, 404.

Basset Horn 159 toward or away from the audience. Fourteen basset horns have been reported, one of which is attributed; of these there are two straight, walking stick basset horns.448 Among the earliest examples are six basset horns with basset keys for D and C, all eight-key (GB-Edinburgh, 969;449 D-München-DM, 63678;450 D-Lübeck, 1934/277 with a round box,, missing mouthpiece and bell;451 CR-Praha, 191E;452 CR-Praha, 132E;453 attributed, D-München-DM, 50893).454 There are four ten-key examples (CR-Praha, 12.206;455 CR-Praha, 81E with four basset keys for E, D, C, and C;456 D-Berlin 2915;457 CR-Brno, 195E; CR-Brno, 196E). The latter exquisitely made pair utilizes high-quality boxwood with ivory ferrules, ivory mouthpieces, and barrels with a convex bulge in the center for easier grasping.458 An example with eleven keys (CR-Praha, 225E) is in G,459 and there is one with an undetermined number of keys (CR-Praha, 8682).460 A sixteen-key example (DNürnberg, MIR 471, ca. 1840) features a chromatic basset register of E, D, C, and C.461 The two rare walking stick or straight models are stained dark brown, have two short sections with a large resonance hole on the back, and a wide brass base: eightkey (A-Wien, 342)462 and ten-key (CR-Praha, 465E).463 448. One basset horn in Berlin (86) was lost during World War II; for a description, see Sachs, Sammlung Alter Musikinstrumente, 299. 449. The resonance hole measures 32.1 by 29.4 cm; see the description in Fricke, Historic musical instruments, 110–111; see the photo in Myers, Historic musical instruments, 100; University of Edinburgh website, http://www.music.ed.ac.uk/euchmi. 450. See the description in Seifers, Die Blasinstrumente im Deutschen Museum, 84; for a photo, see Dullat, Klarinetten, 104, Abb. 63. The diameter of the resonance bell is about 35.1 by 36.7 cm, as noted by Gilles Thomé based on measurements taken on 7 November 1998. The author studied this instrument in 2005. 451. For a description and photo, see Althöfer, Von zinken, 124. 452. Grass and Demus, Das Bassetthorn, 252, no. 35. 453. Grass and Demus, Das Bassetthorn, 252, no. 34. 454. The overall shape and construction and the use of a globular bell with a large resonance hole strongly suggest that this unstamped instrument was made by the Strobach ﬁrm. See also Grass and Demus, Das Bassetthorn, 250, no. 12, and the photo, 62. 455. Melville-Mason, appendix 2. This is an earlier number of a basset horn in CR-Praha. 456. Description and photo in Grass and Demus, Das Bassetthorn, 62, 255, no. 1. 457. Only the mouthpiece cap, mouthpiece-barrel, and upper joint survived World War II; see Grass and Demus, Das Bassetthorn, 259, no. 7; see the description in Sachs, Sammung alter Musikinstrumente, 299. 458. Both basset horns were reported to Thomas Grass by Robert Sebesta in 2007. I thank Robert Sebesta for sending photos. 459. Grass and Demus, Das Bassetthorn, 252, no. 37. 460. Numbers 12.206 and 8682 were earlier numbers for two basset horns in CR-Praha. The author thanks Robert Sebesta for information. 461. See the description in Bär, Verzeichnis, Band 6, 164–172; Grass and Demus, Das Bassetthorn, 255, no. 2; sketch of the basset keys in Eppelsheim, “Bassetthorn-Studien,” 112, Skizze 67. 462. See the description and photo in Schlosser, Die Sammlung alter Musikinstrumente, 126, Tafel LIII, 342 bis; Saam, Das Bassetthorn, 40–42. I thank Frédéric Courquin for sending a photo. 463. Description in Grass and Demus, Das Bassetthorn, 252, no. 36. I thank Robert Sebesta for sending a photo.

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Ignaz Kohlerth of Graslitz (now Kraslice) ﬂourished around 1795 to 1847. An eight-key angled basset horn (CR-Praha, 133E) has a straight barrel, integral knee on the upper section of the right-hand joint, box, and brass bell.464 G. Keyha (Keiha, Reyha, Reiha) of Prague worked around 1800. An angled sevenkey example (CR-Praha, 19E) includes a curved barrel, integral knee on the upper section of the right-hand joint, and brass bell.465 Friedrich Jäger of Carlsbad (now known as Karlovy Vary) ﬂourished the ﬁrst third of the nineteenth century. An eight-key angled example (CR-Praha, 364E) is identical to Strobach’s instruments: curved barrel, integral knee on the upper portion of the right-hand joint, knee joint, globular bell, and basset notes for D and C.466 Wenzel I. Horák (1788/1791–1852) of Prague headed a ﬁrm that operated from 1826 to 1854.467 Four basset horns with globular bells are known (CR-Praha-M, 42295;468 H-Budapest, 1961.1336; H-Budapest,469 and in a private collection(US-P). Anton Gedliczka (Antonin Jedlicˇka; 1803–1875) of Prague worked from 1833 to about 1875. One (D-Gaggenau) stamped “1843” is reported in G with ﬁfteen nickel silver keys.470 Wenzel Krahuletz (d. 1844) of Leitomischl (now Litomyšl) ﬂourished from about 1800 to 1840. Two are recorded. A sixteen-key dark-stained boxwood angled instrument (D-Leipzig, 1534) includes rings of ivory and nickel silver, nickel silver keys, and ivory knee.471 A nineteen-key instrument (CR-Praha, 740E) includes four basset keys.472

England An anonymous example possibly made in England (attributed to John Cramer of London who ﬂourished 1790 to 1805 and 1816 to 1820)473 is an eight-key angled instrument (GB-London-VA, 24/2, ca. 1800) with a long curved barrel, left-hand section, knee section, right-hand section-stock, rounded box, and oval bell. Each section is stamped with a unicorn head, used as part of the maker’s mark by sev-

464. For a photo, see Keller, “Píšteˇlníci a trubarˇi,” at the end of the article. 465. There is some disagreement over the spelling of the maker’s last name. Reiha is given by NLI, 322, and Keller, “Píšteˇlníci a trubarˇi,” 229, 243, photo at end of article; Keyha is given by Grass and Demus, Das Bassetthorn 254, no. 7, reported by the former curator in Prague, Bohuslav Cˇižek. Eric Hoeprich’s reading in 2006 is Reyha. 466. See Grass and Demus, Das Bassetthorn, 251, no. 28. For a photo, see Keller, “Píšteˇlníci a trubarˇi,” at the end of the volume. 467. NLI, 181. Fischer of Eger made a sixteen-key angled ex. (ca. 1850; US-NY-New York, 53.56.13). 468. Grass and Demus, Das Bassetthorn, 263, no. 62. 469. See the descriptions in Grass and Demus, Das Bassetthorn, 261, nos. 28–29. 470. Langwill, An index, 57; NLI, 194; Melville-Mason, appendix 2. 471. Description in Grass and Demus, Das Bassetthorn, 258, no. 27. 472. Description in Grass and Demus, Das Bassetthorn, 258, no. 26. 473. See Rendall, The clarinet, 138, n. 13; for dates of activity, see NLI, 75.

Basset Horn 161 eral London makers. It is also possible that this instrument was made for export to England by a German maker, as suggested by Baines.474 George Astor of London worked from about 1778 to about 1831. The Astor ﬁrm was established by George Peter Astor (1752–1813) and John Astor (1763–1848) and produced all types of woodwinds. The use of the name “Astor & Co.” began about 1799. The only basset horn (US-NY-New York, 17.52.3, ca. 1820) known by this ﬁrm is angled, made of boxwood with ivory ferrules, ivory mouthpiece, knee, ﬂat box, and brass bell. Its eleven keys are S, A, B/F, A/E, F/C, F/C, E/B, and four basset keys for E, D, C, and C. The instrument is stamped “G. ASTOR & CO/ LONDON” on the wooden body sections, “(United Kingdom coat of arms with lion, unicorn)/G. ASTOR & CO/79/CORNHILL/LONDON/(unicorn head)” on the box, and “1748/ASTOR & CO/LONDON” on the bell rim and garland.475 The “1748” may be a serial number, although serial numbers are not recorded for Astor woodwinds. Thomas Key (d. 1853) of London headed a ﬁrm that operated from 1805 to 1858. Key led a particularly active shop, making most types of woodwinds, specializing in clarinets and various brasses,476 and producing both alto clarinets and basset horns. Two basset horns are known. The ﬁrst is a straight stained-boxwood instrument (GB-Edinburgh, 92, ca. 1830) with ivory ferrules, dark wood mouthpiece with socket, angled brass crook, right- and left-hand sections, long stock, no box, and ﬂared wooden bell. There are ﬁfteen keys with round, ﬂat key heads mounted in blocks and brass saddles; there are two added ring keys for R2 and R3 and two basset keys for D and C. Brass rollers are included on touches between the F/ C and E/B keys (for L4) and on touches between the A/E and F/C keys (for R4). This instrument was played by the famous English clarinetist Henry Lazarus (1815–1895).477 The second is a stained-boxwood ﬁfteen-key instrument (D-Lübeck, 1934/278, ca. 1830) with ivory ferrules, dark wood socket-style mouthpiece with ivory base, angled brass crook, left-hand section, right-hand section-long stock, no box, and ﬂared wooden bell (ﬁgure 2.5). Brass rollers are on touches between the F/C and E/B keys (for L4) and on touches between the A/E and F/C keys (for R4).478 474. Baines, Catalogue of musical instruments, 101, and a photo, ﬁg. 133. 475. I thank Herbert Heyde and Kenneth Moore for information. The information sheet reviewed by Laurence Libin was also sent to the author. 476. See NLI, 204. 477. For a description, see Fricke, Historic musical instruments, 112; for a photo, see Myers, Historic musical instruments, 102, and the Edinburgh University Collection Web site, http://www.music.ed.ac.uk/ euchmi/ugw/ugwf1e.html. After Lazarus’ death, twenty of his twenty one instruments were sold, including this basset horn, at a Puttick and Simpson auction in London on 19 June 1895. See Weston, More clarinet virtuosi of the past, 155–158. 478. For a description and photo, see Althöfer, Von Zinken, 125. I thank Else Krüger of Hansestadt Lübeck for sending a photo.

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Figure 2.5. Thomas Key, London, 15-key basset horn (ca. 1830, D-Lübeck, 1934/278).

The Wood & Ivy ﬁrm of London ﬂourished from 1837 to 1847; it succeeded the London woodwind ﬁrm of Georg F. Wood (d. 1836). It manufactured a number of woodwinds and also imported musical instruments.479 One beautifully made basset horn is known. The eighteen-key example (GB-Edinburgh, 5060, Ex Shackleton, ca. 1840) has a straight form, body of dark-stained boxwood and ivory ferrules, and a neck in two parts, the upper in boxwood and the lower of brass slightly angled, with a tuning slide between the two parts. The keys are mounted in rings, blocks, and metal saddles, and the key heads are a salt spoon shape. They include Wood’s 1820 patented design of wide, round touches between the F/C and E/B keys and on the A/E touch.480 There are four chromatic basset notes for E, D, C, and C positioned on the back in a large brass saddle, smaller saddles, and blocks. The upper touches are for E and D and use Wood’s slightly rounded touches, as found on his clarinets; the lower touches for C and C are wide and ﬂat. Its brass bell is angled at about 140 degrees toward the audience.481 479. See NLI, 435–436. 480. For an explanation and illustrations from George Wood’s 1820 clarinet patent, see Rice, The clarinet in the classical period, 48–50. 481. For a description and photos, see Shackleton Collection, 717. Another description and photos appear in Sotheby’s Sussex 4, 12 Early Musical Instruments, 9, no. 9 (mislabelled as 8). I thank Arnold Myers for sending photos of this instrument in Edinburgh.

Basset Horn 163 Distin & Sons of London ﬂourished from 1846 to 1850. The brass player John Distin (1798–1863) established a dealership and later a brass instrument factory in 1850, which operated until 1868.482 One angled basset horn (D-Leipzig, 3522) is marked “Proved and Warranted by Distin & Sons 30. Cranbourn S. Leicester SQ. London.” It is probably of German manufacture (ca. 1850) of boxwood with ivory ferrules. It has an ivory knee, eight keys with round, ﬂat key heads, rounded box, and brass bell.483

France François Lefèvre (d. 1856) of Paris ﬂourished from 1801 to 1828;484 the ﬁrm was continued by Simon Lefèvre, who ﬂourished from 1828 to 1855.485 A Boehm system basset horn is recorded in the collection of Walter Lear in London.486

Hungary Michael (Mihály) Scheilly (1762–1823) of Ofen (Budapest) ﬂourished from about 1790 to 1823. There are three early-nineteenth-century examples by him: an incomplete instrument (F-Paris, E.1193) with only a boxwood knee with horn ferrules, right-hand joint, stock, ﬂat box, and brass bell;487 another (CR-Praha, 1762E) originally with thirteen keys and two basset keys;488 and a thirteen-key angled instrument (I-Milano-C) of boxwood with horn ferrules, knee, ﬂat box, and brass bell. The keys are mounted in rings and metal saddles with basset keys for D and C. The ﬂat box is stamped “F/(crown)/M.SCHEILLY/IN OFEN.”489

Italy Luigi Berlingozzi of Siena worked during the early nineteenth century; he christened a son in 1818.490 One angled twelve-key example (D-Leipzig, 1533) is light boxwood with a knee joint, ﬂat box, and brass bell.491

482. NLI, 90. 483. See the description and photo in Grass and Demus, Das Bassetthorn, 68, 259, no. 5. 484. Dating provided from the French archives by Jean Jeltsch. 485. NLI, 228. 486. Melville-Mason, appendix 2. 487. See the description and photos on the Web site of the Musée de la Musique, http://mediatheque. cite-musique.fr. Waterhouse mentions that a basset horn (no. 190) by Anton (Antal) Scheilly was sold in 1888 in Paris at the Loup sale, but this is probably the instrument sold to the Paris museum; see NLI, 352; Melville-Mason, appendix 2; Gétreau, Aux origines du musée de la musique, 679. 488. Grass and Demus, Das Bassetthorn, 252, no. 38. 489. For a description and photos, see Gli strumenti a ﬁato nell’epoca di Mozart, 76–77. I thank Francesco Carreras for contacting the owner of the Scheilly basset horn, Rocco Carbonara. 490. NLI, 27. 491. For a description and photo, see Grass and Demus, Das Bassetthorn, 259, no. 4, 70.

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Ignazio Miraz of Udine ﬂourished the ﬁrst half of the nineteenth century. Two basset horns are recorded: an exquisite, fourteen-key angled instrument web photo 12) of dark maple with ivory ferrules, (GB-Edinburgh, 90, ca. 1830; mouthpiece (replacement), two barrels, left-hand section, right-hand section with integral knee joint (about 120 degrees on upper socket), stock, knee joint at about 90 degrees, and ball-shaped bell with a circular hole on the left side (strengthened by an ivory ferrule). Its keys are ring, block, and pillar mounted (ﬁve of the fourteen are on pillars and are later additions), and the tone holes of all the keys, except low C, are lined with ivory. The F/C key has an ivory chimney instead of the usual key, and R3 has an ivory insert.492 Another example was owned by Nicholas Shackleton during the 1980s, but its location is now unknown.493 Beltrami of Lugano was active in the early to middle nineteenth century. An unstamped ﬁfteen-key, very slightly angled basset horn (D-Uhingen, ca. 1850; web photo 13) attributed to Beltrami is known. It is dark brown boxwood with brass ferrules. There are six sections: mouthpiece (dark wood), barrel, left-hand joint, slightly curved knee, right-hand joint-stock connected to a brass U-bend and butt joint, and a brass bell pointing upward. There are two basset keys on the back for D and C, protected by a wide brass plate decorated with a lyre and several different-shaped stars.494 This is an unusual transitional instrument that is almost straight but retains an old-style, angled knee joint. The use of a butt joint reminds us of Streitwolf’s earlier instrument.

Denmark Jacob Georg Larshof (also known as Larshoff, ca. 1760–1846) was an active woodwind maker in Copenhagen from 1798 to 1834. He became court instrument maker in 1810 and received a patent for a ﬁfteen-key clarinet mechanism in 1821 that could also be applied to basset horns.495 He is the only Danish maker of a basset clarinet.496 There are two basset horns by this maker. The ﬁrst (formerly DK-København, X26)497 is a beautiful, ﬁfteen-key angled instrument (now DK-Brøndby), maple stained black or ebony, with ivory knee, ﬂat box, and ivory ferrules. The mouthpiece, barrel, and brass bell are replacements. Its keys are S, A-B, A, G, f/c, E/ B, C/G, B/F, B/F, A/E, F/C, F/C, E/B, E, and D. A sixteen-key angled basset horn (DK-København-P) is maple stained dark brown with ivory knee, 492. See the description by Fricke, Historic musical instruments, 111–112; for two photos see Myers, Historic musical instruments, 101. 493. Melville-Mason, appendix 2. An eight-key basset horn is by Gressing, Padova (Padova, Cons., 437). 494. I thank Thomas Reil for sending photos. See also the description in Grass and Demus, Das Bassetthorn, 253, no. 43. According to Gunther Joppig, a former owner, the instrument was sold to him by the late dealer Gerhard von Hünerbein, who attributed it to Beltrami. I thank Francesco Carreras and Thomas Reil for this information. 495. See Møller, Danske instrumentbyggere, 56. 496. Rice, The clarinet in the classical period, 75–76. 497. Møller, Danske instrumentbyggere, 203; Grass and Demus, Das Bassetthorn, 263, no. 53.

Basset Horn 165 ivory ferrules, no box, straight stock with D and C keys, and brass bell. It includes an ivory insert in the thumb hole, and an integral thumb rest. The keys are S, A-B, A, G, f/c (R1), f/c (L2), E/B, C/G, B/F, B/F, A/E, F/C, F/C, E/B, D, and C. The G lever crosses over the A key and is horizontally mounted in the wooden ring.498

Netherlands Christian Gottfried Geisler (1801–1884) of Amsterdam worked from 1840 to 1884. He made various woodwinds, but only one basset horn (GB-Edinburgh, 91) is known. It is boxwood with ivory ferrules, straight body, and no box. There are ﬁve sections: cocus wood mouthpiece, curved barrel, left-hand joint, right-hand joint-stock, and boxwood bell. Sixteen brass keys with salt spoon key heads are mounted in saddles and wooden rings. Three rings are for L2, L3, and R2, and one plateau key for R3, replacing an earlier ring, links the E/B touch for L4 to hold down the C key; there are basset keys for E, D, C, and C. One brass roller is on the touch for E/B (L4) and another on the touch of the C key for the right thumb.499

Poland Józef Horalek (Horalik) of Warsaw ﬂourished from about 1825 to 1847. Horalek was a woodwind maker known for a high-quality walking stick csakan (a duct ﬂute popular during the early nineteenth century)500 and a ﬂute with an extended range called a panaulon. In 1828, he was unable to fulﬁll a large contract for eighty-eight instruments that included four basset horns.501 One angled basset horn (F-Arnouville-Lès-Gonesse, ca. 1835) is known. It is stained boxwood with horn ferrules; it has sixteen keys (including three basset keys for E, D, and C with decorated key head covers), knee, rounded box, and brass bell. It is stamped “(ﬂower)/J HORALEK/W WARZAWIE.”502

Russia Michael (Mikhail) Lisin of Moscow ﬂourished during the early nineteenth century. An example of his work is a twelve-key angled basset horn (RU-St Petersburg, 181) with an integral knee at the right joint, a rounded box, and a brass bell.503 498. I thank Jörn Öierstedt for informing him about the Larshof basset horns in two private collections and contacting Arne Møller of Copenhagen. I thank Hans Rudolf Stalder for information. See a similar mounting of the G key on a B clarinet (GB-Edinburgh, 4955); Shackleton Collection, 251. 499. See the description in Fricke, Historic musical instruments, 113–114; for a photo, see Myers, Historic musical instruments, 102. 500. See Marianne Betz, “Csakan,” Grove Music Online. 501. Schiller, Klarinet, 91. I thank Jane Dobija for translating the Polish text. 502. I thank Denis Watel for allowing me to see his collection in 2005. 503. Blagodatov and Vertkov, Katalog sobraniia muzykal’nykh instrumentov, 73; Melville-Mason, appendix 2; photo in Blagodatov, Klarnet, 38.

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Slovenia Simon Unglerth (1778–1854) of Laibach (Lujbljana) ﬂourished from 1798/1800 to 1854. His only known extant instrument is an angled eight-key basset horn (US-NYNew York, 89.4.2143) of boxwood with horn ferrules, ivory knee, ﬂat box, oval brass bell, and basset keys for D and C.504

Sweden Hans Pehrsson Söderberg of Västerås ﬂourished from 1810 to 1832. One basset horn is known: a fourteen key instrument (S-Stockholm, N77221) is made of boxwood with dark horn ferrules, and has a rounded box, although missing its knee and bell. Its four basset key touches are arranged in the same manner as those made by Heinrich Grenser. It was sold to the Nordiska Museet in Stockholm in 1883 at the Christian Hammer sale (no. 1467) in Cologne.505 Henning Andersen Skousboe (1776–1854) was active as a woodwind maker in Copenhagen from 1805 to 1854.506 One basset horn is recorded in the Museum Nienburg (D-Nienburg, 715) with eight keys.507

Switzerland Joseph Aloys Carl Dominik Felchin (1838–1885) was probably trained by his father, Joseph Carl Anton Felchin, and on his father’s death in 1855, took over his woodwind-making ﬁrm in Zug.508 A seventeen-key straight basset horn (CH-Einsiedeln, 25, ca. 1860) is boxwood with ivory ferrules and pillar-mounted nickel silver keys, including four basset keys. There are ﬁve sections: mouthpiece, curved barrel, lefthand joint, right-hand joint-stock, and boxwood bell.509

504. Description in Brown, Catalogue of the Crosby Brown collection, 137–138; color photo in Winternitz, Musical instruments of the western world, 236, third instrument from left. This basset horn is photographed with an incorrect knee and has subsequently been supplied with an ivory knee with the proper angle. I thank Herbert Heyde for details of this instrument. 505. See Katalog der reichhaltigen und ausgewählten Kunst-Sammlung des Museum Christian Hammer in Stockholm, 128, no. 1467 and photo; NLI, 377; Langwill, An index, 166. I thank Jörn Öierstedt for information and photos and for obtaining a copy of the Hammer sales catalog with auction annotations. 506. NLI, 375. 507. I thank Jörn Öierstedt for informing me about this instrument. Wind instruments are on display in the Quaet-Faslem House of the Museum Nienburg; see http://www.museum-nienburg.de. 508. Kälin, Die Blasinstrumente in der Schweiz, 31. 509. I thank Martin Kirnbauer for a description and Andreas Schöni for photos of the instrument. A single photo of the stamp on the curved wooden barrel is given by Kälin, Die Blasinstrumente in der Schweiz, 31, Abb. 21.

Basset Horn 167 Conclusion The basset horn appeared in southern Germany by 1760 and within twenty years, it was an immediate success among musicians and composers who promptly adopted it. It followed the earliest clarinets d’amour and alto clarinets and preceded the ﬁrst playable bass clarinets in the 1790s. The construction characteristics of the basset horn varied a great deal, particularly during the eighteenth and early nineteenth centuries. The curved or sickle-shape instruments were the earliest design, followed by angled instruments. The angled basset horns were the most commonly made and easier to both construct and hold than curved basset horns. Later popular designs included angled basset horns with an integral knee joint on the right-hand section and those with a knee joint below the right-hand stock-joint. By the 1830s and 1840s, several straight instruments with a small butt joint below the right-hand stock section were constructed, along with older-style angled instruments. During the mid-century, straight-body instruments without a knee and with a curved barrel were made. German makers were by far the most numerous, and examples of curved basset horns spread from their eighteenth-century origin in southern Germany or Bavaria to Potsdam, Paris, and Strasbourg. A late curved example was made in Markneukirchen about 1830. Basset horns at a 90-degree angle were also made in southern Germany during the 1780s. At about the same time, angled basset horns were made and successfully introduced by the Viennese makers Lotz and Griesbacher, in Germany by Grundmann and A. Grenser, and in Prague by Doleisch. During the late eighteenth century, several high-quality and important instruments were made in Dresden by Freyer and in Potsdam by Kirst. The nineteenth century saw a large increase in the number of instruments and even specialist basset horn makers. The makers with at least ﬁve extant instruments were Griesling & Schlott in Berlin, Heinrich Grenser in Dresden, Schölnast in Pressburg, Rudhard in Stuttgart, and Merklein, Koch, Küss, and Ziegler in Vienna. The most proliﬁc basset horn maker was Strobach in Carlsbad, with as many as fourteen instruments reported. Other makers of basset horns worked in Italy, The Netherlands, England, Denmark, Sweden, Switerzerland, Poland, and as distant as Russia. Among all these basset horn makers, nine of the larger nineteenth-century ﬁrms— Streitwolf, Berthold, Stephan Koch Jr., Leopold Uhlmann, Stengel, Skorra, Seidel, Heckel, and Mollenhauer—made both basset horns and bass clarinets, foretelling the eventual prominence of the latter instrument. Skorra and Stengel were the only makers to construct alto clarinets, basset horns, and bass clarinets. After the mid-nineteenth century, makers eventually settled on a straight-body instrument, without angles and with upturned brass bell, similar to the design used on contemporary bass clarinets. This design became the standard basset horn model for makers such as Heckel, Ottensteiner, and Stengel, although older-style angled models were occasionally built. After 1860, there was a dramatic decline in the use

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of the basset horn for a variety of reasons, as stated by Newhill.510 The instrument was sometimes uncomfortable to play because of the large and awkward stretch for the hands, the basset keys often failed to close properly when water collected in the bends of the wooden box, there was a lack of carrying power, and some instruments had bad intonation. It can be argued that the bore of some basset horns was too small for the length of the air column, thus creating blowing resistance. Iwan Müller’s improved thirteen-key alto clarinet was in some cases a more ﬂexible instrument for playing in various tonalities and in its more exact intonation. All clarinets d’amour had disappeared after 1850, replaced by alto clarinets in civil and military bands. As the bass clarinet developed and was accepted by musicians during the early nineteenth century, it provided a ﬂexible bass register clarinet in the orchestra and band.511 However, the basset horn was revived during the late nineteenth and early twentieth centuries by a few composers such as Richard Strauss and Joseph Holbrooke, and it was made by a few makers. Today the instrument is played by many and made by a number of ﬁrms throughout the world. For example, Buffet Crampon, Selmer, Leblanc, and Yamaha make Boehm system instruments; German makers such as F. A. Uebel and Herbert Wurlitzer and Austrian makers such as Hammerschmidt construct Oehler system straight-body instruments. Both systems are made of African black wood with an upturned nickel silver–plated bell descending to low C.

510. Newhill wrote after 1840, but the evidence presented here suggests a decline in the use of the basset horn after 1860. The reasons for this decline are stated, with some emendations, based on Newhill, The basset-horn, 16–17. 511. Most players today prefer basset horns made with the larger bore of the alto clarinet, thus losing the distinctive basset horn tone but gaining an easier playing instrument with more projection and an even tone quality.

3

Basset Horn Music

The basset horn repertory is quite large. Composers utilized it in dozens of works from the mid-1760s. The purpose of this chapter is to review chronologically (to 1860), and then by composer, a representative sampling of these works within the following general categories: opera, sacred, and stage works; orchestral; concertos; chamber music; and wind band music. It includes works by the most well-known and important composers, along with many by lesser known composers and compositions by players, but it is not intended to be comprehensive.1 The chapter ends with sections devoted to virtuosi and their concerts and the use of a basset horn stop in organs. Unless noted otherwise, the pitch of the basset horn used in compositions is F. Included in this chapter are a few works written for the G and D basset horns. By the 1760s, when the ﬁrst basset horn music was written, composers were making use of different wind instruments regularly in their operas, orchestral works, church compositions, and chamber music and as obbligato instruments to accompany singers. Basset horns were often made in pairs and could be used in place of clarinets for a lower and more somber tone color. Wolfgang Amadeus Mozart was the most adventurous and skillful composer of the eighteenth century and utilized the expertise of his players Anton and Johann Stadler, specialists on the clarinet and basset horn. Mozart’s basset horn writing in many works is not only notable but also important historically because numerous nineteenth-century authors cite only the writing in his Requiem and occasionally his use of the instrument in La clemenza di Tito, Le nozze di Figaro, and Die Zauberﬂöte.2 In fact, the great popularity of Mozart’s works has prompted

1. A very large listing of basset horn music, including arrangements, contemporary works, and lost and reported works, is found in Grass and Demus, Das Bassetthorn, 137–245. A shorter repertory list but with a discussion and evaluation of several works is found in Newhill, The basset-horn, 33–126. See also the music listed by Melville-Mason in “The rôle of the basset horn players,” 62–64. 2. See Andersch, Musikalisches Woerterbuch (1829), 52; Gathy, Musikalisches Conversations-Lexicon (1835), 33; Fétis, Manuel des compositeurs (1837), 63; Gassner, Partiturkenntniß (1842), vol. 1, 24; Brockhaus,

169

170 From the Clarinet d'Amour to the Contra Bass many writers to suggest the mistaken idea that only Mozart’s works were responsible for the continued use of the instrument throughout most of the nineteenth century. This chapter demonstrates that although Mozart’s writing and inﬂuence were important for the use of the basset horn, there were many signiﬁcant European and Scandinavian composers who were attracted to its sound and wrote for the basset horn during the eighteenth and nineteenth centuries. For example, during the late eighteenth century, Mozart’s student Franz Süssmayr added an impressive and difﬁcult obbligato for Anton Stadler to an aria in his opera Der Wildfang (1797), and Beethoven wrote the difﬁcult and demanding solo basset horn part for Johann Stadler, brother of Anton, in the incidental music to his ballet The Creatures of Prometheus (1800–1801). Later, well-known collaborations between outstanding basset hornists and composers include Heinrich Bärmann and his son Carl with Felix Mendelssohn, who wrote for them the Zwei Concertstücke (1832–1833) for clarinet, basset horn, and piano, and John Maycock with Michael Balfe, who wrote for Maycock an important obbligato in his very successful opera The Bohemian Girl (1843).3 Outstanding players in court orchestras also came to the notice of court composers. For example, the Copenhagen Court Orchestra employed the German players Joseph Rauch of Bavaria and Albrecht Rauch of Saxony as part of a wind octet in 1773.4 The orchestra purchased clarinets and basset horns for their use,5 and a series of operas and stage works include the basset horn by composers working at the court, including J. E. Hartmann and Schulz (discussed later). The basset horn continued to be played in Copenhagen during the nineteenth century and it was used in several military bands in Germany and England. Both orchestral players and soloists learned the basset horn either based on their experience as clarinetists and

Allgemeine deutsche Real-Encyklopädie für die gebildeten Stände (1843), vol. 2, 98; Gontershausen, Neu eröffnetes Magazin musikalischer Tonwerkzeuge (1855), 144; Andries, Aperçu théorique de tous le instruments de musiques (1856), 26; Bernsdorf, Neues universal-Lexikon der Tonkunst, vol. 1 (1856), 344. In addition to Mozart, Schilling mentions G. J. Vogler’s use of the basset horn in sacred music in “Bassethorn,” Encyclopädie der gesammten musikalischen Wissenschaften (1835), vol. 1, 466. 3. Two large collections of basset horn music must be mentioned. Count Carl Gustaf Löwenhielm (1771–1856) was the assistant to the Swedish Crown Prince Oskar, as well as a lieutenant in West Sweden. He was active at the royal court chapel in Stockholm and collected 104 compositions, 15 of which (manuscript and prints) include the basset horn, now in the Löwenhielm collection in the Karlstad Stadsbiblioteket, Sweden. These include two concertos by G. A. Schneider, quintets for basset horn and strings by Backofen and Rummel, and other chamber music. See Grass and Demus, Das Bassetthorn, 122; Öierstedt-Christiansen, “Bassethornet,” 18–19; I thank Jörn Öierstedt for a list of the basset horn works in Löwenhielm’s collection. The second collection was assembled by the music director and clarinetist Alessandro Vessella (1860–1929). It includes eighteen manuscript works for basset horn, including concerti and solos with orchestra and chamber music by Filippo Marchetti, Vincenzo Ciuffolotti, Giuseppe Neroni, and several unnamed composers. The Vessella collection is preserved in the Biblioteca di archeologia e storia dell’arte in Rome. I thank Luigi Magistrelli for this information. 4. Jensen, “Dulcianen og fagotten,” 198. 5. Møller, Fløjte, obo, clarinet & fagot, 92; see Rice, The clarinet in the classical period, 55–56.

Basset Horn Music 171 wind players or possibly from teachers who were also familiar with the instrument.6 The various shapes in which basset horns are made affect the playing and sound only to a small extent. Although a number of different names have been use for the basset horn (see chapter 2), the term basset horn is used throughout this chapter regardless of the name originally speciﬁed. The original name is speciﬁed in the text or a footnote and is included in the music illustrations. Opera, Sacred, and Stage Works Composers of opera, sacred, and stage works used the basset horn in some of the earliest and most historically signiﬁcant works. The unique sound of the basset horn heard in numerous performances helped to stimulate its use by musicians and composers.7 During the eighteenth century, selected composers include Johann Christian Bach, Ignaz Holzbauer, Mozart, Johann Ernst Hartmann, Johann Schulz, Georg Vogler, and Franz Xaver Süssmayr; during the nineteenth century, they include Beethoven, Carl Maria von Weber, E. T. A. Hoffmann, Louis Spohr, Nikolaos Mantzaros, Johann Simon Mayr, Felix Mendelssohn, Jean-Georges Kastner, and Michael Balfe. These composers are discussed in the following section.

Johann Christian Bach Johann Christian Bach (1735–1782) became an important operatic composer after moving to London in 1762, where he wrote several operas. Bach received a commission to write an opera for the 1772 Name Day celebrations for Elector Carl Theodor in Mannheim. The ﬁrst use of the basset horn in an opera appears in Bach’s Temistocle (1772), followed by Lucio Silla (1775), both written for the Mannheim court orchestra. Temistocle includes three basset horn parts marked clarinetti d’amore in the second movement (andante) of the overture and in the aria “Ah si resta” in act three. In act two of Lucio Silla, there are three basset horn parts in the aria “Anch’io per un’ingrata.” Each of these examples is written in G major while the three basset horn parts are transposed to F major; the ﬁrst two parts are written in treble clef, and the

6. One instruction manual by J. G. H. Backofen, Anweisung zur Klarinette nebst einer kurzen Abhandlung über das Basset-Horn (Leipzig, ca. 1803), includes several duets for two basset horns (21–33) and devotes three pages of text (42–44) to the instrument. 7. Bär suggests that the basset horn may have been used in the lost opera Der Serail (1765) by Johann Joseph Friebert, music director for the prince-bishops of Passau from 1763 until his retirement in 1795. Unfortunately, there is no further proof for Friebert’s use of the basset horn at this time, although it is tempting to make this assumption since basset horns were played in Passau during the 1760s (see the discussion of Mozart’s duets later), and the Mayrhofers of Passau probably made basset horns by 1760. See Bär, Verzeichnis, Band 6, 74; Robert N. Freeman, “Friebert, Johann Joseph,” Grove Music Online.

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third part is notated in bass clef descending to low C. Kroll wrote that the upper two parts should sound a seventh lower than written and the lowest part a tone higher, suggesting the use of D basset horns.8 Maunder argues for the use of D basset horns and found that octave doubling by the two upper basset horns is consistent and appropriate for these movements.9 In the G major overture of Temistocle, Bach scores for two violins, two ﬂutes, three basset horns, bassoon, viola, and bass. The compass of each basset horn is limited from one to two octaves at most: ﬁrst from f1 to b2; second, e1 to f2; and third, c (written as C in bass clef) to c1.10 In the G major aria “Ah si resta” marked allegretto spiritoso, the soprano soloist Aspasia is added to an orchestra of two violins, oboes, three basset horns, viola, and bass. Bach requires a larger compass for the ﬁrst and second basset horns and more agility of technique for all three instruments (ﬁgure 3.1). The same clefs are used as in the sinfonia, but the compasses are now somewhat wider: ﬁrst from c1 to c3; second, c1 to g2; and third, c to c1.11 The slow larghetto con moto G major aria, “Anch’io per un’ ingrate,” in Lucio Silla is similar to the music from Temistocle. It is scored for two violins, three basset horns, viola, soprano soloist, and bass. The three D basset horn parts are written in F, transposed in the score. In this aria, the basset horns have more technically demanding parts, the ﬁrst and second instruments doubling the violins, and the third doubling the violas. There are some passages where the basset horns are not doubling, and they blend well in the orchestral texture. The compasses are ﬁrst from c1 to c3; second, c1 to a2; and third, c to a.12 Although Bach’s use of the three basset horns is early, he used them in a most effective way by contrasting the two upper parts against a prominent bass voice.

Holzbauer Ignaz Holzbauer (1711–1783) was an Austrian composer who contributed signiﬁcantly to eighteenth-century musical life in Vienna and Mannheim, where he was Kapellmeister for twenty-ﬁve years (1753–1778). At the same time as the performances of

8. Kroll, The clarinet, 111–112. In 1956, Stein stated that these instruments were pitched in D but did not speciﬁcally identify the instruments as basset horns; see Bach, Fünf Sinfonien, VIII. Riehm tentatively suggested the use of D basset horns; see Riehm, “Die clarinetto d’amore und ihre Notierung,” 629. 9. Maunder, “J.C. Bach and the Basset Horn,” 42–47. Maunder also suggests the possible use of a D basset horn by Eisenmenger (D-München-BNM, 128) in these Bach operas. However, this instrument was later remade during the late eighteenth century (see chapter 2). Riehm returns to the subject of Bach’s operas, incorporating Maunder’s points, in “Zum Problem der tieffen Klarinetten,” 211–220. 10. Bach, Temistocle, Sinfonia, fols. 8v–12v. 11. Bach, Temistocle, act 3, 27v–37r. 12. Bach, Lucio Silla, act 2, no. 9, fols. 13r–21v. Kroll suggests another possible scoring choice in Temistocle and Lucio Silla: two A clarinets d’amour, used for the ﬁrst and second parts, and a basset horn in D; see Kroll, The clarinet, 111. However, this seems unlikely to me.

Basset Horn Music 173

Figure 3.1. Johann Christian Bach, “Ah si resta,” act 3, Temistocle (1772).

J. C. Bach’s operas, Holzbauer became the director of the Mannheim Hofkapelle in 1773 and rewrote his 1760 oratorio, La Betulia Liberata,13 for a Mannheim performance in 1774. Here is another effective use of three D basset horns modeled directly after Bach’s use of basset horns in the overture and the third act aria “Ah si resta” in Temistocle (1772). In a second act G major aria for the soprano Giuditta entitled 13. Floyd K. Grave, “Holzbauer, Ignaz (Jacob),” Grove Music Online; Ursula Lehmann, “Holzbauer, Ignaz Jacob,” MGG vol. 6 (1957), 660.

174 From the Clarinet d'Amour to the Contra Bass “Prigionier, prigionier, che fa ritorno,” Holzbauer writes for three basset horns “in F” with two ﬂutes, two violins, violetta (viola), and a basso part. Not surprisingly, he writes the same tonality as J. C. Bach previously used: treble clefs for the ﬁrst and second clarinet parts and a bass clef for the third part.14 Holzbauer’s score notation of clarinetti d’amore in F indicates the transposed tonality of F major played on three basset horns in D. The compasses of each part are more conservative than those used by J. C. Bach: ﬁrst from g1 to d3; second, e1 to b2; and third, c to g; nevertheless, the aria is still quite effective.15

Mozart Wolfgang Amadeus Mozart (1756–1791) was the most important and inﬂuential composer to write for the basset horn in his operatic works. According to Stanley Sadie and Cliff Eisen, “the mature music, distinguished by its melodic beauty, its formal elegance and its richness of harmony and texture, is deeply colored by Italian opera though also rooted in Austrian and south German instrumental traditions.”16 Mozart made particularly effective use of the basset horn as a solo obbligato instrument in the soprano aria “Non più di ﬁori” in act one of La clemenza di Tito K. 621 (1791). The tone of the basset horn was appealing to many composers of the late eighteenth and early nineteenth centuries. Its sweet upper register makes an effective contrast to a singer’s voice, and the rich quality of its low register adds depth to instrumental works. In addition, its large compass of three and a half octaves is most useful for composers. Mozart’s many works written for activities at Masonic lodges in Vienna include the basset horn and are discussed here. Alfred Einstein is eloquent in drawing attention to the Masonic symbolism of Mozart’s music composed for activities in the various Viennese Masonic lodges: the rhythm of the three knocks achieving a symbolic signiﬁcance in his opera Die Zauberﬂöte; the slurring of two notes, symbolizing the ties of friendship; and the progressions of parallel thirds that characterize the song for adjourning the meeting. Mozart’s choice of timbres (men’s voices and wind instruments such as clarinets and three basset horns) is considered appropriate for Masonic music.17 Mozart initially wrote for the basset horn in Die Entführung aus dem Serail (The Abduction from the Seraglio) K. 384 (1782) in aria no. 11, “Trauerigkeit, ward mit zum Lose.”18 This aria includes pairs of woodwinds: ﬂutes, oboes, basset horns (instead of clarinets), and bassoons. The basset horns double the other woodwinds 14. Holzbauer, “La betulia liberata,” act 2, fols. 34v–45r. 15. Holzbauer, “La betulia liberata”; Koch, “Sonderformen der Blasinstrumente,” 125–126. 16. Stanley Sadie and Cliff Eisen, “Mozart, Wolfgang Amadeus,” Grove Music Online. 17. Einstein, Mozart, 351. 18. Altenburg mistakenly states that Mozart includes the basset horn in his musical play Thamos, König in Ägypten K345/366a (ﬁnal version completed 1776–1779). He probably confused the horn (cor) parts in G in the score with the basset horn (corno di bassetto) in G. See Altenburg, Die Klarinette, 15; Tintori, Gli strumenti musicali, vol. 2, 763.

Basset Horn Music 175 throughout the aria adding their full and solemn sounding tone color. The basset horn parts are limited in compass: e1 to a2 and a to d2.19 Seven years later, Mozart again used two basset horns in an aria entitled “Al desio di chi t’adora” K. 577, composed in July 1789 and inserted in a revival of Le nozze di Figaro (The Marriage of Figaro) K. 492 (1786) in Vienna. This rondo was written for the famous soprano Adriana Ferrarese Del Bene, known for her rapid passage work, wide range, and ability to sing large leaps. It replaces the aria “Deh vieni non tarde” and is similar in writing to other rondos written especially for Ferrarese by Mozart, Salieri, and other composers.20 The scoring consists of two basset horns, two bassoons, two F horns, and strings. The basset horns play with the horns, and the ﬁrst basset horn is used as a leading voice with a compass of g1 to c3. The second basset horn is used in accompanimental arpeggios and plays from c to c3.21 An autograph sketch (in the Library of Congress) of this aria consisting of two staves with two instrumental parts in F is written in treble clef with one part in bass clef. Based on this sketch, Page and Edge suggest that one possibility of scoring envisioned by Mozart was using three basset horns,22 even though it was later scored for two basset horns. Perhaps Mozart was unsure of having a third player available, although he could always rely on two basset horn players, the Stadler brothers, in the Vienna Court Orchestra in performances of Le nozze di Figaro during 1789. In Die Zauberﬂöte (The Magic Flute) K. 620 (1791), two basset horns appear in the Temple Scene and the March of the Priests. Here, the basset horns are simply substitutes for clarinets with a range entirely in the clarino register, g1 to d3 for both instruments.23 Later in the same year, from the end of July through August, Mozart completed La clemenza di Tito, K. 621 (1791), which includes an extended basset horn obbligato in the aria “Non più di ﬁori.”24 It is possible that this is the same aria that was performed on 26 April 1791 by the Czech soprano Josepha Dušek (Duschek); a surviving program given at the Royal National Theater in Prague includes “A Rondo by Herr Mozart with basset horn obbligato.”25 Anton Stadler probably performed the basset horn obbligato part. However, there is no further evidence to link Dušek’s aria with La clemenza di 19. Mozart, Die Entführung aus dem Serail, 174–184. 20. Page and Edge, “A newly uncovered autograph sketch,” 601; John A. Rice, “Emperor and impresario,” 85–139. 21. Mozart, Le Nozze di Figaro, vol. 2, 602–617. 22. Page and Edge, “A newly uncovered autograph sketch,” 605. 23. Mozart, Die Zauberﬂöte, 168–171, 174–190. Arrangements of popular arias from operas were published for wind ensembles such as the harmoniemusic arrangement of Die Zuberﬂöte for two clarinets, two bassoons, and two horns by Johann Christian Stumpf published by André in Offenbach about 1800. This arrangement is recorded on Mozart, Eine Abendserenade by Nachtmusique with Eric Hoeprich on Glossa CD, 920601, 1996. 24. Durante reviews the most recent evidence for the dating and chronology of La Clemenza di Tito in “The chronology of Mozart’s ‘La Clemenza di Tito’ reconsidered,” 560–594; see also Julian Rushton, “La Clemenza di Tito,” Grove Music Online. 25. “6tens. Ein Rondo von Herrn Mozart mit obligaten [sic, obligate] Bassete-Horn.” Reproduced in Buchner, Mozart und Prag, unpaginated; and in Sýkora, František Xaver Dušek, 49; see Deutsch, Mozart, 393–394.

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Tito, so it is possible that Mozart adapted the earlier aria or wrote it while ﬁnishing the opera.26 The basset horn part is expertly written in a virtuosic style for Anton Stadler. Mozart writes treble and bass clefs to save ledger lines when using a very wide compass of c to d3 in this technically demanding obbligato.27 The basset horn plays from the beginning of the aria marked rondo larghetto, doubling the ﬁrst violins, and is featured at the beginning and throughout the allegro section (ﬁgure 3.2). There are some chromatic passages, but most of the solo is quite idiomatic and very effective. Basset horns were prominent instruments in Mozart’s last work, the Requiem (1791) K. 626, completed by Mozart’s student Franz Süssmayr and others. The scoring for the orchestra dispenses with high-pitched winds entirely in favor of two basset horns (replacing clarinets), two bassoons, two trumpets, timpani, strings, and basso continuo; soprano, alto, tenor, and bass soloists; and a four-part choir of soprano, alto, tenor, and bass voices. In this work, Mozart writes for two basset horns in every section of the fourteen-movement work in the standard version.28 These parts include short, effective solos that feature the somber tone color of these instruments, and Mozart primarily doubles and highlights the melodies in the soprano and alto parts by writing in the clarino or upper register. Their compasses are e1 to d3 and c1 to c3 without any use of the chalumeau register or basset notes below e.29 After Mozart’s death on 5 December 1791, a Mass was held for him in St. Michael’s church in Vienna, at which a part or parts of the unﬁnished Requiem were performed.30 Joseph Eybler initially completed scoring sections of the Requiem in December 1791, and Franz Süssmayr completed the work in February 1792. A copy of the manuscript was made before March for King Friedrich Wilhelm II of Prussia, who paid 490 ﬂorins for it.31 The ﬁrst performance of the complete work was given on 2 January 1793 at Ignaz Jahn’s restaurant hall in Vienna, organized by Baron Gottfried van Swieten for the beneﬁt of Mozart’s widow, Constanze, and their two children.32 After a rehearsal on 12 December 1793, the Requiem was performed on 26. John Rice has shown that “Non più di ﬁore” did not suit the voice of the ﬁrst Vitellia in “Mozart and his singers,” 41–48. Subsequently on 29 March 1798, Josepha Dušek, whose voice was better suited to her aria, performed a “Rondo mit obbligatem Bassethorn v. Mozart” (likely “Non più di ﬁore”) in Vienna with Anton Stadler playing basset horn; see Deutsch, Mozart, 486. 27. Mozart, La Clemenza di Tito, 265–281. 28. A full and detailed discussion of the Requiem and its musical additions by Süssmayer, Eybler, and others is found in Wolff, Mozart’s Requiem. 29. Mozart, Requiem. 30. The Mass and performance of the Requiem was reported in the Auszug aller europäischen Zeitungen (13 December 1791); Der heimliche Botschafter (16 December 1791); see Wolff, Mozart’s Requiem, 120–121. 31. Wolff, Mozart’s Requiem, 115; Constanze Mozart’s receipt for a copy of the Requiem is dated 4 March 1792 from Constantin Philipp Wilhelm von Jacobi-Kloest; see Wolff, Mozart’s Requiem, 115, 122. Later in 1796, Constanze had a copy of Mozart’s Requiem made for the Elector of Saxony in Leipzig for 200 Friedrich’s d’Or; see Wolff, 27, n. 78. 32. Announced in the Viennese newspaper Magyar Hítmondó (in Hungarian); see Deutsch, Mozart, 469; see also Wolff, Mozart’s Requiem, 116; Maunder, Mozart’s Requiem, 22, 199.

Figure 3.2. Wolfgang Amadeus Mozart, “Non più di ﬁori,” La clemenza di Tito K. 621 (1791).

177

Figure 3.2. Continued.

178

Basset Horn Music 179 14 December at the church of the Cisterician monastery of Neukloster in Vienna (Wiener Neustadt) in memory of the wife of Count Franz Walsegg-Stuppach, who originally commissioned the Requiem.33 The basset horn parts were probably played by Anton and Johann Stadler because both players were paid for their services in the theater account books of the Hoftheater during 1791 and 1793, although they may have been paid extra for these performances.34 The Requiem was performed throughout Europe a number of times after it was performed in Vienna. However, it is not certain that basset horns were played in all of these cities. They are rarely mentioned in concert notices, and many orchestral musicians and orchestras did not own them. The ﬁrst performance outside Vienna was in Leipzig at the Gewandhaus on 20 April 1796.35 Another early performance using manuscript parts was at Hamburg on 7 November 1799 under the direction of Christian Friedrich Gottlieb Schwenke,36 who later wrote a piano arrangement of the Requiem published in 1818 by Breitkopf & Härtel of Leipzig.37 The ﬁrst performance in Dresden occurred at the end of December 1799.38 By 1800, Breitkopf & Härtel published the ﬁrst edition of the Requiem,39 and basset horn parts would have been available if copied from the score. The ﬁrst edition of the performing parts for the Requiem was published in 1812 by the Viennese ﬁrm Chemische Druckerey, also known as Stamperie chimica.40 The title page lists II Corni de Bassetto o Clarinetti;41 thus, alternate clarinet parts in B were offered in case basset horns were not available. The ﬁrst performance in Berlin was highly successful under the direction of the Faschischen Singakademie at the Garnisonkirche on 8 October 1800.42 Probably the ﬁrst performance in London was at the Covent Garden Theatre during Lent (between early February and early March) 1801. The basset horn players were Robert Munro and James Henry Lefﬂer, known as Lefﬂer Junior, both of whom were members of the Royal Society of Musicians.43 Other early performances of the 33. See Deutsch, Mozart, 468; Wolff, Mozart’s Requiem, 116. 34. See Link, The national court theatre in Mozart’s Vienna, 438, 446. 35. The announcement was made on about 16 April 1796 and mentions that at the Requiem’s conclusion Constanze would sing; Deutsch, Mozart, 480–481. The program of the 20 April concert lists the work as “Missa pro defunctis” (“Opus posthumum Mozarti”). 36. “Nachrichten,” AMZ 2, no. 9, 176. 37. Whistling, Handbuch der musikalischen Literatur, 1818 Supplement, 57. 38. “Kurze Nachrichten,” AMZ 2, no. 17, 296–297. 39. Deutsch, Mozart, 495; see Wolff, Mozart’s Requiem, 248. 40. Alexander Weinmann, “Haslinger,” Grove Music Online; Wolff, Mozart’s Requiem, 117. 41. Wolff, Mozart’s Requiem, 248. 42. “Kurze Nachrichten,” AMZ 3, no. 5 (29 October 1800): 87–88; see also Mahling, “Zum ‘Musikbetreib’ Berlins,” 132–133. 43. A libretto in the form of a program for several concerts is given in The requiem, or Grand funeral anthem composed by W.A. Mozart, and a grand selection, chieﬂy from the most favorite works of Handel, as performed at the Theatre Royal, Covent Garden, during Lent 1801 (London: E. Macleish, 1801). This program probably includes the names of the performers; see the description in the bibliographic record on OCLC,

180 From the Clarinet d'Amour to the Contra Bass Requiem, often premieres, occurred in Prague (22 March 1801),44 Leipzig (1801),45 Brunswick (1802),46 London (1802),47 and Breslau (1804).48 The reviewer of the ﬁrst performance in Paris (1 January 1805) was very enthusiastic about the high quality of the conservatory singers and orchestral performers. He speciﬁcally noted: “The basset horns, which I have heard in many places in Germany, were truly beautiful as solo instruments, both at the beginning and when played with bassoons in a heavenly melody. Here they were combined and heard as one expressive instrument with a unique tone.”49 Later performances included Mannheim (27 June 1807),50 Königsberg (1809),51 Amsterdam (1812),52 Heidelberg (16 September 1812),53 Wismar (9 September 1818),54 Hamburg (1818),55 London (16 June 1826),56 Moscow (1827),57 and Berlin (1830).58 In 1836, George Hogarth described the basset horn and Mozart’s use of it at the beginning of the Requiem.

http://newﬁrstsearch.oclc.org. See also Eisen, “Mozart’s leap in the dark,” 6; Rendall, The clarinet, 134; Matthews, The Royal Society of Musicians of Great Britain, 91, 104. For more biographical details on both players, see A biographical dictionary, vol. 9, 218–219; vol. 10, 389; and Weston, Yesterday’s clarinettists, 100, 121. 44. “Auszug eines Schreibens eines reisenden Musikfreundes,” AMZ 3, no. 27 (1 April 1801): 464–466. 45. “Uebersicht des Bedeutendsten aus der öffentlichen Musik in Leipzig, von Weihnacht bis Ostern,” AMZ 3, no. 28 (8 April 1801): 478–479. 46. “Kultur der Musik in Braunschweig,” AMZ 4, no. 27 (31 March 1802): 445. For this performance, additional ﬂutes, clarinets, and horns were added. See Bauman, “Requiem, but no peace,” 156. 47. “Zustand der Musik in England, besonders in London,” AMZ 5, no. 12 (15 December 1802): 203. 48. The orchestra consisted of 130 members, and Haydn’s “Trauer” Symphony served as an overture, see “Briefe über Breslau,” AMZ 6, no. 30 (25 April 1804): 507; Bauman, “Requiem, but no peace,” 157. 49. “Die Bassethörner, die ich an einegen Orten Deutschlands zwar noch schönen gehört hören, hatten sich doch besonders für Solostellen, wie gleich zu Anfang, so eingespielt und mit den Fagotten so abgemessen, dass die himmlische Melodie, in welche sie verﬂochten sind, wie von Einem Instrument— in Absicht auf Ausdruck, und sogar auf Ton—zum kommen schien.” “Nachrichten,” AMZ 7, no. 16 (16 January 1805): 243. 50. Only the Domine and Hostias were performed, see AMZ 9, no. 47 (19 August 1807): 755. 51. “Uebersicht des Zustandes der Musik in Königsberg,” AMZ 11, no. 39 (28 June 1809): 624. At the conclusion of the Requiem, Handel’s “Hallelujah” chorus was performed. See Bauman, “Requiem, but no Peace,” 157. 52. Because basset horns were not available C clarinets were substituted to perform their parts, see “Gegenwärtiger Zustand der Musik in Amsterdam,” 241. 53. AMZ 14, no. 41 (7 October 1812): 671. 54. “Nachrichten,” AMZ 20, no. 40 (7 October 1818): 711. 55. “Geistliches Musikfest in Hamburg,” AMZ 20, no. 41 (14 October 1818): 716. The performance was under the direction of Schwenke and the basset horns were played by H. A. F. Hartmann and Jodry. See also Weston, Yesterday’s clarinettists, 80. 56. This Requiem was performed at Moorﬁeld’s Chapel as a memorial to Carl Maria von Weber. The basset horns were played by Thomas Willman and William Powell; see Weston, Yesterday’s clarinettists, 198, 273. 57. “Nouvelles Étrangères,” 213. 58. Mahling, “Zum ‘Musikbetreib’ Berlins,” 154–157.

Basset Horn Music 181 The Corno di Bassetto is a large clarinet, the compass of which extends a ﬁfth lower than the C clarinet. It is played upon in the same manner as the clarinet, and is remarkable for the mournful character of its tones. On this account it is used with great effect where an expression of deep melancholy is required; as in the opening of Mozart’s ‘Requiem,’ where its wailing sounds are mingled with those of the bassoon in a strain of plaintive harmony which is profoundly pathetic.59 Ward provides a memorable description of how Mozart used the basset horn throughout the work: their poignancy in the “Dies irae” and above all their calm melody alone at the beginning of the “Recordare” are unforgettable. Mozart could not have scored more ﬁttingly, for basset horns are less assertive than clarinets, and their warm sounds always inclining to somberness, are unique when allied to bassoons, which can sound inimitably sad, and trombones. Their melodic function in the “Recordare” is as unusual as it is beautiful, and many of the ﬁrst listeners to the Requiem must have been surprised at the generous treatment the basset horns received. The melancholy passages (bars 27–34 and 61–68) contrast with the feeling of hope which lingers in their opening melody. In the “Lacymosa” they and the bassoons have a harmonic part against the ceaseless motion of the strings. Particularly ﬁne is their part in the fugues of the “Domine Jesu” and “Hostias,” their brave theme passed from one instrument to another, while the violins agitate above them. In the “Benedictus” too they have the most heart-seizing opening tune . . . but the basset horns prove their ability to tongue fast runs, perform leaps and scalic passages, sustain notes with equal beauty throughout (particularly in the “Confutatis” and “Domine Jesu”) and above all can be at times tender and strong, tragic and digniﬁed, with a tone-quality unapproached by any other instrument. It was a handsome tribute to Stadler, who was to play in the Requiem after Mozart’s death, to include basset horns, of which he was so proud and fond, and to give them a part that has remained a marvel ever since.60

Hartmann In 1761, Danish composer and violinist Johann Ernst Hartmann (1726–1793) was the concertmaster of the ducal court at Plön in Holstein. In October 1761, this duchy passed to the Danish crown, and the Plön orchestra was called to Copenhagen to play in the theater orchestra. Hartmann traveled back to Plön in 1763 and 1764 but permanently returned to Copenhagen in 1766. He was appointed court violinist in 1767 and music director in 1768.61 59. Hogarth, “Musical instruments,” 20. 60. Ward, “Mozart and the clarinet,” 139–140. 61. John Bergsagel, “Hartmann (1) Johann Ernst Hartmann,” Grove Music Online.

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Hartmann’s most signiﬁcant works were his singspiels, which he began to compose after the age of ﬁfty. One of his popular works was based on a text by Johannes Ewald titled Balders død (The Death of Balder) and premiered 30 January 1779. It reﬂects the inﬂuence of Gluck and includes an orchestration noted for its darkcolored or “Nordic” mood.62 Hartmann’s basic orchestra is a small group of two oboes, two bassoons, two horns, strings, and harpsichord. Two B clarinets were added in the ﬁnal 1791 version of the singspiel in nos. 1 and 4 in the Royal Theater’s score. In no. 10, Balder’s aria uses a text that has the character pause twice to listen to an echo. In the second echo, a notation in the oboe parts, “muta in corni di bassetto,” indicates an unusual change to basset horns played by the clarinetists. Five bars include two basset horns with very limited compasses of e2 to b2 and c2 to g2; four measures later, it reverts back to oboes.63 Hartmann’s singspiel Fiskerne (The Fishermen) premiered just one year later than Balders Død, on 31 January 1780. During the 1780s, there were a number of performances of Fiskerne with changes in arias and orchestration. The orchestra is small, adding B clarinets only in an aria in act one, no. 4. Hartmann made further revisions in 1792, including rewriting Lises’s aria in act two, no. 9 for a coloratura voice and two basset horns, two ﬂutes, two F horns, and strings. It is a full-length aria where the ﬁrst basset horn doubles the voice and ﬂutes in sixteenth notes with a compass of e1 to d3; the second basset horn is simply harmonic support with a compass of c1 to f2.64 In Hartmann’s Hyrdinden paa Alperne, ﬁrst performed in Copenhagen in 1783, he uses two basset horns in a duet, no. 13 in act one.65 In Den blinde i Palmyra (not performed or dated), Hartmann speciﬁes the basset horn in one aria of act two.66 It is certainly possible that these basset horn parts were added in 1791 or afterward, which followed the revisions made by Hartmann in his better known works Balders Død and Fiskerne. Surviving basset horns in the Stockholm Museum that may have been used in these performances include an eight-key instrument dated 1784 by August Grenser and a ten-key instrument by Kirst (see appendix 3).

Schulz Johann Abraham Peter Schulz (1847–1800) was a German composer active in Berlin from 1773 and in Rhinesberg in 1784. Because of his advocacy of new French music, 62. John Bergsagel, “Hartmann (1) Johann Ernst Hartmann,” Grove Music Online. 63. Hartmann, Balder’s død, 279–280. I thank Jörn Öierstedt for sending information concerning the score in Copenhagen, Denmark, Kongelige Bibliotek, MS., KBS/MA CII 113, 13. 64. Hartmann, Fiskerne, 267–281. I thank Jörn Öierstedt for sending information concerning the score in Copenhagen, Denmark, Kongelige Bibliotek, MS., KBS/MA CII 113, 15. 65. Hartmann, Hurdinden paa Alperne, act 1, no. 13, 102–112, 176, 178, 180, 184, 186, 188, 190, 192, Copenhagen, Denmark, Kongelige Bibliotek, MS., KBS/MA CII 113. I thank Jörn Öierstedt for sending information. 66. Hartmann, Den blinde i Palmyra, act 2, 58–61, Copenhagen, Denmark, Kongelige Bibliotek, MS., KBS/ MA CII 113. Hartmann also used a basset horn in his “Sörge Cantate over Admiral Grotschilling” (1790s), score in Copenhagen, Denmark, Kongelige Bibliotek. I thank Jörn Öierstedt for sending information.

Basset Horn Music 183 Schulz earned the disfavor of the royal family in Rheinsberg and resigned in 1787. However, he was appointed to an important position, Hofkapellmeister and director of the Royal Theater at the Danish court in Copenhagen, where he reorganized the royal chapel, staged works that reﬂected his concern for problems such as land reform, founded a beneﬁt fund for musicians’ widows, and wrote a treatise on music education. Because of his varied activities, the court of Copenhagen became one of the leading musical centers in Europe. Even though he was not Danish, Schulz’s works embodied current political ideas, and he became extremely inﬂuential in Denmark.67 Schulz wrote three Danish singspiels, two of which include two basset horns: Indtoget (Entry), written in 1789 and 1790 and ﬁrst performed on 26 February 1793; and Peters bryllup (Peter’s wedding), written about 1791 and ﬁrst performed on 12 December 1793. The basset horns in Indtoget are used in two sections of act one and three sections in act two.68 In Peters bryllup, two basset horns appear in one aria of act one, “Aedel Yngling,” marked bassetto corni, written in treble clef, and chieﬂy doubling the viola parts. He uses the basset horns for their contrast in tone color to the clarinet but not in extended solo passages.69

Vogler The German composer and teacher Georg Joseph Vogler (1749–1814) became a court chaplain in Mannheim in 1772. The elector encouraged his musical talents by sending him to Italy in 1773, where he studied with Padre Martini and Francesco Valotti. On his return to Mannheim in 1775, Vogler became spiritual counselor to the elector and was named second Kapellmeister in 1777. He preferred to stay in Mannheim when the elector’s court transferred to Munich in 1778. In 1780, Vogler traveled to Paris, where he wrote several dramatic works, and in 1783 he visited London. The next year he was summoned to Munich and appointed Kapellmeister but stayed only one year. The next year Vogler embarked on a concert tour and in 1786 was appointed Kapellmeister 67. Raymond A. Barr, “Schulz, Johann Abraham Peter,” Grove Music Online. 68. Schulz, Indtoget, act 1, no. 5, 75–96; act 1, no. 8, 129; act 2, 235–244, 246–251, 254–257, Copenhagen, Denmark, Kongelige Bibliotek, MS., KBS/MA CII 121. I thank Jörn Öierstedt for sending information. 69. Schulz, Peters bryllup, 149–155. Schulz also uses two basset horns in “Baggesens Lovsang” (1793) and in “Frelserens sidste Stund” (1794), manuscript scores in Copenhagen, Denmark, Kongelige Bibliotek. At least ﬁve works including the basset horn were written for the Copenhagen court by the German composer Friedrich Ludwig Aemilius Kunzen, who succeeded Schulz as Kapellmeister. They are Erik Ejegod (1798), the singspiel Hiemkomsten (The Homecoming, 1802), the opera Eropolis (1803), the incidental music to Dannequinderne (The Noblewoman, 1805), and the opera Gyrithe (1807). During the nineteenth century, the Danish composer Christoph Ernst Friedrich Weyse wrote three operas including basset horns: Sovedrikken (The Sleeping-Draught, 1809), Faruk (1812), and in the overture and seven sections of Ludlams Höhle (Ludlam’s Cave, 1816). Johann Peter Emilius Hartmann wrote two operas including basset horn: Ravnen, eller Broderprøven (The Raven, or The Brothers’ Test, 1832) and Fiskeren og hans Børn (1840). I thank Jörn Öierstedt for information concerning manuscript scores in the Copenhagen Library.

184 From the Clarinet d'Amour to the Contra Bass and music tutor to Gustavus III, king of Sweden. In 1799, Vogler left Stockholm and arrived in Vienna in 1803, where he taught several pupils, including C. M. von Weber, and composed. In 1807, Vogler was appointed Kapellmeister and councilor of ecclesiastical affairs to the Grand Duke of Hesse-Darmstadt, where he concentrated on writing church music, organ building, and teaching pupils, including Meyerbeer.70 According to Corneilson, Vogler was one of the most colorful and original musicians of his day. His reputation was tarnished by his abrasive personality, and his own music lacks the inspiration of many of his well-known students. Vogler was undoubtedly more inﬂuential as a theorist, teacher, and performer than as a composer.71 Vogler wrote for the basset horn in several works. The article on “G” (1785) in the Deutsche encylopädie mentions his use of the G basset horn in a Pastoral-Kirchenmusik. Vogler’s incidental music for Hermann von Unna was written in Stockholm in 1795. Number 4 is an instrumental largo scored for two F horns, two ﬂutes, three F basset horns, violins, viola, basses, and one bassoon. The middle section is for strings alone, and in the ﬁnal section a solo oboe is added. As in the earlier works by Bach and Holzbauer, the ﬁrst two basset horns are written in treble clef, the third in bass clef. Vogler writes sensitively using the clarino register for the ﬁrst and second basset horns, g1 to c3 and b to a2, and c to g1 for the third. He features all three basset horns by themselves in eight-measure phrases and doubles the ﬁrst two basset horns with the ﬂutes and, in the last section, the solo oboe. Piano and pianissimo dynamics are required of the basset horns and all the instruments.72 Vogler is also known to have included the basset horn in a short trio in his opera Samori written in Vienna in 1804.73 He is reported by Schilling to have used the basset horn in many of his church pieces.74

Süssmayr The Austrian composer Franz Xaver Süssmayr (1766–1803) studied at the monastery school in Kremsmünster, studied composition from local teachers, and participated as a singer, violinist, and organist at the cathedral. In the late 1780s, he moved to Vienna, where he taught music privately and performed in the Hofkapelle. He began studying composition with Mozart in 1790 or 1791, subsequently working for him as a copyist, probably assisting him in composing the secco recitative for La clemenza 70. Paul Corneilson, “Vogler, Georg Joseph,” Grove Music Online. 71. Corneilson, “Vogler, Georg Joseph,” Grove Music Online. 72. Vogler, Hermann von Unna, fols. 19r–24r. I thank Jörn Öierstedt for sending a photocopy of the manuscript. 73. Darmstadt, Hessische Landes und Hochschulbibliothek, Mus. MS. 1131/1131 b–d; see Grass and Demus, Das Bassetthorn, 99, 234. 74. Schilling, “Bassethorn,” Encyclopädie der gesammten musikalischen Wissenschaften, vol. 2 (1835), 466. See an extensive list of Vogler’s church music works with instrumentation in Schafhäutl, Abt Georg Joseph Vogler, 248–281.

Basset Horn Music 185 di Tito, and completing the Requiem at Constanze Mozart’s request. Süssmayr’s own operas were both serious and comic, produced for theaters in Vienna and Prague. His most popular and best known work was Der Spiegel von Arkadien (1794) composed in the style of Die Zauberﬂöte.75 Süssmayr’s opera Der Wildfang (1797) was performed only twice in Vienna. In it, he requires B clarinets in four numbers and in the rondo “Was pocht mein Herz,” two C clarinets in the orchestra, and an extraordinary obbligato solo for basset horn. It includes a very wide compass from low B to g3, including all of the chromatic notes of the basset range from B to E. It seems very likely that this extensive part was written for Anton Stadler.76 The low B, below the usual lowest note of c, would have been produced by covering the large resonance hole on the bell with a shoe or a foot, unless a key was provided on the instrument. Large resonance holes, as found on the engraving of Stadler’s basset clarinet, are found on basset horns by Friedrich Hammig of Vienna and Strobach of Karlsbad (see chapter 2). In his opera Phasma produced in Vienna in 1801, Süssmayr subsequently requires clarinets in C, B, B, and A, and a basset horn in the third act ﬁnale.77

Beethoven The great composer Ludwig van Beethoven (1770–1827) wrote the incidental music for his ballet The Creatures of Prometheus (Die Geschöpfe des Prometheus), op. 43 from 1800 to 1801. It was ﬁrst performed in Vienna at the Burgtheater on 28 March 1801 and was quite successful, with twenty-eight performances given through 1802.78 The work consists of an overture, introduction, and sixteen numbers. Number 14 is scored in F major for oboe, basset horn, bassoons, two F horns, and strings. The basset horn and oboe are the leading woodwinds, and the basset horn is an effective replacement for the usual clarinet. The basset horn solo begins after a short introduction leading into an eight-measure adagio melody, the ornamentation of the melody being skillfully written out (ﬁgure 3.3). The oboe then plays a solo, accompanied by the basset horn in the chalumeau register with pizzicato strings. Both the oboe and basset horn trade off in this ornamented melody until the end of the section. After a ten-measure introduction, a simple theme is presented in an allegretto tempo, and the oboe and basset horn pass each 75. Linda Tyler, “Süssmayr, Franz Xaver,” Grove Music Online. 76. I thank Martin Harlow for a version of his paper entitled “The clarinet in works of Franz Xaver Süssmayr (1766–1803): Anton Stadler and the Mozartian example” given at the Clarinet and Woodwind Colloquium at the University of Edinburgh in 2007. 77. I thank Martin Harlow for this information. For a list of manuscript sources for Der Wildfang and Phasma, see Duda, Das musikalische Werk Franz Xaver Süßmayrs, 106–110, 122–125. Unfortunately, Duda does not identify Süssmayr’s use of basset horn in either opera. 78. 1801: March 28, April 11, 12, May 8, June 26, 28, July 20, September 6, October 16, November 1, 5, 20, 26, December 4, 10; 1802: January 4, 10, February 4, 18, March 1, 10, April 24, June 25, 28, July 19, August 7, 17, 29; nineteen at the Burgtheater, nine at the Kärntnertortheater; see Hadamowsky, Die Wiener Hoftheater, vol. 1, 51.

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Figure 3.3. Beethoven, no. 14, Die Geschöpfe des Prometheus, op. 43 (1800–1801).

other the melody, along with sixteenth-note passages, bringing the movement to a satisfying conclusion.79 The basset horn is extremely effective in this single movement because of Beethoven’s lyrical and tender melodies played in its beautiful clarino register. There is good use of the chalumeau register, however, including three low Cs, so the 79. Beethoven, Die Geschöpfe des Prometheus.

Basset Horn Music 187

Figure 3.3. Continued.

overall compass is c to d3. Along with Mozart’s use of the basset horn, this movement is the most cited work using the basset horn. Joseph Carl Rosenbaum, a secretary to Prince Esterházy, was married to the soprano singer Therese Gassmann.80 He attended the dress rehearsals and performances in the Vienna theaters and recorded many details in his diary. The dress rehearsal and performance on 28 March 1801 for The Creatures of Prometheus were held at the Burtheater.81 If the 80. George R. Hill with Joshua Kosman, “Gassmann, Florian Leopold,” Grove Music Online. 81. “The diaries of Joseph Carl Rosenbaum 1770–1829,” 92.

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Figure 3.3. Continued.

Imperial Court orchestra performed this work, Johann Stadler (1755–1804), brother of Anton and ﬁrst clarinetist of the Vienna Court orchestra, may have played the basset horn solo part.82

Weber Carl Maria von Weber (1786–1826) was a key ﬁgure in the development of early German Romantic opera. While living in Salzburg in 1801, he studied with Michael Haydn and composed his third opera, Peter Schmoll und seine Nachbarn. A planned performance in Augsburg, where Weber’s half brother Edmund was conducting at the theater, failed to materialize in 1802 but took place the following year.83 In the terzetto no. 14 titled “Empfanget hier des Vaters Sagen,” the instrumentation includes two recorders (ﬂauto dolce), two basset horns or two C clarinets, two bassoons, strings, and three vocalists. It is written in C major and has the ﬁrst basset horn doubling the alto line. The instrumentation suggests that Weber preferred the softer tone of the basset horns paired with recorders, providing they were available. The compass is rather restricted: ﬁrst from c1 to g2 (in F, f1 to c3); second, e1 to d2 (in F, a1 to g2).84 Four other numbers in this work include two B clarinets. Weber did not use the basset horn in later works.85 82. The Hof- und Staats-Schematismus for 1801, 361, lists Johann Stadler as a member of the Hofkapelle. Cf. Melville-Mason, “Beethoven and the basset horn,” 46–47. I thank Janet Page for checking Hof- und Staats-Schematismus for 1801 in the Stadtbibliothek, Vienna. 83. Clive Brown, “Weber, Carl Maria von,” Grove Music Online. 84. Weber, Peter Schmoll und seine Nachbarn, 83–90. 85. Weber’s important contemporary Louis Spohr (1784–1859) includes four optional basset horn parts to take the place of an organ accompaniment in two recitatives of his opera Faust (1813). There are separate basset horn parts dating from about 1818 in the Universitätsbibliothek, Frankfurt, and the organ

Basset Horn Music 189

E. T. A. Hoffmann Another representative of the early Romantic period is the German writer and composer E. T. A. Hoffmann (1776–1822). He was one of the earliest composers to use the terms scoring (Instrumentierung) and orchestration (Instrumentation). In 1814, Hoffmann suggests that composers make use of each instrument’s color, pitch, intensity, and compass as a painter works a canvass.86 Hoffmann uses two basset horns in the incidental music to Werner’s tragedy Das Kreuz an der Ostsee (1805) and features their tone color in combination with other instruments. In the third act, ﬁrst scene (no. 5), a ponderous adagio section written almost entirely in half notes is scored for two basset horns in unison with three trombones (two in alto clef, one in bass clef) and a male choir (two altos, tenor, and bass), called the choir of priests. The basset horns are limited to a very small compass of e2 to b2.87 In no. 7 of the third act, an instrumental section is marked adagio, sempre sotto voce. The orchestration is ﬂutes, clarinet in B, two basset horns, three trombones (two in alto clef, one in bass clef), harp, and timpani. The basset horns play again in unison a limited compass of e1 to d2.88 In his opera Aurora (1811–1812), Hoffmann uses a single basset horn in the ﬁrst number or introduction in the ﬁrst act.89 The orchestration is solo ﬂute, solo basset horn, two bassoons, two C horns, strings, and two vocalists. The basset horn accompanies one vocalist and the ﬂute with triplets in the chalumeau register, playing in thirds with the ﬂute, and toward the end of the number with sixteenth notes in the chalumeau register. The compass is g to d2, and this exposed part was probably played by the ﬁrst clarinetist.90 Hoffmann is also a writer of fantastic and unusual stories. In his Fantasiestücke in Callots Manier (Fantasy pieces in Callot’s manner, 1813), he associates the sound of the basset horn with the scent of deep red carnations, suggesting the unusual physical ability to see and smell sounds, called synesthesia.91 Not only in dreams, but also in that state of delirium which precedes sleep, especially when I have been listening to much music, I discover a blending of colors, sounds, and fragrances. It seems as though they are all produced

parts in F major for nos. 13 and 14 of the modern score may be transposed for basset horn. See Spohr, Faust, xii, xiv, 258–259; 270–272. 86. See Krickeberg, “Die Orchesterinstrument im Literarischen Werk E. T. A. Hoffmanns,” 101. 87. This is incorporated with contrasting sections scored for an offstage group of two D horns, two D trumpets, and a bell played in the distance, along with softly sustained bassoons, and softly moving sixteenth notes played by violins, cellos, and string basses. 88. Hoffmann, Zacharias Werners Trauerspiel “Das Kreuz an der Ostsee,” 173–183, 217–219. 89. Hoffmann also uses C, B, and A clarinets; see Hoffmann, Aurora. 90. Hoffmann, Aurora, 37–44. 91. Hoffmann was preoccupied by synesthesia, and so were the contemporary writers Ludwig Tieck and Robert Schumann; see Schaefer, E. T. A. Hoffmann and music, 149–156.

190 From the Clarinet d'Amour to the Contra Bass by the same beam of light in some mysterious manner and are obliged to combine together into an extraordinary concert. The fragrance of deepred carnations exercises a strangely magical power over me; unaware I sink into a dream-like state in which I hear, as though from far away, the dark, alternately swelling and subsiding tones of the basset horn.92 In Lebens-Ansichten des Katers Murr (The life and opinions of tom cat Murr, 1820– 1821), Hoffmann refers to “four outstanding basset hornists” playing his 1812 song “Mi legnerò tacendo della mia sorte amara.”93 Unfortunately, this song is lost, and we are unable to study his use in this work.

Mantzaros Nikolaos Halikiopoulos Mantzaros (1795–1872) was a Greek composer who studied in Corfu and from 1821 with Zingarelli in Naples. Although he was offered the directorships of both the Naples and Milan conservatories, he preferred instead to settle in Corfu as a teacher.94 Among his surviving works are several arias and duets, cantatas, and operas. The vocal music was composed with orchestral accompaniment for use in the San Giacomo Theater in Corfu.95 The score of the B major duet “Se, ti credo amato bene” (1818) includes piccolo, ﬂute, oboe, two B clarinets, basset horn, two bassoons, two B horns, two B trumpets, trombone, timpani, bass drum, soprano and tenor vocalists, and strings. The andantino ma poco begins with strings playing a simple chordal introduction in B and another in F, each answered by the basset horn with virtuosic thirtysecond-note arpeggios. A melody is presented in the woodwinds, and the soprano voice is given the theme. The basset horn doubles the oboe part and then the bassoon part. Mantzaros’s skillful writing makes use of the instrument’s distinctive chalumeau register in Alberti-bass-like sixteenths. A cadenza is given to the basset horn encompassing c3 down to low c, ending the section. An allegro section begins with the soprano and tenor soloists doubled by strings, oboe, and basset horn, including some 92. “Nicht sowohl im Traume als im Zustande des Delirierens, der dem Einschlafen vorhergeht, vorzüglich wenn ich viel Musik gehört habe, ﬁnde ich eine Übereinkunft der Farben, Töne und Düfte. Es kömmt mir vor, als wenn alle auf die gleiche geheimnisvolle Weise durch den Lichtstrahl erzeugt würden und dann sich zu einem wundervollen Konzerte vereinigen müßten.—Der Duft der dunkelroten Nelken wirkt mit sonderbarer magischer Gewalt auf mich; unwillkürlich versinke ich in einen träumerischen Zustand und höre dann, wie aus weiter Ferne, die anschwellenden und weider verﬂießenden tiefen Töne des Bassetthorns.” Hoffmann, Gesammelte Werke in Einzelausgaben, vol. 1, 60. Compare the trans. in Kroll, The clarinet, 108, n. 1; Schaefer, E. T. A. Hoffmann and music, 153. 93. E. T. A. Hoffmann Sämtliche Werke, vol. 5, 30; trans. in Selected writings of E. T. A. Hoffmann, 22. 94. George Leotsakos, “Mantzaros, Niolaos,” Grove Music Online. 95. Kardamis, “Greek Music of the Early Nineteenth Century,” on the Web site http://www.rhgmr .supanet.com/greekmusic_19thc.html.

Basset Horn Music 191 fast-moving sixteenths for the basset horn.96 This part is technically difﬁcult, including a compass of c to d3, obviously written for a very capable player.97

Mayr Simon Mayr (1763–1845) was a German composer, teacher, and writer on music. He was a leading ﬁgure in the development of opera seria in the last decade of the eighteenth century and the ﬁrst two decades of the nineteenth century. He studied in Bergamo with Lenzi in 1789 and in Venice with Bertoni. In Venice, he was encouraged by Piccinni and Winter to compose theatrical works, and his ﬁrst seventeen operas were composed for theaters in Venice, where he was quite successful. By the early 1800s, Mayr moved back to Bergamo, where he was an active force in the community, establishing a music school, composing, writing, and translating exercises for the school.98 Among Mayr’s many sacred vocal works with orchestral accompaniment is a “Domine Deus” for bass solo, basset horn obbligato, and orchestra. It dates from the 1820s and includes an orchestration of two ﬂutes, B clarinet, bassoon, two F horns, basset horn, and strings, including cellos and string basses. The ﬁrst section begins with an orchestral introduction marked larghetto featuring a basset horn solo in a highly embellished operatic style with thirty-second-note arpeggios, ornamental turns, and a full use of a compass from low c to c3. The bass solo is written in imitation of the basset horn, and both weave their lines together or alternately. A second moderato section begins with a simple melody given by the solo basset horn. The writing becomes more virtuosic as the solo voice enters to combine with the basset horn part.99 This basset horn part is written for a virtuoso.

Mendelssohn and J. S. Bach The important composer and conductor Felix Mendelssohn (1809–1847) was an early advocate of Bach’s music and became enthusiastic about the revival of his music in the 1820s. His music teacher in Berlin, Carl Friedrich Zelter, was also an 96. Mantzaros, Se, ti credo amato bene. I thank Michael Finkelman and Kostas Kardamis for a copy of this work. 97. Kardamis provides details of the many nineteenth-century Italian immigrant musicians in Corfu. See Kardamis, “Nobile Teatro di San Giacomo di Corfù,” 23–29; a longer version of this article appears online at http://www.donizettisociety.com and was given at the XI Convegno Annuale di Società Italiana di Musicologia, Lecce, 22–24 October 2004. 98. S. L. Balthazar, “Mayr, Simon,” Grove Music Online. 99. Mayr, Domine Deus. Mayr also used the basset horn in his Sacriﬁcium in F for soprano solo, basset horn obbligato, and orchestra, Biblioteca civica Angelo Mai, Bergamo, MS., 222.8; and in his Gran messa di requiem (Milan, 1819). See Newhill, The basset-horn & its music, 112.

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enthusiast for Bach’s keyboard and choral music. After some urging by Mendelssohn and his friend the singer Eduard Devrient, Zelter entrusted Mendelssohn with the honor of conducting a revival performance of Bach’s St. Matthew Passion (originally written in 1729).100 Although at ﬁrst hesitant, Mendelssohn agreed to the task and made his own arrangement of the music from Zelter’s copy with cuts, changes, and additions.101 After almost two years of rehearsals, the performance took place on 11 March 1829; it was very successful. In fact, the performance was a decisive turning point in Bach’s reputation, transforming the small Bach revival into a popular movement.102 The public was so taken with the work that a second performance was given on 21 March and a third on 17 April, conducted by Zelter; all were highly successful. The score was published in Berlin by Schlesinger in 1830, after much discussion of the work in articles by the journalist and writer Adolf Bernhard Marx.103 Interestingly, the published score includes four instruments no longer in common use in 1830: viola da gamba, lute, oboe d’amore, and oboe da caccia. Presumably, the editor (possibly A. B. Marx) included these parts in order to preserve the original nature of the score and to please Zelter, who venerated Bach’s music. In actual performances, however, these obsolete instruments had to be replaced. For example, a piano was used in the recitatives in place of a harpsichord, and stringed instruments were substituted for the viola da gamba in nos. 40, 65, and 66 and for the lute in no. 66.104 In Mendelssohn’s conducting score, A clarinets are inserted in nos. 35 (replacing oboes d’amore), 57 (replacing oboes da caccia), and 58 (replacing oboes da caccia).105 Separate string and wind parts are preserved at the Bodleian Library, Oxford, with the score, including parts for clarinet and basset horn transposed and arranged from the score by Eduard Rietz.106 Basset horn parts are speciﬁcally written out but only for no. 59, “Ach Golgatha!” and inserted in place of the ﬁrst and second clarinet parts. In addition, there are supplementary clarinet parts 100. See Hendrie, Mendelssohn’s rediscovery of Bach, 41–43. 101. Based on a study of Mendelssohn’s conducting score in the Bodleian Library, Hendrie states that Mendelssohn shortened Bach’s work by omitting eleven arias, four recitatives, and seven chorales, as well as some sections of the Evangelist’s part. He added performance indications such as allegro con fuoco,dolce, and andante at the beginning of numbers and added some dynamic markings to instrumental parts. See Hendrie, Mendelssohn’s rediscovery of Bach, 91–92. Marissen argues that Mendelssohn’s cuts were motivated by texts suggesting an anti-Jewish bias and the role of women as witnesses to the events surrounding Christ’s cruciﬁxion and burial. See Marissen, “Religious aims in Mendelssohn’s 1829 Berlin-Singakademie performances of Bach’s St. Matthew Passion,” 722–723. 102. Nicholas Temperley and Peter Wollny, “Bach Revival,” Grove Music Online. See Applegate, Bach in Berlin, for a thorough analysis of the aftermath of the 1829 performance and the later importance of Bach’s St. Matthew Passion, particularly in Germany. 103. See Applegate, Bach in Berlin, 121–124. Marx provided the keyboard reduction in Schlesinger’s 1830 published piano-vocal score. 104. See Geck, Die Wiederentdeckung der Matthäuspassion, 36, 79. 105. See Geck, Die Wiederentdeckung der Matthäuspassion, 37. 106. See Crum, Catalogue of the Mendelssohn papers, vol. 2, 31.

Basset Horn Music 193 (“Einlagen”) to be played in case basset horns are not available.107 J. N. Schelble’s score for a performance on 29 May 1829 in Frankfurt am Main made use of clarinets replacing oboes da caccia in no. 70.108 A reviewer of the ﬁrst two performances in the AMZ notes the “deep clarinets” (“tiefen Clarinetten”) or basset horns used in place of the old oboe di caccia and oboe d’amour in “Ach Golgatha,” no. 69.109 Fanny Hensel (née Mendelssohn) wrote to her brother Felix Mendelssohn about Zelter’s performance on 17 April 1829. She mentions that in “Ach Golgatha!” the soloist mistakenly came in a half bar too late, although Zelter was loudly playing the correct part on the piano. “Rietz went over to the basset horns and brought the parts together, but only in the last measures, and such misery has seldom been heard.”110 In addition, J. T. Mosewius conducted a performance of the St. Matthew Passion in Breslau on 3 April 1830 and subsequently mentions the use of clarinets and basset horns as replacements for oboes d’amore as following a Berlin tradition.111 Undoubtedly, clarinets and in some performances basset horns were employed in later performances in Stettin (1831), Königsberg (1832), Kassel (1832),112 Dresden (1833), Halle (1836), Leipzig (1841), and Munich (1842).113

Kastner Jean-Georges Kastner (1810–1867) wrote for the basset horn in his opera Beatrice (1839).114 Excerpts from this opera, now lost, were engraved in the supplement to Kastner’s Cours d’instrumentation (1844).115 Although French composers generally did not write for the basset horn, this book was consulted by many composers, 107. It is possible that of the four clarinetists in the orchestra, two played basset horn and the other two doubled the parts on clarinets. I thank Peter Ward Jones, music librarian, Bodleian Library, for this information concerning Mendelssohn’s parts. 108. Violas were used in Frankfurt to replace the oboes da caccia in nos. 25, 57, and 69. See Geck, Die Wiederentdeckung der Matthäuspassion, 80. The 1929 edition of Bach’s St. Matthew Passion by Georg Schumann “from the autograph MS” includes parts for oboe di caccia in the “Ach Golgatha!” recitative and aria; see Bach, The Passion according to St. Matthew, 270–279. A recording of the Schumann edition of St. Matthew Passion includes two basset horns only in the aria “Zerﬂiesse, mein Herze,” according to one of the basset hornists, Gili Rinot; see the CD recording of Johann Sebastian Bach, Johannes-Passion BWV 245, CPO Classics, 777091–2. 109. AMZ 31, no. 14 (8 April 1829): 234–235. 110. Letter dated 18 April 1829: The Letters of Fanny Hensel to Felix Mendelssohn, 26, 387. 111. Mosewius, Johann Sebastian Bach’s Matthäus-Passion, 48, 50; see Geck, Die Wiederentdeckung der Matthäuspassion, 87, 89–90. An earlier tradition of using the basset horn is noted by Rochlitz in his review of a publication of J. S. Bach’s Eine feste Burg ist unser Gott, Cantate für vier Singstimmen mit Begleitung des Orchesters (published by Breitkopf & Härtel in 1822). Rochlitz mentions the use of the basset horn in place of the oboe di caccia. See AMZ 24, no. 30 (24 July 1822): 492. 112. Two separate orchestras and choirs performed in Dresden with four clarinetists in each orchestra; see Geck, Die Wiederentdeckung der Matthäuspassion, 123. 113. Geck, Die Wiederentdeckung der Matthäuspassion, 97, 101, 109, 117, 127. 114. For a list of Kastner’s works, see Thomasin La May, “Kastner, Jean-Georges,” Grove Music Online. 115. Kastner, Supplément au Cours d’Instrumentation, 20, 22.

194 From the Clarinet d'Amour to the Contra Bass along with Kastner’s instrumentation treatise Traité genérale d’instrumentation (1837).116 Kastner describes the basset horn tone as “sweet, full with roundness, and particularly appropriate for tender and sentimental passages. One can use it for solos and there are artists who play concertos and variations on the basset horn.”117 He cautions the composer that in general the lowest basset horn tones are not able to be used in transition passages in a slow tempo because of difﬁcult intonation, and he suggests that the easiest range is from b to b2.118

Balfe Michael William Balfe (1808–1870) was an Irish composer and singer and the most successful composer of English opera during the nineteenth century.119 His greatest success was The Bohemian Girl, premiered at Drury Lane Theatre in London on 27 November 1843. The Musical World proclaimed: ‘The Bohemian Girl,’ long talked of and ardently desired, has at last made its appearance. A crowded and enthusiastic audience pronounced an opinion unanimously favourable, on Monday night, at Drury-lane Theatre. The piece is got up in a style of unprecedented splendor, and reﬂects the highest credit on the manager. “The Bohemian Girl,” being a native opera, we rejoice at its success— though, notwithstanding it is perhaps the best opera that has proceeded from the pen of Mr. Balfe, it is of that ephemeral nature that can hardly outlive a day.120 The critic of The Musical World was correct—this opera was the ﬁnest written by Balfe—but he was incorrect about it hardly outliving a day. It was the most popular English opera of its day, running for over a hundred nights at Drury Lane Theatre, and it was performed for almost a century. The opera included six outstandingly popular pieces; was translated into German, Italian, and French; and achieved an international reputation. In preparing the score for performances in Vienna, Milan, Rouen, and Paris, Balfe signiﬁcantly changed the original form to ﬁt the expectations of the public in these different cities. In addition, some of the music had been used in Balfe’s earlier opera Le puits d’amour, performed in Paris in April 1843.121 Balfe was a conservative orchestrator making use of an orchestra with double woodwinds plus piccolo. In The Bohemian Girl, he scored for the basset horn as a 116. See Carse, “Text-books on orchestration before Berlioz,” 30–31. 117. “Le son de cet instrument est doux, plein, a de la rondeur, et est particulièrement propre à des passages tenders ou de sentiment. On peut aussi s’en server pour des solos, et il y a des artistes qui jouent sur le cor de bassette des concertos et des variations.” Kastner, Traité générale, 41. I thank Carol Pixton for help in translation. 118. “En general, les tons graves ne peuvent s’employer que dans des passages et des transitions d’une progression fort lente, parcequ’ils sont difﬁciles à intoner.” Kastner, Traité générale, 41. 119. Nigel Burton with Ian D. Halligan, “Balfe, Michael William,” Grove Music Online. 120. “Mr. Balfe’s new opera,” 395. 121. Tyldesley, Michael William Balfe, 88–89, 114; Nigel Burton, “Balfe, Michael William, Grove Music Online.

Basset Horn Music 195 solo instrument only in the introduction of no. 13 of act two, “The Heart Bowed Down.” However, the ﬁrst clarinetist was expected to double on the basset horn for this number. Balfe was realistic about the availability of the basset horn in various cities and provides a transposition for B clarinet.122 Balfe’s orchestration includes two ﬂutes, two oboes, basset horn, B clarinet, two F horns and two E horns, two bassoons, violins, violas, cello, and bass.123 The basset horn solo was written for the accomplished clarinetist John Henry Maycock (1817–1907).124 Balfe’s introduction is written in F major, thus in C major for the basset horn. Its compass is from c to c3, making full use of the instrument’s entire compass but staying mainly in the instrument’s clarino register (ﬁgure 3.4). A basset horn cadenza in the middle of the number is provided in at least one manuscript part.125 The critic of The Times brieﬂy describes this number as performed at the premiere but played on the clarinet. The hall of justice in Count Arnheim’s house brings us once more to that noble man, who mourns over his long lost child in one of those bass songs in which Balfe is generally so popular, his entrance being ushered in by a solo on the clarionet, which was exceedingly well played. To the song, “the heart bowed down,” he did not give all that expression which Phillips was wont to give to productions of the kind, but he sang with much judgment, and the encore he obtained was well deserved.126 It seems likely that Maycock, if he was performing that night, was not prepared to play this exposed solo on the basset horn but did so during subsequent performances.127 122. Tyldesley, Michael William Balfe, 39, 92–93. At least two vocal scores include a cue in this number for Corno Bassetto: London, Chappell (1844) and New York, Ditson (ca. 1855). The latter edition includes plate number 7613 dated 1855 by Krummel, “Supplement to the Guide for Dating Early Published Music,” 181. 123. The autograph score is London, British Library, MS., Add. 29335; another early score is Dresden, Sächsische Landesbibliothek, MS., 5514.F/4. I thank Michael Bryant for this information. A nineteenthcentury manuscript of the score of The Bohemian Girl copied in ink by Harry G. Schumer is preserved at the New York Public Library (JOG 80–2). It includes the basset horn solo and a second B clarinet that begins to play immediately after the basset horn solo is completed. The manuscript in the New York Public Library does not include a cadenza but only an indication that a cadenza is to be played by the use of a fermata over a half note g2. 124. Maycock himself noted more than forty years after the premier that “Balfe wrote especially for me the beautiful introduction to ‘The heart bow’d down,’ in his opera of ‘The Bohemian Girl,’ for corno di bassetto.” See Maycock, “Neglected solo instruments,” 549; see also Rendall, “A short account of the clarinet in England,” 74. In 1849, the critic of the Manchester Guardian called Maycock “decidedly the best corno-bassetto (or bass clarionet) performer we have heard, even with a lively recollection of Willman.” See “Jullien’s concerts,” 13. 125. A copy of the manuscript part was kindly sent by Michael Bryant. 126. “Drury-Lane theatre,” 1843, 4. 127. In 1876, a correspondent to the English Mechanic and World of Science stated, “Mr. Maycock always plays [the solo in the “Bohemian Girl”] on the corno-bassetto.” See Edgardo, “Flute v. Clarinet,” 410.

196

From the Clarinet d'Amour to the Contra Bass

Figure 3.4. Michael William Balfe, “The Heart Bowed Down,” act 2, no. 13, The Bohemian Girl (1843).

Maycock writes that usually the ordinary B clarinet is substituted for the basset horn when The Bohemian Girl is performed. He states that the reasons for this substitution are that the manager of the opera will not pay an additional amount to use the basset horn and there are just a few clarinetists who also play this instrument.128 128. Maycock, “Neglected solo instruments,” 549. A late-nineteenth- or early-twentieth-century manuscript part of “The heart bowed down” in Balfe’s The Bohemian Girl is written for B clarinet rather than the basset horn. It was played for a number of years at performances at the Metropolitan Opera in New York. I thank Robert Sutherland, chief librarian, the Metropolitan Opera, for a copy of this manuscript part.

Basset Horn Music 197

Figure 3.4. Continued.

Orchestral Composers began to use the basset horn in orchestral music about the same time as its earliest use in operas and concertos during the 1770s. The works of four eighteenth-century composers are discussed here to illustrate their use of the basset horn: Theodor von Schacht, Georg Druschetzky, Georg Holler, and Mozart. Other composers used the basset horn in the orchestra during the late nineteenth century.

Schacht The earliest surviving orchestral work including basset horns was written by Theodor Freiherr von Schacht (1748–1823). Schacht studied at the Thurn and Taxis court

198 From the Clarinet d'Amour to the Contra Bass

Figure 3.4. Continued.

in Regensburg from 1756 to 1766 and was a student of Jomelli at Stuttgart from 1766 to 1771. He became a court ofﬁcial under Prince Carl Anselm of Thurn and Taxis in 1771 and was appointed director (Intendant) of the court’s music in 1773, setting up an Italian opera company which was active from 1774 to 1778. He later was given the title of orchestra director (Kapellmeister), serving as an administrator and musical director. In 1809, Schacht traveled to Vienna via Salzburg and became well known and respected for his sacred music. He returned to Germany in 1812, to spend his last years in Regensburg.129 129. August Scharnagl and Hugo Angerer, “Schacht, Theodor, Freiherr von,” Grove Music Online.

Basset Horn Music 199

Figure 3.4. Continued.

Of his twenty-ﬁve symphonies, one includes basset horns, the Sinfonia à 15 Strumenti in F major, preserved in an autograph dated 3 February 1772. Schact wrote the following instrumentation in score order: ﬁrst and second violins, pairs of oboes, ﬂutes, bassoons, basset horns, horns, viola, and basses.130 The compass of each basset horn is fairly conservative: g1 to d3 and g to g2, with no use of the lower range of basset notes below e.131 The basset horns are given simple melodies and are somewhat independent, providing a substitute for the clarinets. The instrument played was the earliest type, made in a curved form.

Druschetzky The Bohemian composer Georg Druschetzky (1745–1819) was an oboist, musician in the Fiftieth Infantry regiment, and composer. Toward the end of his service in Enns, Linz, and Braunau during the 1770s, he became a Kapellmeister. Druschetzky initially composed a symphony in Linz in 1770. In 1777, he became a certiﬁed professional drummer of Upper Austria and conducted musical performances in Linz; he is known to have composed works in Linz around 1776 and 1777.132 In about 1783, Druschetzky moved to Vienna and in 1786 or 1787 entered the service of Count 130. Schacht, “Sinfonia à 15 Strumenti”; Haberkamp and Angerer, Die Musikhandschrift, 295; Färber, “Der Fürstlich Thurn und Taxissche Hofkomponist,” 100, no. 6. Excerpts from the ﬁrst and third movement of the sinfonia are given by Grass and Demus in “Theodor von Schacht (1743–1823) und frühe Bassetthorn-und Klarinettenmusik,” 65. 131. Schacht, “Sinfonia à 15 Strumenti.” I thank Dietrich Demus for a microﬁlm copy of this work. 132. See the summary of Druschetzky’s activity based on a study of autographs and copies of his works by Sas, “Chronology of Georg Druschetzki’s works,” 178–182.

200 From the Clarinet d'Amour to the Contra Bass Anton Grassalkovics at Pressburg, where he directed and provided music for the wind band. After the count’s death in 1794, he was employed by Cardinal Battyány in Pest at his country estate at Rechnitz. From 1791 to 1801, Druschetzky worked in Pressburg, Pest, and Buda.133 By 1802, he was music director and composer for the wind octet of Archduke Joseph Anton Johann in Buda.134 During the 1770s, Druschetzky wrote one symphony in G major, number eight in a collection of eleven, that includes two violins, three D basset horns, two D horns, viola, bassoon, and bass.135 The basset horn parts are written in F major, the ﬁrst and second parts written in treble clef and the third in bass clef. This notation and transposition is the same used by J. C. Bach in Temistocle (1772) and Lucio Silla (1775) and Holzbauer’s La Betulia Liberata (1774).

Holler An early orchestral work including basset horn was written by the German composer Georg Augustin Holler (1744–1814). Holler was master of the town musicians and a teacher in Munich. His eight-movement Serenata in C (1778) was written for sixteen winds and strings, probably for the court orchestra of Carl Theodor.136 It calls for pairs of ﬂutes, oboes, C clarinets, G and F basset horns, bassoons, C horns, G horns, trumpets, violins, violas, cellos, and contra basses. Basset horns in G are in six movements, and basset horns in F are in the ﬁfth movement and a minuet and the trio of the seventh movement. This is the only work that employs basset horns of different nominal pitches. The largest compass throughout the work for the ﬁrst basset horn is limited to one and a half octaves from g1 to c3, two octaves for the second basset horn from g to g2. Holler did not require basset notes below e. The basset horns, called “Corni bassetti” in the score, are often paired with horns and trumpets, provide sustaining passages while the wind instruments carry the themes, and sometimes play the thematic material with the other wind instruments (ﬁgure 3.5). The parts are generally not too demanding, and there is ample time to change from

133. Sas, “Chronology of Georg Druschetzky’s works,” 178, 185–190. 134. Alexander Weinmann and Damian A. Frame, “Druschetzky, George,” Grove Music Online. See also the description of works composed from 1803 to 1811 and after 1811 by Sas, “Chronology of Georg Druschetzki’s works,” 178, 191–195. 135. “Sinfonia in G a due violini, tre corni di bassetto, due corni di caccia, viola e fagotto con basso di Giorgio Druchetzky.” Prague National Library, MS., XLII E 351. A modern edition of this symphony edited by Harrison Powley is scheduled for publication. I thank Harrison Powley for information. Additional works by Druschetzky including the basset horn are an untitled opera (second half of the 1790s); a Miserere (1791–1801), including two basset horns presumably in F in copied parts; and a Libera in D minor (dated 10 April 1801), including a basset horn presumably in D. See Druschetsky, Opera 2, MS. Mus. 1620, nos. 85 (MS. mus. 1595), 88 (MS. mus. 1601) cited by Sas, “Chronology of Georg Druschetzki’s works,” 196, facs. 11; 211–212; 214–215, no. 107. 136. Münster, “Holler, (Georg) Augustin,” Grove Music Online; Münster, “München oder Mannheim?” 11.

Basset Horn Music 201

Figure 3.5. Georg Augustin Holler, Serenata in C (1778).

a G basset horn to one in F from the third movement minuet to the fourth movement adagio.137 However, the orchestra members must have waited while the players changed from G to F basset horn in the trio of the sixth movement “Poloneso”, or inserted F corps de rechange in the trio of the seventh movement minuet.

Mozart Mozart’s orchestral work the Maurerische Trauermusik (Masonic Funeral Music) K. 479a was written in July 1785 and ﬁrst performed with two of Mozart’s songs 137. Holler, “Serenata in C.”

202 From the Clarinet d'Amour to the Contra Bass

Figure 3.5. Continued.

on 12 August at Vienna’s True Concord (Zur wahren Eintracht) Masonic Lodge.138 The ﬁrst version is listed in Mozart’s Index of works as written for two violins, two violas, clarinet, basset horn, two oboes, two horns, and string bass.139 Meanwhile, an invitation on 15 October was sent by two small Viennese Masonic Lodges, the Three Eagles (Zu den drei Adlern) and the Palmtree (Zum Palmbaum), to the remaining six lodges for a concert on 20 October to support two visiting broth138. Autexier proposes this date for the ﬁrst performance of the Maurerische Trauermusik, although the program at the True Concord Lodge is not known, only that Mozart and two visiting brothers were in attendance. See Autexier, “Wann wurde die Maurerische Trauermusik uraufgeführt?” 8; Deutsch, Mozart, 247; Cecil Hill and Roger J. V. Cotte, “Masonic music, §3: Mozart’s Masonic music,” Grove Music Online. 139. Mozart, Eigenhändiges Werkverzeichnis Faksimile, 34. See also the discussion by Plath in Mozart, Orchesterwerke, IX; Autexier, “Wann wurde die Maurerische Trauermusik uraufgeführt?” 8.

Basset Horn Music 203

Figure 3.5. Continued.

ers, Anton David and Vincent Springer, both basset horn players who were visiting Vienna. Mozart also performed at this concert, playing “his much loved extemporizations.”140 In early November, two important Masonic brothers died: Georg August, Duke of Mecklenburg-Strelitz (on 6 November) and Count Franz Esterházy (on 7 November). Mozart revised the Maurerische Trauermusik on about 10 November by adding two more parts for basset horns, one for contra bassoon,141 and omitting a two-part male choir not listed in Mozart’s Index of Works.142 This short but attractive work was performed

140. Deutsch, Mozart, 254; Plath in Mozart, Orchesterwerke, IX. 141. See the photo of the added basset horn and contra bassoon parts by Plath in Mozart, Orchesterwerke, XII. 142. See Autexier, “Wann wurde die Maurerische Trauermusik uraufgeführt?” 7–8.

204 From the Clarinet d'Amour to the Contra Bass on 17 November 1785 at a Lodge of Sorrows at the Crowned Hope (Zur gekrönten Hoffnung) Lodge.143 It is scored for two oboes, B clarinet, three basset horns, contra bassoon, two E horns, two C horns (basso), two violins, viola, cello, and bass. The ﬁrst basset horn is written in treble clef, limited to a one-octave compass of d1 to d2; the second basset horn part uses treble and bass clefs and has a two-octave compass of d to d2, mostly doubling the third part. The third basset horn is in bass clef and has a compass of c to d2. Both second and third basset horns include the accidental e.144 They require at least a nine-key basset horn with basset keys for E, D, and C. The basset horns were played by David and Springer, who later performed at a concert at the Crowned Hope Lodge on 15 December with Mozart and Theodor Lotz, a woodwind maker and bassoonist resident in Vienna.145 The clarinet and ﬁrst basset horn parts were probably played by Johann and Anton Stadler, both of whom probably performed in the concert at the Crowned Hope Lodge on 15 December.146 Additional instrumental works written by Mozart with a smaller instrumentation including basset horns, discussed later, may have been performed at the Masonic lodges along with the Maurerisches Trauermusik. Concertos Basset horn concertos with orchestral accompaniment include some of the earliest and most popular works. The ﬁrst reported concerto is by the performer Leopold Valentin, who played his work at a concert in Lyon in 1769. Concertos were also played in small monastery orchestras to entertain the monks. For example, at the Cistercian monastery in Osek, Bohemia (Czech Republic), at least one basset hornist was active during the 1780s. Dlabacˇ lists twelve players at the monastery capable of performing concertos in his entry for the violinist Leonard Dont: two organists, three violinists, two hornists, one basset hornist, one clarinetist, one bassoonist, one mandolinist, and one harmonika (keyboard).147 Discussed here are concertos by Leopold Valentin, Carl Stamitz, Mozart (in his draft for the clarinet Concerto), Druschetzky, Johann Backofen, and Alessandro Rolla.

143. Landon, Mozart and the Masons, 18. 144. Mozart, Orchesterwerke, 11–22. 145. Plath in Mozart, Orchesterwerke, IX; Autexier, “Wann wurde die Maurerische Trauermusik uraufgeführt?” 8; Deutsch, Mozart, 255, 257. Lotz is thought to have played the contra bassoon part; see Nettl, Mozart and Masonry, 136. 146. See Deutsch, Mozart, 257. An announcement from the Three Eagles Lodge to its Viennese sister lodges on 2 December 1785 may have prompted Mozart to ﬁnish a version with two more basset horns to accommodate David and Springer. See Mozart, Die Dokumente seines Lebens, Addenda, 43. 147. “Organisten II, Violinisten 3, Waldhornisten 2, Bassethornist I, Klarinettist I, Fagotist I, Mandolinist I, Harmonika spielt I. Alle diese sind Konzertisten, jeder auf seinem Instrumente.” Dlabacˇ, “Versuch eines Verzeichnisses,” 152–153.

Basset Horn Music 205

Leopold Valentin According to the Afﬁches de Lyon annonce et avis divers, the earliest reported basset horn concerto was announced at a concert in Lyon on 30 August 1769. “Mr. Valentin, German virtuoso, will play a concerto of his composition on a newly invented wind instrument that has never appeared in France.”148 Within a few years, he was performing in Paris. In April 1774, the Mercure de France announced that Valentin would play on the corno bassetto or contra clarinet (another name for the basset horn) in one of the Concert Spirituels.149 Unfortunately, the music for a basset horn concerto by Valentin has not been found.

Stamitz The proliﬁc German composer Carl Stamitz (1745–1801) was a widely traveled violin, viola, and viola d’amore player.150 Stamitz wrote ten clarinet concertos and one symphony concertante for two clarinets for the famous virtuoso Joseph Beer (1744– 1812).151 Although his Concerto in C major is an arrangement of an earlier concerto, it is notable because it was written for the rare G basset horn, probably the only concerto for this instrument other than Mozart’s sketch for a basset horn Concerto, K. 621b.152 The ﬁrst movement of this Stamitz Concerto was originally published for cello about 1777, and within a few years, the entire concerto was published for bassoon with new second and third movements provided by the publisher, Breitkopf & Härtel. The bassoon concerto is listed in their catalog dated 1782 to 1784.153 Because Beer is not known to have performed on the basset horn, it is possible that the clarinetist and basset hornist Vincent Springer made an arrangement for basset horn.154

148. “M. Leopold Valentin, Virtuose Allemand jouera un Concerto de sa composition, sur un instrument à vent nouvellement inventé & qui n’a jamais paru en France.” Afﬁches de Lyon, annonce et avis divers 30 August 1769, 187–188. This citation was obtained from the database of the Centre de Musique Baroque de Versailles. I thank Jean Jeltsch for this information. 149. “Sur le corno-basseto ou contra-clarinette.” “Vacance des spectacles,” vol. II (April 1774), 164, quoted by Pierre, Histoire de concert spiritual, 302–303. 150. Eugene K. Wolf, “Stamitz, Carl,” Grove Music Online. 151. Albert R. Rice, “Joseph Beer,” Grove Music Online; Rice, The clarinet in the classical period, 154–156, 158–160. 152. The manuscript parts of this concerto come from the collection of the Bentheim-Steinfürt Court, Fürstlich Bentheimische Musiksammlung (Burgsteinfurt), preserved at the library of the University of Münster, Sig. S ta 67; see Stamitz, Concerto in E. where Himie Voxman states that he found this work in Münster in 1972. Willy Hess clariﬁes that the manuscript consists of several parts and provides the shelf mark in the library; see Stamitz, Concerto für Bassetthorn. 153. Concerto for Cello (Paris: Bureau d’abonnement musical, ca. 1777); see also Brook, The Breitkopf thematic catalogue, 804; Fink, “Ein Bassethornkonzert von Carl Stamitz?” 256. Newhill states this concerto was Stamitz’s sixth for bassoon; Newhill, The basset-horn, 47. 154. See Fink, “Ein Bassethornkonzert von Carl Stamitz?” 257; see also Jacob, Die Klarinettenkonzerte von Carl Stamitz, 83.

206

From the Clarinet d'Amour to the Contra Bass

Springer was mentioned as a performer on G basset horn with Anton David in a 1782 concert in Ludwiglust by Cramer.155 He was employed at the Bentheim court from 1788 to 1792 and during 1790 and 1791 performed in a basset horn trio with Anton David and Franz Dworschack in Germany, Italy, Holland, and London’s Vauxhall Gardens.156 The basset horn solo part is transposed to the favorite and idiomatic key of F major. Similar to many of the clarinet concertos, here Stamitz freely uses the chalumeau register for arpeggios and states the themes in the clarino register. The overall compass is from e to f3 without any notes below e, even in the cadenzas written in another hand.157 The ﬁrst movement marked allegro presents the exposition theme in the clarino register, employing passage work typical of Stamitz’s clarinet concertos with a compass of e to f3.158 The second movement Romance marked poco adagio presents an attractive theme in the clarino register staying within e1 to a2. The third movement rondo allegro includes the chalumeau register in the cadenza and incorporates an andante section with a cadenza.159 Several sixteenth-note passages in the ﬁrst and last movements are identical to passages in Franz Hoffmeister’s Second Quartet for clarinet and strings.160

Mozart Mozart wrote a draft of a Concerto K. 621b for G basset horn, consisting of 199 measures on 24 pages that are part of the ﬁrst movement of the Concerto K. 622 for A basset clarinet.161 Based on the paper type, Tyson tentatively suggests that this draft was written between 1787 and 1790.162 However, Eisen and Sadie propose 1790 to 1791, which seems to be a more logical time span because it is closer to the time the Concerto in A for basset clarinet was completed in October 1791.163 The incomplete draft of K. 621b consists of a basset horn (Corno di Baßetto) in G, violins, viola, pairs of ﬂutes, G horns, and basses (cellos and double basses). The solo part is written in C major throughout the draft; a bass part is found in many measures, along with only a few passages for the ﬁrst and second violins and violas. Because it is a draft, a few measures are crossed out in the solo part, and the abbreviation “bis” is 155. Cramer, Magazin der Musik, 179–180. 156. Kruttge, Geschichte der Burgsteinfurter Hofkapelle, 94–96; Weston, More clarinet virtuosi, 245. 157. Stamitz, Concerto für Bassethorn. 158. The cadenza in the ﬁrst movement was completed by Hess in Stamitz, Concerto für Bassetthorn. 159. See Stamitz, Concerto in E-ﬂat. 160. Fink, “Ein Bassethornkonzert von Carl Stamitz?” 256–257; Newhill, The basset-horn, 48. 161. The manuscript is in the Stadtbibliothek Winterthur, Dep RS 43; see Mozart Supplement (2002), fragment 1787v, 264; the manuscript is reproduced in Mozart, Konzerte, 165–176. 162. Tyson, Mozart, 35; Tyson, “Proposed new dates,” 226. 163. Cliff Eisen and Stanley Sadie, “Mozart, Wolfgang Amadeus Mozart: Works,” Grove Music Online; see also Mozart, Supplement (2002), 264.

Basset Horn Music 207 sometimes used when measures are repeated. Throughout the score, the solo basset horn uses the full basset horn compass from c to f3, utilizing the treble clef primarily and the bass clef several times when notes below c1 are written. Nonetheless, this basset horn part is the same as the edited parts for A clarinet ﬁrst published in 1801, except for notes below written e and changes in the contour of some phrases. Near the end of the draft, from measures 180 through 199, the notes in the bass part indicate a transposition: a major second higher for the solo part from a G basset horn to an A basset clarinet (i.e., an A clarinet with an extended range). It appears that Mozart returned to this part of the draft at a later time in that the music shows the use of a somewhat sharper quill and darker ink.164 The remaining pages of this draft of the basset horn Concerto are lost. When the Concerto for basset clarinet was completed, it included an additional pair of bassoons. Although there is probably not much difference in tone between the A basset clarinet and a G basset horn, Lawson states that the change of solo instrument and tonality to A substantially alters the timbre and color of the solo instrument in relation to the orchestra. This change requires higher horn crooks in this key, and there are different tonal characteristics exhibited by the string instruments.165 We can only surmise that Anton Stadler convinced Mozart that he preferred playing his new A basset clarinet to a G basset horn.166

Druschetzky Georg Druschetzky wrote one concerto for three D basset horns, strings, and three horns in the tonality of D major.167 Newhill notes that the work is uninspired, although it has moments of charm.168 This concerto is difﬁcult to date precisely, but it may have been produced during the 1780s, while Druschetzky lived in Vienna; in 1786 or 1787 after he moved to Pressburg to enter the service of Count Anton Grassalkovics; or after 1794, when he was employed by Cardinal Battyány of Pest at his country estate at Rechnitz. It seems unlikely that D or G basset horns continued to be played after about 1810. Another Druschetzky concerto for basset horn written in G major is lost but noted in an 1810 manuscript catalog of the works from the collection of the Count of Clam and Gallas. In the catalog, an incipit of the work appears, and it is probable that the solo part was written for G or D basset horn.169

164. Mozart, Konzerte (1977), IX. 165. Lawson, Mozart, clarinet concerto, 35. 166. Gilles Thomé made an eight-key basset horn in G, completed the scoring of the excerpt of Mozart’s Concerto, and recorded a ﬁne performance of it on a CD, “Une soirée chez les Jacquin,” with Ensemble 415 on Zig Zag Territoires ZZT 99 07 01, disc 2, no. 1. 167. Prague, National Museum, MS., XLII E 224; see Weinmann, Georg Druschetzky, 23. 168. Newhill, The basset-horn, 58–59. 169. Newhill, The basset-horn, 40.

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Backofen Johann Georg Heinrich Backofen (1768–1839) was a German clarinetist, basset horn player, and harpist. With his brothers Ernst (bassoonist) and Gottfried (violinist and clarinetist), he went to Nuremberg in 1780 to study music. The Kapellmeister G. W. Gruber taught him composition, and H. Birckmann, the clarinet. In 1789, he studied the clarinet in Mannheim with Grüsse and in May 1791 studied with the well-known teacher Philipp Meissner.170 In 1789, he also began study of the harp in Nuremberg and wrote several works for it, including an important tutor in 1801.171 By 1794, Backofen was given a position in the court orchestra and began to study the ﬂute. Later that year, he traveled to Belgium and Holland, joined a military band, and in Amsterdam was inspired by the playing of the French clarinetist Gautier. They became friends, and Gautier convinced Backofen to return to Paris to meet his teacher, Xavier Lefèvre. Backofen remained in Paris for about seven years and was inﬂuenced by Lefèvre’s teaching and Charles Duvernoy’s playing. Lefèvre secured a three-year contract for Backofen at the Théâtre Italien from 1798 to 1801. After his contract expired, Backofen spent several months touring Spain and Italy before returning to Nuremberg. In May 1802, Backofen set off on a second concert tour with the basset horn and harp to Hildburghausen, Gotha, Halle, Magdeburg, Merseburg, and Leipzig. For most of 1803, he was in Nuremberg and on 16 December accepted the position of director of wind music at the Gotha court; in 1806, he became court chamber musician.172 In this year, his harp student Dorette Scheidler married Louis Spohr.173 In 1808, he toured again, traveling to Madrid, but failed to ﬁnd a position. He continued touring in Spain, traveled to Naples, and then returned to Nuremberg and Frankfurt to perform.174 In 1811, Backofen was appointed court musician in Darmstadt and in 1815 established a small workshop, where he made ﬂutes, oboes, clarinets, and basset horns. Backofen was a versatile and accomplished musician famous as a composer for, and virtuoso performer on, the clarinet, basset horn, harp, ﬂute, and English horn.175 Of the three basset horn concertos by Backofen listed in Gerber’s biography, only one survives, in the Darmstadt library.176 Backofen’s Concerto for Basset Horn is in F major and scored for basset horn solo, pairs of ﬂutes, oboes, bassoons, F horns, F trumpets, timpani, two violin parts, two viola parts, cellos, and string basses. The separate viola parts are notable, and there is some independent writing for both the 170. Pamela Weston, “Johann Georg Heinrich Backofen,” Grove Music Online. 171. Anleitung zum Harfenspiel (Leipzig: Breitkopf und Härtel). See Rosenzweig, “Johann Georg Heinrich Backofen,” 80–83, 96–97. 172. Weston, Yesterday’s clarinettists, 24. 173. Weston, “Backofen, Johann Georg Heinrich,” Grove Music Online. 174. Weston, Yesterday’s clarinettists, 25. 175. NLI, 15. 176. “III Konzerte fürs Bassethorn”; Gerber, Neues Historisch-Biographisches Lexikon, vol. 2, 235.

Basset Horn Music 209 cellos and the string basses. According to Newhill, it was written around 1810 and is the longest extant work for basset horn.177 The solo part is written in the treble clef throughout, with a wide compass of c to g3. Backofen utilizes the chalumeau register effectively as a bass voice with two oboes in the ﬁrst movement. In fact, he frequently uses the chalumeau register and basset notes of C and D in arpeggios and scale passages throughout the ﬁrst movement. The second movement is a cantabile con variazioni scored for basset horn and strings only. The ﬁrst and second violins are in unison, but the viola parts remain divided.178 It begins with a weak melody for the basset horn. The ﬁrst variation is presented by the orchestra, followed by the ﬁrst variation in expertly written triplets. This is followed by a section in C minor marked “un poco largo ﬂebile,” which ascends to g3, skillfully modulating back to C major, featuring sixteenth-note patterns and arpeggios. The third movement is marked “caractére espagñol, mouvement d’une polonaise.” Written in 3/4, it presents a Spanish-inspired polonaise as a rondo theme by the basset horn alone. The movement ends effectively with sixteenth-note triplets descending to a low and sustained c. This concerto would require at least a twelve-key instrument to be performed easily. Backofen writes more idiomatically for the basset horn than most composers of solo works who were not players; he also includes a few interesting harmonic progressions and uses the orchestra effectively, yet the concerto is rather uneven. His weakness appears in the rhythmic similarity of many of the tutti and bridge passages,179 and his themes are not well conceived or particularly memorable. Another work by Backofen, Variationi per il Corno di Bassetto, is thought to date about 1810.180 It is written in F major and includes a similar orchestration to Backofen’s Concerto but without the divided viola and separate parts for cellos and string basses.181 These variations follow a pattern similar to the second movement of Backofen’s Concerto. It starts with a short introduction, followed by a simple, straightforward theme played on the basset horn. This is followed by variations or embellishments of the theme, the ﬁrst being in sixteenth notes and the second in triplet sixteenth notes. The writing is very idiomatic throughout, with an overall compass of c to d3. The third variation is in C minor marked “un poco lento,” leading directly into a C major fourth variation, an allegro moderato featuring thirty-second notes. The ﬁnal variation, an allegretto, begins with a jaunty theme 177. Hessische Landes-und Hochschulbibliothek, Darmstadt, Mus. MS. 1172; Backofen, Concerto per Corno di Bassetto ed Orchestra. See Newhill, The basset-horn, 33. 178. Newhill, The basset-horn, 34. 179. Newhill, The basset-horn, 34–35. According to the Newhill, the manuscript score was probably hastily prepared because it is full of errors. The ﬁrst performance in modern times was by Martha Kingdon Ward in 1979. 180. Hessisches Landes- und Hochschule Bibliothek, Darmstadt, Mus. MS. 75; see Grass and Demus, Das Bassetthorn, 138. 181. See Backofen, Variationen.

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written in dotted sixteenths, followed by thirty-second notes. After two short cadenzas, which are written out, this theme ends, and there is an orchestral interlude. The basset horn resumes with a simple solo, followed by triplet sixteenth and thirtysecond notes to quietly end this virtuosic work.

Rolla Alessandro Rolla (1757–1841) was a composer, violinist, and viola player active in Milan, ﬁrst as a student from the 1770s. In 1782, he became ﬁrst viola player in the Parma Orchestra and, in 1792, its leader and conductor. In 1802, after the death of the Duke of Parma, he was summoned to conduct the La Scala Opera orchestra, where he remained until 1833. Rolla also taught violin and viola from 1808 to 1835 at the newly opened Milan Conservatory. Rolla’s compositions are related to both the Italian instrumental tradition of Boccherini and the Viennese classical style. His solo concertos reveal the inﬂuence of Mozart in their short development sections and clear structural separation between soloist and orchestra.182 Rolla wrote many concertos for violin and viola, one for bassoon, and one for basset horn. The basset horn concerto appears to be an arrangement of the bassoon concerto (written during the 1810s) and survives in three sets of manuscript parts, one of which is dated 24 April 1829.183Despite the fact that this concerto is an arrangement, Newhill asserts: There can be no doubt that musically this is the best extant concerto for basset-horn. The writing is extremely tuneful and attractive, ﬂowing along with an ease not seen in many other concerti. The writing is not as effective, however, as in the solo works written by basset-horn virtuosi. D3 is the highest note written, and the chalumeau register and the basset notes are very little utilized.184 This concerto is scored for basset horn solo, two oboes, two horns, two violins, viola, cellos, and contra bass.185 The overall compass of the basset horn part is c to d3. As in 182. Antonio Rostagno, “Rolla, Alessandro,” Grove Music Online. 183. The bassoonist Luigi Tartagnini was active from 1813 to 1815 in Bologna, where a set of manuscript parts for the bassoon concerto are preserved in the Biblioteca dell’Archiginnasio. The manuscript score and parts of the basset horn concerto are in the Stiftsbibliothek, Einsiedeln, Switzerland, and in the archive of the RAI in the Conservatory Library, Milan. See Inzaghi and Bianchi, Alessandro Rolla, 272, nos. Bl; 527, 528. Newhill suggests that this concerto was written earlier than 1829, based on the style of writing; see The basset-horn, 43. 184. Newhill, The basset-horn, 43. 185. A score edited by F. Kneusslin and a basset horn and piano arrangement edited by E. Hess were published in 1978 and 1992. A basset horn concerto consisting of a single movement in 3/4 is joined to a faster section in 2/4 is falsely attributed to Johann Simon Mayr and was probably written during the 1830s or 1840s. Its orchestra is larger than Rolla’s using in addition, bassoons, trumpet in F, trombone, and timpani in F and C, Biblioteca Civica Angelo Mai, Bergamo, MS. 335.22; see http://www.interculturale.it.

Basset Horn Music 211 clarinet concertos of the early nineteenth century, the majority of thematic material is presented in the clarino register with arpeggios in the chalumeau register, along with some leaps of three octaves from c to c3. There are many attractive themes presented in all three movements.186 Chamber Music There are literally dozens of chamber works for small ensembles written by obscure, little-known, or anonymous composers for trios, quartets, quintets, sextets, and larger ensembles.187 Many works survive in manuscripts written during the eighteenth and early nineteenth centuries.188 Mozart’s mature chamber works for the basset horn were written in Vienna between 1783 and 1791189 and are discussed in the next section. A number of players wrote their own music for entertainment and informal concerts. For example, the virtuoso clarinetist Franz Tausch (1762–1817) wrote six quartets for two basset horns, two bassoons, and two optional horns published by 1804.190 In 1831, Beethoven’s ﬁrst string quartet in F major was arranged by the clarinetist Heinrich Bärmann for a quartet of two clarinets, basset horn, and bassoon. It was informally performed at Mendelssohn’s home in Munich during a house concert in which Bärmann and Mendelssohn performed.191 This discussion of chamber music is limited to compositions by Mozart, Archduke Rudolph, Danzi, Girolamo Salieri, Aloys Beerhalter, Anton Stadler, Druschetzky, Backofen, Hoffmeister, and Mendelssohn. 186. A ﬁne recording was made in 1967 by Hans Rudolf Stalder on a basset horn by Johann Simon Stengel of Bayreuth (ca. 1840) on Schwann VMS 2012. The earliest Italian performance of the Rolla Concerto in modern times was on 22 October 1981 by Stalder in Pavia at the Festival Rolla. See Tomaselli, “Il ‘Festival Rolla,’” 13. 187. The following works are not important musically but may be useful for study pieces or entertainment: Carl Anton Philipp Braun, Duo für 2 Bassetthörner oder 2 Klarinetten, ed. S. Beyer (Winterthur: Amadeus, 1992); Gaetano Donizetti, Larghetto in Fa Maggiore, ed. D. Roberts (Rome: Boccaccini e Spada, 1989); Henry Gugel, Nocturne Pastorale für Bassetthorn oder Horn in F, ed. F. G. Höly (Lottstetten: Kunzelmann, 1995); L. E. Jadin, Nocture no. 2 F-Dur für ﬂauto, clarinetto, corno o Corno di bassetto e Fagotto, ed. F. Kneusslin (Basel: Kneusslin, 1990); Giovanni Simone Mayr, Sonate à 6 für 2 Klarinetten, Bassetthorn, 2 Hörner und Fagott, ed. L. Magistrelli (Holzkirchen: Accolade Musikverlag, 2001); Carl Eisner, Sextett Nr. 1 and Sextett Nr. 2 für Flöte, Oboe, Klarinette, Bassetthorn, Horn und Fagott, ed. R. Ostermeyer (Wernigerode: Robert Ostermeyer, 2002). 188. See the list in Grass and Demus, Das Bassetthorn, 145–227. 189. Cf. Vester, W. A. Mozart, 191. 190. Franz Tausch, 6 Quatuors pour 2 Cors de Bassette, 2 Fagottes et 2 Cors ad libitum, ﬁrst published by Duncker & Humblot in Berlin and later published in Oranienburg (present day Berlin) by R. Werckmeister, 1804; advertised in Berlinische musikalische Zeitung, Intelligenzblatt No. I (1805), iv. See Newhill, The bassethorn & its music, 92. 191. Mendelssohn’s letter of 6 October 1831 from Munich describes hearing Heinrich Bärmann’s arrangement of a Beethoven string quartet. See Mendelssohn-Bartholdy, Letters of Felix MendelssohnBartholdy from Italy and Switzerland, 294. These arrangements do not appear to be extant.

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Duets for Two Basset Horns Duets were written for instruction and entertainment. They are included in two clarinet tutors by John Mahon and Backofen (both published in 1803) that have basset horn ﬁngering charts and sections devoted to the basset horn.192 Two duets by Mozart are discussed in this section. Mozart Some scholars have identiﬁed Mozart’s lost Duets for K. 41b with his 12 Duets for 2 Horns, K487/496a, based primarily on the compass of each part in comparison to the parts of the horn concerto K. 495 and the Konzertantes Quartett KA. 1.9.193 The autograph of the 12 Duets dated 27 July 1786 consists of only nos. 3 (allegro), 1 (andante), and 6 (menuet).194 Others have suggested that K. 487/496a was not written for the basset horn, citing the use of the very high note (for a duet) of g3 in the ﬁrst horn part of nos. 1, 3, 6, and 7.195 However, an edition of the 12 Duets was published for two horns in the early nineteenth century, and the Mozart works list in Grove Music Online lists these duets for horn but includes basset horn as a possible alternative.196

Duets for Basset Horn and Piano Chamber music includes duets with piano, which begin to appear during the 1820s. Discussed here are ﬁve outstanding basset horn duets with piano, one each written by Archduke Rudolf, Franz Danzi, and Girolamo Salieri and two by Aloys Beerhalter.197 192. Mahon includes “Four Concertante Duetts,” stating: “These Duetts may be played with two Corno Bassettos. Where there are double Notes, the low ones are for the Corno Bassetto, the upper ones for the Clarinet. The notes that are below the compass of the Clarinet may be played an octave above.” See Mahon, A new and complete preceptor, for the clarinet, . . . to which is added the gamut, for the Clara Voce or Corno Bassetto, 38–53; see also the modern edition of the duets in Mahon, Vier konzertante Duos für zwei Bassetthörher oder Klarinetten. Backofen includes in his tutor three duets for two clarinets that could also be played on basset horns. See Backofen, Anweisung zur Klarinette nebst einer kurzen Abhandlung über das Basset-Horn, 21–33. 193. The New Mozart Edition publishes these Duos for two horns in E; Mozart, Kammermusik (1975), 49–66, also Berke’s preface, IX–XII. Also see the argument for their use with two basset horns presented by Grass and Demus in “Schrieb Mozart die 12 Kegelduette,” 125; Das Bassetthorn, 91–93. Kroll also believes these duets were written for the basset horn, see The clarinet, 65. 194. Autographs with additional fragments are in Vienna, Gesellschaft der Musikfreunde, MS., Sig. A 164. See Grass and Demus, “Schrieb Mozart die 12 Kegelduette,” 124, 128. 195. See Vester, W. A. Mozart, 221; Newhill, The basset-horn, 74. 196. The ﬁrst published edition of these duets was Douze pieces pour deux cors: Oeuvre posthume (Wien: Bureau des arts et d’industrie, [1802]); an example is in the British Library, b.201.n(14). Vester, W. A. Mozart, 219–220; Grass and Demus, “Schrieb Mozart die 12 Kegelduette,” 128, n. 3. These duets are recorded on modern basset horns by Luigi and Laura Magistrelli on a Camerata CD, CD-28022. 197. One virtuosic duet not discussed is Christian Rummel, Andante Varié for basset horn and piano, ed. G. Dobrée (Ampleforth: Emerson, 2003).

Basset Horn Music 213 Archduke Rudolph Archduke Rudolph Johann Joseph Rainer (1788–1831) was an Austrian patron of music and a composer. He is best known as a longtime student of Beethoven and the dedicatee of eleven Beethoven compositions.198 Among his compositions for wind instruments is the Variations in F for basset horn and piano on the Bohemian folk song “To jsou kone˘” (There are horses) also known as “Já mám kone˘” (I have horses) written about 1822. A folk song similar to “To jsou kone˘” originated in the Klattau region of Bohemia, and since Rudolph lived primarily in Vienna, it is evidence that this theme may have been heard or acquired in Olmütz or Kremsier, his principal residences, initially after 1805 and especially after 1819, when he was ordained Archbishop of Olmütz.199 The basset horn Variations were not completed by Rudolph but consist of four different autograph sketches. A theme is presented with eight variations, followed by a new time signature of 4/4, indicating that a ﬁnal adagio and polacca variation were probably planned.200 Melville-Mason suggests that Rudolph wrote this work for Count Ferdinand Troyer (1780–1851), an accomplished clarinetist and student of Joseph Friedlowsky (1777–1859), who was also a basset hornist.201 Magistrelli’s edition of this work is based on two manuscripts that incorporate the theme and eight variations on “Já mám kone˘” and the manuscript of the Archduke’s Adagio and Polonaise completed by Carlo Ballerini.202 The theme and variations in this arrangement makes a very effective recital work. Danzi Franz Ignaz Danzi (1763–1826) was an important German opera composer of the late eighteenth and early nineteenth centuries. However, he is best remembered today for his chamber music.203 Danzi worked and lived in Mannheim, Munich, and Stuttgart and from 1812 was Kapellmeister in Karlsruhe. Among the sonatas and duets for various instruments in his chamber music is one of his last works, the 198. Susan Kagan, “Rudolph (Johann Joseph Rainer), Archduke of Austria,” Grove Music Online. 199. Kagan, Archduke Rudolph, xvii, 164. This basset horn solo with piano accompaniment was thought by Helfert, Nettl, and Vetterl to be a work that Beethoven had edited for the Archduke. However, Kagan has shown that Beethoven actually edited the Archduke’s Variations in E-ﬂat for clarinet and piano (1821). See Kagan, Archduke Rudolph, 152–164. 200. Kagan, Archduke Rudolph, 166. The basset hornist Heinrich Fink and pianist Richard Laugs recorded the Variations (Musical Heritage Society MHS 1182) using the most complete manuscript, and Fink added a coda of his own composition. 201. Melville-Mason, “Beethoven and the basset horn,” 47–48. 202. This edition is confusingly listed on the title page as Variations, Adagio and Polonaise but on the piano, basset horn, and alternate B clarinet parts as Theme and Variations on Jam am Kone (My Horses). Magistrelli has also recorded this version on Erzherzog Rudolph von Österreich: Kammermusik mit Klarinette, Bayer CD, 2000. 203. Paul Corneilson and Peter M. Alexander, “Franz (Ignaz) Danzi,” Grove Music Online.

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Grande Sonate pour Piano-Forté & Cor de Bassette (ou Violoncello), op. 62, written in 1822 and published by André in Offenbach in 1823.204 As the title page indicates, the piano part is quite virtuosic in several sections and is paired with an engaging solo part. Because Danzi began his career as a cellist in the Mannheim orchestra, he may have kept idiomatic cello passages in mind when writing the sonata. However, the title page lists the basset horn as the primary solo instrument, and Danzi wrote very idiomatically for the instrument. The ﬁrst movement begins with a larghetto melody in C major (for the solo instrument) played in the basset horn’s clarino register. An allegretto section that follows the introduction includes the most virtuosic writing in the Sonata with a compass of c to d3. There are leaps of two octaves from the chalumeau to the clarino registers, accompanying ﬁgures in triplets and quarter notes, and a busy piano part. In the C minor second movement larghetto sostenuto, Danzi limits the basset horn to a range almost entirely within the clarino register from a1 to c3. The third movement allegretto follows this movement immediately, with a dominating piano part. Here, the basset horn is given a few eight-bar melodic phrases, Alberti bass-like passages, and other accompanying notes with a compass of c to c3.205 Although the third movement includes attractive themes and many virtuoso passages, unless some cuts are made, the piano tends to overshadow the basset horn, which is tacet or silent for 122 bars of a total of 248.206 Girolamo Salieri Girolamo Giuseppe Bartolomeo Salieri (1796–1867) was a nephew of the important Italian opera composer Antonio Salieri.207 He studied composition with his famous uncle in Vienna between 1814 and 1815 and was ﬁrst clarinetist in the theater orchestra of Trieste until about 1825. At the conservatory in Trieste, Salieri was a professor of clarinet and basset horn and by 1825 was teaching clarinet in Legnano near Verona in northern Italy. He became ﬁrst clarinetist at various theaters in Venice: the Teatro la Fenice (1829–1831), the Teatro San Samuele (1831), the Teatro Apollo (1834), and the Teatro di Caneda (1838). He was also ﬁrst clarinetist at the Teatro Nuovo in Padova in 1844. Between 1831 and 1838, he performed in a series of concerts in various cities and toured as a soloist between 1841 and 1852 in Vienna, Graz, Trieste, and Bologna.208 204. In a letter to the publisher André, Danzi includes a “Piano sonata with basset horn or cello” (Klaviersonate mit Bassethorn oder Vcello) in an “Index of my newest compositions” (Verzichniß meiner neuesten Kompositionen) according to Pechstaedt, Thematisches Verzeichnis, 140; see also Kurt Janetzky’s forward in Danzi, Sonate. 205. Danzi, Sonate. 206. Newhill, The basset-horn, 68. Recordings of the Danzi Sonata include Hans Rudolf Stalder playing a Stengel basset horn (ca. 1840) on Jecklin CD, JD 560-2 and Keith Puddy playing a unmarked basset horn attributed to Freyer & Martin (ca. 1820) with Malcolm Martineau playing a Broadwood piano (1817), on Clarinet Classics CD, 0004. 207. Angermüller, Antonio Salieri, vol. 1, 2. 208. See Daniel Lienhard notes in Salieri, Andante con Variazioni: Quintett für Bassetthorn; Weston, More clarinet virtuosi of the past, 215; Amore, La scuola clarinettistica italiana, 68.

Basset Horn Music 215 His only known basset horn work is an andante con variazione for basset horn and string quartet on a theme from the opera I crociati a Tolemaide by Giovanni Pacini (1796–1867), a very well-known composer in Italy during the 1820s and 1830s.209 Pacini’s opera was premiered in Trieste in 1828, and Salieri’s work was published by Ricordi in Milan in September 1829.210 Thus, the theme would have been recognized by members of the audience when he played this work. Salieri is recorded to have performed on clarinet and basset horn in concerts in Vienna in 1832 and in Venice in December 1834.211 The andante con variazione is in F major and makes use of a mezzo soprano clef, with the C on the second line, in the basset horn part. This clef indicates the use of an F basset horn, in a similar manner when the tenor clef is employed to indicate a B clarinet (ﬁgure 3.6). In both cases, the player simply reads

Figure 3.6. Girolamo Salieri, Andante con Variazioni per Corno-Bassetto sopra un Tema dell’ Opera I Crociati in Telemaide del Mro. Pacini con Accompagnamento di due Violini, Viola e Violo. Milan: Ricordi, [1829]. 4th variation, basset horn part. 209. Scott L. Balthazar, “Pacini, Giovanni,” Grove Music Online. 210. See the date of publication provided in Laterza, Il Catalogo numerico Ricordi 1857, 145. 211. AMZ 35, no. 13 (27 March 1833): 209; AMZ 37, no. 23 (10 June 1835): 381. Cf. Weston, More clarinet virtuosi of the past, 215.

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the part as written, adding or subtracting accidentals when required.212 The work begins with a ﬂorid introduction displaying the basset horn compass of c to c3, leading directly to Pacini’s theme as played by the basset horn. The ﬁrst variation features triplets, the second sixteenth notes and trills. This is followed by a slow variation in F minor, dominated by the solo part, and a ﬁnal, fast fourth variation, where the upper range reaches g3.213 Beerhalter Aloys Beerhalter (1800–1852) was apprenticed at twelve to the Neresheim town musician Sauerbrey, and three years later also studied in Tübingen with the town musician Hetsch. He learned a number of instruments from both teachers. Beerhalter was initially employed as a trumpeter in Stuttgart and later became a ﬂutist at the court of Thurn and Taxis in Regensburg. In 1821, he played trombone in the band of a Württemberg cavalry regiment and cello in the royal chapel orchestra. During the 1820s, he heard either Georg Reinhardt or his brother F. Reinhardt play the basset horn and was inspired to learn the instrument on his own. During this time, Beerhalter concentrated his efforts on the clarinet and basset horn and in 1828 was appointed clarinetist in the royal court orchestra in Stuttgart.214 Beerhalter’s Divertisement for basset horn and piano in F major was composed in 1834 and published by Hallberger as op. 2.215 It is the most virtuosic solo work for basset horn from the early nineteenth century. Beginning with a slow adagio recitative, the basset horn is given a dramatic introduction ending in a rapid tongued thirty-second note run downward from b2 to c. A simple melody is then presented in a moderate tempo, followed by two very technical variations typical of contemporary clarinet solos in his use of the highest register to a3. An adagio movement follows in F minor (C minor for the basset horn) that features an operatic melody with enormous leaps of three octaves from c to c3 and c to e3. A closing rondo in 6/8 features a technically challenging part emphasizing many long staccato passages. Although it is an effective showpiece, the melodic material is limited, and there

212. Salieri, Andante con Variazioni per Corno-Bassetto. I thank Luigi Magistrelli for a copy of the Ricordi edition found in the library of the Milan Conservatory. This is the only work known to me that makes use of the mezzo soprano clef for the basset horn. For the use of the tenor clef in clarinet music, see Rice, The clarinet in the classical period, 99–106. 213. Salieri, Andante con Variazioni: Quintett für Bassetthorn. Johann Simon Mayr wrote a sixmovement work for basset horn and piano titled Fioretti pel piano forte e corno bassetto during the 1830s or 1840s. It is in manuscript at the Biblioteca Angelo Mai in Bergamo, MS. cass. I.i.II.38. 214. Fétis, Biographie universelle, vol. 1, 297; Weston, More clarinet virtuosi of the past, 44–45; FritzGeorg Hölÿ preface to Beerhalter, Divertisement für Bassetthorn. 215. Fritz-Georg Hölÿ preface to Beerhalter, Divertisement für Bassetthorn.

Basset Horn Music 217 is little tonal variety in that it is written in F major throughout.216 An orchestral version is scored for pairs of ﬂutes, oboes, C clarinets, bassoons, horns, trumpets, three trombones, timpani, and strings.217 Another basset horn solo that Beerhalter is known to have performed in 1830, 1831, and 1832 is Thema und Variationen (Theme and Variations) on the folksong “Im kühlen Keller sitz’ ich hier” (I sit here in the cool cellar).218 After a four-measure introduction in an easygoing andante cantabile, the basset horn begins with a simple theme that is immediately ornamented in a ﬂorid style. A showy cadenza leads to the theme presented in wide leaps of two octaves and more. There are ﬁve variations that are progressively more difﬁcult, a fourth adagio variation with several wide leaps, and a ﬁfth variation featuring thirty-second notes throughout. A closing allegro vivo in 3/8 quotes the folksong, varies the melody with sixteenths, quotes the melody a last time in a slower tempo, and ends with a quick rush of notes. The overall compass for the basset horn is c to d3.219 Weston reports that this work was orchestrated by Peter Joseph von Lindpaintner, the court composer at Stuttgart,220 perhaps as a favor to Beerhalter.

Trios, Quartets, Quintets, and Sextets Mozart Mozart’s chamber works for the basset horn are justiﬁably famous for their idiomatic and sensitive writing. His Adagio in B K. 484a for two B clarinets and three basset horns dates from 1782 to 1784.221 It is a solemn single movement that contains repeated sixteenth notes that Einstein calls a Masonic knocking theme played softly.222 There are beautiful, rich sonorities that stay within a fairly limited compass for each instrument. The ﬁrst and second basset horns are written

216. Beerhalter, Divertisement für Bassetthorn. Newhill describes this work as lacking in musical depth and ﬁnesse; The basset-horn, 52. 217. In the collection of Hans Rudolf Stalder; Newhill, The basset-horn, 51. 218. A reviewer for the AMZ mentions the name of the well-known folk song at Beerhalter’s performance in Stuttgart in 1830, see AMZ 32 no. 18 (5 May 1830): 282. In August 1831, Beerhalter played in Stuttgart Variations of his composition on the basset horn, see AMZ 33 no. 35 (31 August 1831): 574–575. Again in a concert in June 1832, the AMZ reports that Beerhalter played basset horn Variationen über Alpenlieder so effectively that he was called a second Paganini on his instrument (“Ein zweyter Paganini auf seinem Instrumente!”). This may or may not be the Thema und Variationen. Weston reasonably suggests that all three pieces were the same work in More clarinet virtuosi of the past, 45. Beerhalter’s work is published as Variationen über ein deutsches Volkslied; Kneusslin gives the folksong a slightly different title, “Im tiefen Keller sitz’ ich hier” (I sit here in a deep cellar). 219. Beerhalter, Variationen über ein deutsches Volkslied. 220. In the University Library of Basel; see Weston, Yesterday’s clarinettists, 33. 221. This date is based on the watermark of the paper; see Mozart, Supplement (1992), no. 60, p. XXIII. 222. Einstein, Mozart, 351; see also Thomson, The Masonic thread in Mozart, 65.

218

From the Clarinet d'Amour to the Contra Bass

in treble clef and have a compass of d1 to b2 and a to g2. The third basset horn is written in bass clef and has a compass of c to b1.223 Einstein suggests that this work was intended for a solemn entrance procession of the members of the Three Eagles Lodge where the Maurerische Trauermusik was performed on 12 December 1785.224 Leeson and Zaslaw suggest that the work was intended for Anton David, Vincent Springer, Anton Stadler, and Johann Stadler,225 without naming a ﬁfth player who was probably Theodor Lotz. This assumption is given further support by the fact that David was a member of the Crane (Zum Kranich) Lodge in Danzig, Springer of the St. Alexander Lodge in Petersburg, Anton Stadler of the Palmtree (Zum Palmbaum) Lodge in Vienna in 1785 and the Truth (Zur Wahrheit) Lodge in 1786, and Lotz was a member of Security (Zur Sicherheit) in Pressburg.226 Einstein suggests that the Adagio in F K. 484d for two basset horns and bassoon served as an introduction with the Adagio in B K. 484a for the Maurerische Trauermusik.227 Based on the type of paper used, K.484d was written from 1782 to 1785.228 This short but beautiful work features two basset horn parts that have the same compass, g1 to c3, written as a satisfying and effective musical canon.229 The Six Notturni are attractive works with two sopranos and bass voice that blend extremely well with the timbre of three basset horns. The ﬁrst ﬁve were written about 1787; the sixth is dated 1788. Each notturno notates the music for the ﬁrst and second basset horns in treble clef, the third in bass clef.230 They generally have similar ranges for each basset horn. Ecco quell ﬁero istante K. 436 (1786?), written in F major, includes basset horn compasses of ﬁrst from g1 to c3; second, e1 to a2; and third, c to a1.231 Mi lagnerò tacendo K. 437 (1786) in G major is written for two clarinets in A and basset horn in G, the only notturno written for G basset horn. The basset horn compasses are ﬁrst from a1 to d3; second, e1 to b2; and third, c to

223. Mozart, Ensemblemusik für größere Solobesetzungen, 223–230. The ﬁrst page of the manuscript in the Jagiellonian University in Krakow is reproduced by Ocieszak, Roz˙ek basetowy, 93. 224. The dating of 1782 in the New Grove Online Works List is probably based on the dating of a water mark. 225. See Leeson and Zaslaw in Mozart, Ensemblemusik für größere Solobesetzungen, XIII. 226. Schuler, Mozart und die Freimaurerei, 85, 116, 140–141; Irmen, “Harmoniemusik,” 210. 227. Einstein, Mozart, 351. 228. See Mozart, Supplement (1992), no. 61, p. XXIII; Mozart, Kammermusik, XIII, 120. 229. Mozart, Kammermusik, 120; Einstein, Mozart, 351. The Divertimento for two clarinets and bassoon K. 439b was thought to have been conceived for three basset horns. It is now considered doubtful that Mozart wrote this work, now given the number KA. 228/C 17.03; see Whewell, “Mozart’s Bassethorn trios,” 19; Cliff Eisen and Stanley Sadie, “Mozart, Wolfgang Amadeus, Worklist, wind ensemble” Grove Music Online. 230. See the discussion and dating of these works by C. G. Stellan Mörner in Mozart, Lieder, X–XII; Tyson, “Proposed new dates,” 220. 231. Mozart, Lieder, 1–34.

Basset Horn Music 219 b1.232 Se lontan ben mio K. 438 (1786?) in E major includes compasses of ﬁrst from f 1 to b2; second, d1 to f2; and third, d to b1.233 Due pupile amabili K. 439 (1786?) in F major includes basset horn compasses of ﬁrst from b1 to a2; second, d1 to f 2; and third, c to f 1.234 Luci care, luci belle K. 439a (1786?) in F major includes basset horn compasses of ﬁrst from c2 to c3; second, e1 to a2; and third, c to g1.235 Più non si trovano K. 549 (16 July 1788) in B major includes basset horn compasses of ﬁrst from g1 to c3; second, d1 to c3; and third, c to a1.236 However, the editors of Mozart’s article in the New Grove Online state that it is doubtful Mozart wrote the accompaniment of K. 549.237 The basset hornists Mozart wrote the Notturni for were probably Anton and Johann Stadler and Theodor Lotz or Anton or Raymund Griesbacher. Among Mozart’s remaining chamber music works are six incomplete fragments. They are included here because of Mozart’s importance as a composer and because some fragments were published after the music was completed in Mozart’s style by an editor. The ﬁrst is the slow introduction to the Quintet in B for piano, oboe, B clarinet, basset horn, and bassoon, KA. 54/452a. The date in Köchel’s sixth Index is “presumably spring 1783”; Tyson dates it to 1784 on the basis of paper type.238 This twenty-four-measure introduction incorporates a solo piano part with four accompanying wind instruments. The basset horn part is written completely in the clarino register, e1 to a2.239 The beginning of the Allegro Assai in B is scored for two B clarinets and three basset horns, KA. 95/484b. Köchel’s date in the sixth Index is “presumably the end of 1785”; Tyson dates it to 1786 or later, based on paper type.240 This work is also thought to have been written for Anton and Johann Stadler, David, and Springer,241 and playing the third basset horn, perhaps Lotz, Anton Griesbacher, or Raymund Greisbacher. The ﬁrst and second basset horn parts are written in treble clef playing in the clarino register d1 to b2 and c1 to g2; the third basset horn part is in bass clef written from c to e1.242 232. Mozart, Lieder, 35–41. 233. Mozart Lieder, 29–30. 234. Mozart, Lieder, 26–28. 235. Mozart, Lieder, 42–43. 236. Mozart, Lieder, 44–47. All of these works are recorded using a Griesbacher basset horn, and two copies of eighteenth-century basset horns by Hoeprich. See Mozart Basset Horn Bon-Bons played by the Stadler Trio (Eric Hoeprich, Carles Riera, and Alf Hörberg) and Friends, on Philips CD, 446 106-2, 1995. 237. Cliff Eisen and Stanley Sadie, “Works, Mozart, Wolfgang Amadeus,” Grove Music Online. 238. Mozart, Supplement (2002), 245; Mozart, Supplement (1992), no. 11, p. XXI. 239. See the two-page facsimile in Mozart, Supplement (2002), 104. 240. Mozart, Supplement (2002), 255; Tyson, “Proposed new dates,” 223–224; Mozart, Supplement (1992), no. 89, p. XXIV. 241. Mozart, Ensemblemusik für größere Solobetsetzungen, XIII–XIV. 242. Mozart, Ensemblemusik für größere Solobetsetzungen, 236–237; one-page facsimile in Mozart, Supplement (2002), 144. Recorded on eighteenth century reproduction basset horns by Le Trio di Bassetto (Jean-Claude Veilhan, Eric Lorho, and Jean-Louis Gauch) on Mozart, l’ami Stadler, et le cor de basset, K617, 060

220 From the Clarinet d'Amour to the Contra Bass An Allegro in F from a Quintet for C clarinet, basset horn, violin, viola and cello, KA. 90/K580b is dated in Köchel’s sixth Index as “probably September 1789”; Tyson dates it to 1787, based on paper type.243 The fragment is 102 measures written to the end of the development section, and in some measures only the leading parts for violin or viola are written; the other staves remain blank. It is a concertante work with demanding, virtuosic writing for clarinet, violin, basset horn, and viola. The basset horn part is written in bass and treble clefs with a compass of c to c3.244 Wilby suggests that the clarinet and basset horn parts were speciﬁcally written for Johann and Anton Stadler and that it was meant for one of Salieri’s concerts in Vienna with Salieri playing violin, Mozart, viola, and a cellist as a supporting player.245 The beginning of an Adagio in F for C clarinet and three basset horns, KA. 93/484c, is dated in Köchel’s sixth Index as “presumably the end of 1785”; Tyson dates it to 1787, based on the type of paper.246 This six-measure fragment is scored in the usual manner with ﬁrst and second basset horns in treble clef and the third in bass clef.247 An Adagio in F for B clarinet and three basset horns, KA. 94/580a, is dated in Köchel’s Index as “probably September 1789”; Tyson dates it probably 1788, based on the type of paper.248 The four staves are unmarked but are presumed to be for clarinet and three basset horns in the New Mozart Edition.249 Only twenty-eight measures are fully scored to the end of the exposition section. The ﬁrst and second basset horns are written in treble clef with compasses of d1 to b2 and d1 to e2. The third basset horn in bass clef has a compass of d to g1.250 243. Mozart, Supplement (2002), 262–263; see Tyson, “Proposed new dates,” 224; Mozart, Supplement (1992), nos. 55, 61, p. XXIII. 244. Mozart, Kammermusik (1958), 45–49; facsimile in Mozart, Supplement (2002), 164–166. 245. Wilby, “Mozart’s clarinet fragments K.516c, 580b, 581a,” 7, 9. This Allegro was reconstructed and completed by Philip Wilby and published by Boethius Press in 1983. An excellent recording of a reconstruction of the Quintet by Gerhard Maß was completed by Divertimento Salzburg in 1980 with Kurt Birsak (clarinet in B) and Jann Engel (basset horn in F), Claves CD 50-8007, 1986. 246. Mozart, Supplement (2002), 259; Mozart, Supplement (1992), no. 95, p. XXV; cf. Tyson, “Proposed new dates,” 222. 247. Mozart, Ensemblemusik für größere Solobetsetzungen, 237; one-page facsimile in Mozart, Supplement (2002), 155. Recorded on eighteenth century reproduction basset horns by Le Trio di Bassetto (JeanClaude Veilhan, Eric Lorho, and Jean-Louis Gauch) on Mozart, l’ami Stadler, et le cor de basset, K617, 060. 248. Mozart, Supplement (2002), 265; Tyson, Mozart, studies of the autograph scores, 145; Mozart, Supplement (1992), no. 10, p. XXI. 249. Mozart, Ensemblemusik für größere Solobetsetzungen, XIV; Mozart, Supplement (2002), 265. Although this work was published in arrangements for English horn and other instruments, it is thought more likely to have been written for clarinet in B and basset horns in F or clarinet in C and basset horns in G. Recorded on eighteenth century reproduction basset horns by Le Trio di Bassetto (Jean-Claude Veilhan, Eric Lorho, and Jean-Louis Gauch) on Mozart, l’ami Stadler, et le cor de basset, K617, 060. 250. Mozart, Ensemblemusik für größere Solobetsetzungen, 238–241; for a two-page facsimile, see Mozart, Supplement (2002), 171.

Basset Horn Music 221 The ﬁnal fragment is a thirty-two-measure Allegro in F for basset horn, K. 484e, marked “Corno di Baßetto 1mo.” It is dated 1782 to 1784 based on paper type.251 This fragment may have come from a work conceived for a trio of basset horns or for a larger ensemble.252 A highly interesting suggestion concerning Mozart’s use of basset horns and clarinets was promulgated by Marius Flothius in a record liner note of a recording of the Adagio in B K. 484a. Apart from the Adagio, there are several fragments for the same or a similar instrumental group, which indicates that Mozart was exploring the possibility of a homogeneous wind combination to be a counterpart of the string quartet or quintet. Although it is a great pity that only this one Adagio was completed, it is remarkable that at this stage of the experiment (for experiment it surely was) Mozart was able to create a masterpiece. The part-writing with the exploitation of the tonal qualities of the instruments is superlative and the piece has throughout a ﬁne melodic expressiveness.253 Stadler Anton Paul Stadler (1753–1812) was an Austrian composer, clarinetist, and inventor. The 18 Terzetten (ca. 1795) are Stadler’s only surviving basset horn compositions.254 They are written in a late classical style, announced in the Wiener Zeitung on 14 November 1795, and listed in the 1799 catalog of Viennese publisher Johann Traeg, presumably available in a manuscript copy.255 The ﬁrst and second basset horns are notated in the treble clef; the third in the bass clef. The ﬁrst basset horn is given the primary melody, and the second basset horn often plays in thirds or in unison with the ﬁrst. The third basset horn has an

251. Mozart, Supplement (1992), no. 60, p. XXIII. 252. Mozart, Ensemblemusik für größere Solobetsetzungen, 238; one-page facsimile in Mozart, Supplement (2002), 213. 253. Marius Flothius, notes to Mozart Divertimenti, Das Niederländische Bläserensemble with Edo De Waart conducting, Philips 6500 003. A contemporary of Mozart, the Czech composer, Adalbert Vojte˘ch Nudera (1746–1811) wrote ﬁve musically interesting Divertimenti and a suite of four Polonaise for three basset horns, Grass and Demus, Das Bassetthorn, 101. Four of these Divertimentos are recorded on three Lotz basset horns by the Stadler Trio (Eric Hoeprich, Carles Riera, and Albert Gumí) on Mozart & Comtemporaries, Glossa CD 920603, 1999. 254. Vienna, Austria, Österreichische Nationalbibliothek, Musiksammlung, MS., VIII 1227; modern edition, Stadler, 18 Trios; see also Pamela Poulin, “Stadler, Anton (Paul),” Grove Music Online, and the list of Stadler’s compositions given by Rice in Lawson, Mozart, clarinet concerto, 91–92. 255. Weinmann, Die Anzeigen des Kopiaturbetriebes Johann Traeg, 53. Melville-Mason suggests a date of “before 1781” in “The role of the basset horn in Middle Europe,” 32. Federici observed that Stadler used themes derived from Salieri’s opera Palmira regina di Persia, ﬁrst produced in Vienna in 1795, in nos. 13 (marked Palmira), 15, and 16; Federici, “La musica per corno di Bassetto in ambito Mozartiano,” 130.

222

From the Clarinet d'Amour to the Contra Bass

independent part, often playing sixteenth notes or triplets, setting it apart from the other two instruments. The overall compass for each part is ﬁrst from g to e3; second, g to b2; and third, c to g2.256 Lawson has pointed out that whenever the low c appears in the third part, an ossia or optional note an octave higher is provided. This was because a low c key was rarely found on late-eighteenth-century basset horns.257 The writing is very idiomatic, featuring themes written in an operatic, recitative style, including some based on Bohemian popular dances.258 All of these qualities are characteristics of pleasant table music, and it is likely that they were used for this purpose. Some of the movement headings are descriptive or suggestive of moods such as Traum (Dream), La Russe (The Russian), Il Matrimonio nella Candella (The marriage of Candella), and Solitari (Lonely). It is also possible that Stadler wrote these works for use at one of the meetings of a Masonic lodge in Vienna, perhaps playing with his Masonic brothers Anton and Raymund Griesbacher. Druschetzky Georg Druschetzky wrote at least two chamber works employing the basset horn. The ﬁrst are his Trios for three basset horns written during the late eighteenth or early nineteenth century. There are a total of eight movements written in a classical style similar to Stadler’s Terzetten. Druschetzky notates the ﬁrst and second basset horns in treble clef, the third in bass clef. The overall compass for each part is ﬁrst from c1 to e3; second, a to a2; and third, c to f 2.259 The music is not quite as demanding as Stadler’s work, with slightly more restricted compasses, but it is well written and pleasant to hear. A later and more virtuosic work is Druschetzky’s Quartet for basset horn, violin, viola, and cello written about 1810. The work is in F major (C for the basset horn) in the ﬁrst and third movements and D major (G for the basset horn) in the second movement. The ﬁrst movement allegro features short solos, but primarily the soloist blends with the string quartet parts. The writing is challenging, with extensive use of both chalumeau and clarino registers, including some chromatic passages in the upper register. The second movement andante con variazioni begins with a simple theme repeated twice and makes use of triplets in solo and accompanying roles. The 256. An excellent recording of the Terzetten is played on reproductions of basset horns by Kirst made by L. Verjat; by Griesbacher made by G. Thomé played by the Trio di Bassetto on Mozart, “l’ami Stadler, et le cor de basset,” K617 CD, 060. Five Terzetten are recorded on three Lotz basset horns by the Stadler Trio (Eric Hoeprich, Carles Riera, and Albert Gumí) on Mozart & Comtemporaries, Glossa CD 920603, 1999. 257. Lawson, Mozart, clarinet concerto, 21. 258. Jean-Claude Veilhan, booklet notes, Mozart, l’ami Stadler, et le cor de basset, 12. All 18 Terzetten are recorded by the Trio di Bassetto (Veilhan, Eric Lorho, and Jean-Louis Gauch) on reconstructions of eighteenth century basset horns, K617, 060. 259. Druschetzky, Trios für drei Bassethörner. Beautifully recorded on three Lotz basset horns by the Stadler Trio (Eric Hoeprich, Carles Riera, and Albert Gumí) on Mozart & Contemporaries, Glossa CD 920603, 1999.

Basset Horn Music 223 third movement rondo includes a simple theme varied by a sixteenth-note version that ends convincingly. A wide compass of c to e3 is utilized for the basset horn part.260 Backofen Backofen’s chamber music for the basset horn includes two works published in 1803 by the prestigious ﬁrm Breitkopf & Härtel in Leipzig: Concertante pour harpe et cor de bassette avec l’accompagnement d’un Violoncelle, op. 7 and Quintetto pour Cor de Bassette, 2 Violins, Alto et Violoncelle, op. 9.261 The Concertante was published with a separate and optional cello part provided to strengthen the lowest notes of the harp. The title page speciﬁes that it was written for and dedicated to the Princess of Saxe-Gotha, who apparently was a harpist. This three-movement work is entirely in F major, which was probably to avoid retuning the harp between movements. It is a charming and tuneful work that features the basset horn as the primary melodic voice, with the harp often accompanying and sometimes providing the leading part. The ﬁrst movement sonata allegro features a great deal of challenging but idiomatic writing for the basset horn. A second movement Thème Varié allegretto begins with a charming folk theme, followed by ﬁve variations that are carefully and interestingly varied with sixteenth-note triplets followed by thirty-second notes. The third movement is a short 6/8 allegretto that ends in a happy mood.262 The basset horn part covers a large compass of c to d3, and the combination of the tonal qualities of both instruments is very effective.263 The Quintetto for basset horns and strings is considered by Newhill to be Backofen’s ﬁnest work, demonstrating extremely effective writing.264 The AMZ reviewer is very positive in his approval of this work, comparing it favorably to the use of the basset horn in Mozart’s outstanding aria “Non piú di ﬁori” from La clemenza di Tito.265 The quintet is written in three movements: an F major allegro in 3/4, a C minor adagio ma non troppo, and an F major andante with variations. In the ﬁrst movement, the low c of the basset horn is emphasized in long notes between sixteenth-note passages, followed by a pleasant theme played by the strings and basset horn. The second movement features the basset horn mostly in the clarino register but does not neglect the lowest c. The last movement presents a charming theme with six increasingly difﬁcult variations. The last variation features the chalumeau register effectively utilized in thirty-second notes, and the AMZ reviewer prints the 260. Druschetzky, Quartett für Bassetthorn, Violine, Viola und Violoncello. 261. See Hans Joachim Zingel, “Backofen, Johann Georg Heinrich,” MGG2, vol. 1 (1999), 1585; Rosenzweig, “Johann Georg Heinrich Backofen,” 96. 262. See Backofen, Concertante für Harfe und Bassetthorn. 263. An excellent recording is by Hans Rudolf Stalder playing a Stengel basset horn from about 1840 with Ursula Holliger, harp, and Andreas Schmid, cello; see Musik aus der Blütezeit des Bassetthorns, Jecklin JD 560-2 (1988). 264. Newhill, The basset-horn, 86. 265. AMZ 6, no. 6 (9 November 1803): 91–92.

224 From the Clarinet d'Amour to the Contra Bass last four measures of the basset horn part, describing them as particularly effective. The writing is very idiomatic and enjoyable to play throughout the work, with a range of c to e3. 266 Hoffmeister The extremely proliﬁc composer and publisher Franz Anton Hoffmeister (1754– 1812) wrote a quintet for basset horn, ﬂute, oboe, viola, and bassoon.267 This is a good example of light music skillfully written that would have been accessible to many amateur players in about 1800. The four-movement work uses the basset horn as an important component throughout. In the ﬁrst movement allegro, the ﬂute begins with a melody harmonized by the basset horn. All the instruments have solos except the bassoon, and some passages are written in the bass clef for the basset horn. In the second movement menuetto, the basset horn is subsidiary to the solos of the ﬂute and oboe. Basset horn solos appear several times in the third movement romance. The fourth movement rondo begins with a basset horn solo, and the instrument is prominent throughout. The overall compass is c to d3.268 Mendelssohn Felix Mendelssohn was a gifted and versatile prodigy and the most important German conductor, pianist, organist, and composer during the 1830s and 1840s. He wrote the most well-known chamber music including the basset horn: two duos, later named concert pieces (Concertstücke) in F major (op. 113) and in D minor (op. 114). They are scored for B clarinet, basset horn, and piano and were written for the famous clarinetist Heinrich Bärmann and his son Carl Bärmann for use on a forthcoming tour of Russia. Mendelssohn was an admirer and close friend of Heinrich Bärmann, who was the greatest player of his day. Opus 113 was completed on 30 December 1832 and op. 114 on 6 January 1833. Mendelssohn orchestrated op. 113 on 19 January 1833; Carl Bärmann orchestrated op. 114 sometime in 1833, probably because Mendelssohn was too busy to orchestrate it at the time.269 André in Offenbach published both works more than thirty years later in 1869.270 A humorous dedication on the autograph of op. 113 alludes to a popular melody of the day, “The Battle of Prague,” and to Bärmann’s talents as both a musician and 266. Backofen, Quintetto op. 9. 267. This work is found in manuscript parts in the library of St. Florian, MS., XXV 17. The bassoon part is missing and had to be reconstructed from reference to the other parts, see Fritz-Georg Höly in the foreword to Hoffmeister, Quintett. 268. Hoffmeister, Quintett. 269. Stirzaker examined the autographs of the orchestrated versions of these works; see “Mendelssohn’s Concertpieces,” 39–40. 270. Cooper, “Mendelssohn’s works,” 747. Typical of the publishing practices of the time, versions of this work were published by André for violin, cello, and piano or for piano four hands; see Thematisches Verzeichniss der im Druck erschienenen Compositionen von Felix Mendelssohn Bartholdy, 68–69.

Basset Horn Music 225 cook: “The Battle of Prague! A grand duet for sweet dumpling and cream strudel, or for clarinet and basset horn, composed and most humbly dedicated to Baermann senior and Baermann junior by their devoted servant Felix Mendelssohn-Bartholdy. [It was] played for the ﬁrst time at Heinrich Bear’s house in Bear Street by the bear people, Bearlin 30th December 1832. All’s well that ends well.”271 According to Münster, Concertstück op. 113 was ﬁrst performed on 1 January 1833 at the home of Heinrich Beer, the brother of Meyerbeer, at Behrenstraße in Berlin.272 It was ﬁrst performed publicly in Berlin on 5 January 1833, with Felix Mendelssohn playing piano along with the Bärmanns. The AMZ states that the “Duet for clarinet and basset horn with piano accompaniment by Felix Mendelssohn-Bartoldy was an interesting and melodic work.”273 By 23 January the Bärmanns and Mendelssohn were performing in Königsberg and included in the concert a “very handsome” Concertstück for clarinet, basset horn, and pianoforte.274 In December 1838, the Bärmanns were again on tour through southern Germany, Holland, Belgium, and Paris.275 They arrived in Paris on 14 December and performed one of the concert pieces, possibly in an orchestrated version.276 Concert Piece no. 1, op. 113 in F minor begins with a powerful, declamatory opening marked allegro con fuoco played on B clarinet, followed by the basset horn. Mendelssohn makes use of triplet ﬁgures, highlighting the compass of both instruments. The piano part is idiomatically written, deﬁnitely in a role of accompanying to highlight the solo parts. Mendelssohn writes in thirds for the solo instruments and very effectively uses the lowest notes of the basset horn in triplets to accompany a melodic line played on the clarinet. Attractive solos are also written for the basset horn, making use of the chalumeau and clarion registers, and short, written-out cadenzas are alternately played by both solo instruments. The clarinet cadenza leads directly to a slow andante in 9/8, displaying a relaxed but highly expressive melody played in thirds and sixths by the solo instruments. The last movement is a rapid

271. “Die Schlacht bei Prag! Ein großes Duett für Dampfnudel und Rahmstrudel, o. Clarinet d. Bassethorn, componiert u. demüthig dediciert an Bärmann Sen. und Bärmann Jun. von Ihrem ganz ergebenen Felix Mendelssohn-Bartholdy. N.B, Zum ersten Mal gespült bei Heinrich Bär in der Bärenstrasse von den Bärleuten, Bärlin, den 30. December 1832.” Most of the autograph of op. 113 is reproduced in Stirzaker, “Mendelssohn’s Concertpieces,” 38; see also the transcription by Münster, “Dampfnudel, Rahmstrudel und Mozarts brillantring,” 124. 272. Münster, “Dampfnudel, Rahmstrudel und Mozarts brillantring,” 125; Cooper, “Mendelssohn’s works,” 747; R. Larry Todd, “Mendelssohn, Felix, Works,” Grove Music Online. 273. “. . . Duett für Clarinette und Bassethorn mit Pianofortebegleitung, von Felix Mendelssohn-Bartoldy melodisch und interestessant componirt.” “Nachrichten,” AMZ 35 (1833), 124. 274. “Nachrichten,” AMZ 35 (1833), 601. 275. Weston, Clarinet virtuosi of the past, 147. 276. Weston, More clarinet virtuosi of the past, 35. The orchestrated version of op. 113 is in Paris, Bibliothèque Nationale, MS. 209; op. 114 in Munich, Bayerische Staatsbibliothek, MS. 2353; see Stirzaker, “Mendelssohn’s concertpieces,” 41.

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presto in 6/8, which demands the most technique in terms of wide leaps and runs in the basset horn part. It is a tour de force that ends very effectively. The basset horn makes use of a compass from c to c3. Concert Piece no. 2, op. 114 in D minor was written in A minor for the basset horn. All three parts begin a four-measure unison phrase in a fast presto. As in the ﬁrst concert piece, the B clarinet and basset horn parts are interwoven skillfully; both have solo moments and short, written cadenzas. The ﬁrst movement leads directly to a slower andante in 6/8, where a lilting melody is given to the clarinet, and the basset horn accompanies in sixteenth notes. The last movement, an allegretto grazioso in 2/4, starts with an eight-measure phrase for the piano, followed by solos for clarinet and basset horn. Both instruments are joined in thirds and sixths, followed by more solos and a gradual slowing down or ritardando to a two-bar phrase for clarinet and basset horn. The end of the work is then furiously played presto e con fuoco to a brilliant ending. The basset horn uses the same compass of c to c3 as in the Concert Piece no. 1. Stirzaker observes that Mendelssohn wrote an orchestral accompaniment for op. 113 on 6 January 1833, only seven days after it was completed. He notes that there are “isolated instances of orchestral idiom,” such as the left-hand “tutti tremolo” ten measures before the andante in op. 113. Concert Piece no. 1 is scored for double winds: ﬂutes, oboes, bassoons, horns, and trumpets with timpani and strings. Concert Piece no. 2 omits the trumpets and timpani. Mendelssohn’s orchestration is superior to Bärmann’s in Concert Piece no. 2 in his use of contrasting colors in the last movement to accompany the alternating solo passages of the clarinet (with woodwinds) and the basset horn (with strings). Bärmann’s orchestration seems more routine, making little use of the winds and then mostly in tutti passages. There are subtle differences in the solo and orchestral parts between the two versions; other obvious differences are in the clarinet and basset horn cadenzas as written in these two versions.277 Wind Band Music Wind band music including clarinet began during the 1740s, when it was included in monastery bands in Austria, and then expanded throughout Europe from the 1760s in private and court wind bands. The most famous ensemble is the Austrian

277. Stirzaker, “Mendelssohn’s concertpieces,” 39–41. Recordings of both Concert Pieces with orchestra include Thea King, clarinet and Georgina Dobrée, basset horn, London Symphony Orchestra, Hyperion Dyad CD. The ﬁrst London performance of Mendelssohn’s Concertstück op. 113 was given 24 June 1868 at St. James’s Hall on the Ancient and Modern Concerts series by Maycock on the basset horn and Henry Lazarus (1815–1895) on clarinet, with orchestral accompaniment. Opus 113 was performed again with Maycock and Lazarus at a Cambridge University concert about 1878 in the piano version, Charles Villiers Stanford, piano. Another performance with Maycock and Lazarus took place at a Crystal Palace Concert with a Mr. Pape, piano. Maycock and Egerton (probably William) also played

Basset Horn Music 227 court’s eight-member wind band (Harmonie) in Vienna of the 1780s.278 The basset horn was occasionally played in military wind bands during the late eighteenth century for performance indoors and for table music. For example, Heyde records that in 1787, the Mecklenburg-Schwerin Regiment band in Ludwigslust played “Bassonets,” that is, tenor or high bassoons; in 1789, these bassoons were replaced by basset horns.279 In England, during 1793 and 1794, the military band accompanying Lord George Macartney for his trip or “Embassy” to China consisted of ﬁve musicians who could choose among oboe, bassoon, clarinet, ﬂute, ﬁfe, two violins, viola, cello, and two basset horns. Macartney was a friend of Charles Burney, the well-known English musician, composer, and music historian; both were members of the Literary Club in London. Prior to Macartney’s departure for China, Burney helped by supplying, as mentioned in his diary, “whatever belonged to musical matters, whether instruments, compositions, band, or decoration, that might contribute in that line, to its magniﬁcence.”280 Thus, most of the instruments in Macartney’s band would have been newly manufactured, primarily in London. The basset horns were undoubtedly supplied by a German maker. Interestingly, two Chinese artists traced several instruments, including the basset horns, on large sheets of paper, noting the dimensions and other details of all the instruments.281

Mozart Mozart’s outstanding work for a large wind band is the Serenade in B K. 361/370a, featuring a large wind group of two oboes, two B clarinets, two basset horns, two bassoons, two F, two B horns, and double bass. It was played by civilian, not military, musicians. The autograph makes use of paper that Mozart had from early summer 1781, but the Serenade was probably written from 1783 to 1784.282 Its ﬁrst performance occurred on 23 March 1784, based on an announcement in the Wienerblättchen.

op. 113 at Willis’s Rooms and at a Royal Society of Musicians’ Festival. Opus 114 was performed once in about 1882 at the Prince’s Hall, presumably in the piano arrangement with Maycock and Egerton; see Maycock, “Neglected solo instruments,” The Musical Times 27 no. 523 (1 September 1886): 549. 278. See Rice, The clarinet in the classical period, 198–201. 279. Staatsarchiv Schwerin, Kabinett I, vol. 933; Heyde, Historische Musikinstrumente im Bachhaus Eisenach, 238. 280. See Scholes, The great Dr. Burney, 115. On 22 August 1792, Burney was reimbursed for purchasing these instruments in the amount of £76 1 shilling 4 pence; see Lonsdale, Dr. Charles Burney, 362. 281. See An embassy to China, 24, 104, 364, n. 22. 282. Mozart, Supplement (1992), no. 57, p. XXIII. See the thorough arguments for a date of 1783 to 1784 in Leeson and Whitwell, “Concerning Mozart’s Serenade,” and in Leeson, “A revisit: Mozart’s Serenade for thirteen instruments, K. 361 (370a),” 181–223.

228

From the Clarinet d'Amour to the Contra Bass Musical Concert. Herr Stadler, senior, in actual service of His Majesty the Emperor, will hold a musical concert for his beneﬁt at the I. & R. National Court Theatre, at which will be given, among other well-chosen pieces, a great wind piece of a very special kind composed by Herr Mozart.283

Anton Stadler and his brother Johann Stadler certainly performed at this concert. A report of Stadler’s concert published the next year appears in a book of recollections by Johann Friedrich Schink. Here, he reported hearing four movements, not the complete seven movements as found in the autograph. Musical concert held by Stadler, Clarinet Virtuoso. My thanks to you brave Virtuoso! I have never heard the like of what you contrived with your instrument. Never should I have thought that a clarinet could be capable of imitating a human voice so deceptively as it was imitated by you. Indeed, your instrument has so soft and so lovely a tone that nobody can resist it who has a heart, and I have one, dear Virtuoso; let me thank you! I heard music for wind instruments today, too, by Mr. Mozart, in four movements—glorious and sublime! It consisted of thirteen instruments: four horns, two oboes, two bassoons, two clarinets, two basset horns, a contra bass, and at each instrument sat a master—oh, what an effect it made—glorious and grand, excellent and sublime!284 From this description, it appears that the Stadlers played the two clarinet parts and the visiting basset hornists Anton David and Vincent Springer played the basset horn parts.285 In this work, every part is particularly well written and enjoyable to play. Extended solos are written for the ﬁrst clarinet, oboe, and bassoon, as well as the ﬁrst basset horn. The two basset horn parts in the Serenade in B-ﬂat are written in treble clef 283. “Heut wird Herr Stadler der ältere in wirklichen Diensten Sr. Majestät des Kaisers, im k.k. National-Hotheater eine musikalische Akademie zu seinem Vortheil geben, wobey unter anderen gut gewählten Stücken eine große blasende Musik von ganz besondere Art, von der Composition des Hrn. Mozart gegeben wird.” Deutsch, Mozart: Die Dokumente seines Lebens, 1961, 198, trans., Deutsch, Mozart: A documentary biography, 223. 284. “Musikalische Akademie von Stadler, Virtuos auf dem Klarinet. Sollst meinen Dank haben, braver Virtuos! was du mit deinem Instrument beginnst, das hört ich noch nie. Hätt’s nicht gedacht, daß ein Klarinet menschliche Stimme so täuschend nachahmen könnte, als du sie nachahmst. Hat doch dein Instrument einen Ton so weich, so lieblich, daß ihm Niemand widerstehn kann, der ein Herz hat, und das hab’ ich, lieber Virtuos; habe Dank! Hab’ auch heut eine Musik gehört mit Blas-instrumenten, von Herrn Mozart, in vier Säzzen—herrlich und herr! Sie bestand aus dreizehn Instrumenten, als vier Corni, zwei Oboi, zwei Fagotti, zwei Clarinetti, zwei Basset-Corni, ein Contre-Violon, und saß bei jedem Instrument ein Meister—o es tat eine Wirkung—herrlich und groß, treﬂich und hehr!” Schink, Litterarische Fragmente, vol. 2, 286, trans. in Deutsch, Mozart, 232–233; Lawson, “Playing historical clarinets,” 143. 285. See Leeson and Whitwell in “Concerning Mozart’s Serenade in B,” 106 and n. 16.

Basset Horn Music 229 and are very active throughout almost the entire lengthy, seven-movement work.286 The ﬁrst basset horn’s compass is from f to d3, the second from c to b2. Although the basset horns are often paired together or with the clarinets, the ﬁrst basset horn sometimes doubles the ﬁrst oboe. The parts are intricately and interestingly written and occasionally feature a ﬁne blend of clarinets and basset horns alone, such as the ﬁrst trio from the second movement menuetto for two B clarinets and two basset horns (ﬁgure 3.7).287 The timbre of these two instruments is complementary and quite attractive. An unknown hand wrote on the autograph a title of “Gran Partita,” which should not be attached to this work.288

Martín y Soler Vicente Martín y Soler (1754–1806) was a Spanish composer of opera and ballets who worked in Madrid, Naples, Venice, Vienna, St. Petersburg, and London. He was most successful while in Vienna during the mid-1780s.289 Very few of Martín y Soler’s instrumental works have survived. A set of eight manuscript parts in the British Library consisting of a wind octet is entitled “Nr. 6 Divertimento for 2 Basset Horns, 2 Obois [sic, Oboi], 2 French Horns in F & B, 2 Bassoons, & Serpent Comp.

Figure 3.7. Wolfgang Amadeus Mozart, Trio I from Menuetto I in Serenade in B = K. 361 (ca. 1783–1784). 286. The autograph includes nonsequential numbering of the movements that suggests the manuscript was at one time divided and afterward assembled together. The seven movements often include different tempos or sections within a movement: Largo-Molto Allegro; Menuetto-1st Trio, 2nd Trio; Adagio; Allegretto Menuetto-1st Trio-2nd Trio; Adagio-Romance-Allegretto; Theme (not marked)-1st Variation, 2nd Variation, 3rd Variation, 4th Variation, 5th Variation, 6th Variation; and Molto Allegro-Finale; see Mozart, “Gran Partita.” 287. Mozart, Ensemblemusik für größere Solobetzungen, 165–166. 288. Leeson and Zaslaw in Mozart, Ensemblemusik für größere Solobetzungen, XII. 289. Dorothea Link, “Martin y Soler, Vicente,” Grove Music Online.

230 From the Clarinet d'Amour to the Contra Bass

Figure 3.7. Continued.

by Sig. Martini” (1787).290 Musical material is borrowed from arias in his very popular opera Una Cosa Rara (1786). A transcription for wind band appeared in Vienna within three months of its November 1786 premiere; the entire opera was played in 290. London, British Library, MSS., RMd3 (Royal Music Collection) includes ﬁve Divertimenti by Martini (Martín y Soler) numbered 2–6, with two basset horns, two oboes, two horns, two bassoons, and serpent. A modern edition of Divertimento no. 6 includes a score and parts and is entitled Divertimen to per

Basset Horn Music 231

Figure 3.7. Continued.

a transcription for winds by the imperial wind band in their academy at the Kärntnertortheater on 2 March 1787.291 The basset horn parts are labeled “Cornu Di Bassetto” and horn parts are labeled “Cornu.” The serpent part is optional because it doubles the second bassoon except for a few bars in two movements.292 There are ﬁve movements in total, with the oboes as the leading voice, although bassoons and basset horns are featured in short solos. The compass of the basset horns is d1 to c3 and c1 to b2 without any use of the chalumeau register. There are many pleasing melodies, and it is enjoyable to perform.

Druschetzky Georg Druschetzky wrote many works for a variety of combinations of wind instruments. Six manuscripts with basset horn are part of Prague’s National Museum

a octet de vent. Two other works are included in RM21 d.3 entitled “Music for Bassethorns I, II and III”: a set of 15 short pieces by Valentin Roeser (fols. 1–32), and a Divertimento by Antonio Rosetti (fols. 121–139). 291. Count Zinzendorf reports that Prince and Princess Schwarzenberg had their wind band perform selections from Una cosa rara as dinner music in 1788 on 29 March, 15 April, and 5 May; see Link, “Vienna’s private theatrical and musical life, 1783–1792,” 246–247. 292. C. Lawson and C. Riera in Martin i Soler, Divertimento, 4. This edition also provides B clarinet parts as an option for the basset horn parts. I thank Colin Lawson for a copy of the modern edition. An arrangement for three basset horns of three movements of this work are nicely recorded on three Lotz basset horns by the Stadler Trio (Eric Hoeprich, Carles Riera, and Albert Gumí) on Mozart & Comtemporaries, Glossa CD 920603, 1999.

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from the collection of Count Clam-Gallas of Prague.293 Newhill studied these manuscripts and provides reliable descriptions. A partita in G is written for one oboe, three D basset horns, two horns, and bassoon. A second partita in G has the same instrumentation without the oboe. There are four more partitas with three basset horns in D and an additional bassoon with one oboe.294 Federici notes Druschetzky’s practical use of the wind players at the Clam-Gallas court to form a characteristic repertoire with a specific timbre.295 Sas reports a Rondo, Fresco Ungaria (Rondo, Hungarian Fresco) dated March 1803 for two oboes, two basset horns (presumably in F), clarinet, two horns, bassoon, and bass. The rondo has four pieces: two by Druschetzky, one by Hassler, and one by J. Bohr.296

Beethoven Beethoven wrote a military band march in 1809 (WoO 18), dedicated to Duke Anton (Anton Viktor Joseph), older brother of Archduke Rudolph of Austria. The work is titled on the autograph copy Marsch für S. kaiserl. Hoheit den Erzherzog Anton von Ludwig van Beethoven 1809 (March for the royal Duke Anton by Ludwig van Beethoven 1809). The instrumentation of the autograph calls for nine wind and three percussion instruments: small F ﬂute, two oboes, two C clarinets (on the same line as the oboes), two F horns, F trumpet, two bassoons, contra bassoon, triangle, cymbals, and small and large drums.297 On the autograph appears another title, Marsch für die böhmische Landwehr (March for the Bohemian Army), and in its ﬁrst publication by Schlesinger (1818–1819), it was given the title No. 37 von Bethoven [sic] Yorkschen Corps 1813.298 In the published edition, the instrumentation of the march was enlarged to nineteen wind and ﬁve percussion instruments: piccolo F clarinet, two C clarinets, two 293. These are listed with incipits for each work by Weinmann, Georg Druschetzky, 35–36, as MSS., XLII E 41; XLII E 35; XLIII E223; XLII E227; XLII E 221; and XLII E288. 294. Newhill, The basset-horn, 93–94. 295. Federici, “La musica per corno di bassetto in ambito Mozartiano,” 143–145. 296. Sas, “Chronology of the Georg Druschetski’s works,” 199, no. 10 (MS. mus. 1523). 297. Mus. MS. autogr. Beethoven 144 (1), Staatsbibliothek Berlin; cf. Hess, “Neues zu Beethovens ungedruckten Zapfenstreichen,” 526. Another score of this march labeled “Zapfenstreich No. 1” is Mus. MS. autogr. Beethoven Artaria 145 (1), Saatsbibliothek Berlin. The instrumentation is: piccolo, two oboes, clarinets are deleted, bassoon, F horn, F trumpet, contra bassoon, triangle, cymbals, small drum, large drum, B clarino. I thank Heike Fricke for checking these scores in the Staatsbibliothek Berlin. The Beethoven Gesamtausgabe presents a different instrumentation of twelve winds and two percussion instruments: F piccolo, two small F ﬂutes, F clarinet, two C clarinets, two F horns, F trumpet, two bassoons, contra bassoon, small and large drums. Beethoven, Zwei Märsche für Militärmusik, vol. 24, 294–299. 298. No. 37 von Bethoven (sic) Yorkschen Corps 1813 (Berlin: in der Schlesingerschen, Buch und Musikhandlung). It is no. 37 in the Sammlung von Märschen für vollständige türkische Musik für die preussische Armee; see also Kinsky, Das Werk Beethovens, 456–457.

Basset Horn Music 233 basset horns, two oboes, two E ﬂutes, two F horns, F trumpet, alto, tenor and bass trombones, two bassoons, contra bassoon, bass horn, small (snare) drum, triangle, large drum, cymbals, and bass drum.299 The basset horns add their tone color to the other woodwinds by doubling the bassoon parts and, in a few measures, the clarinets. Their compass is ﬁrst from g1 to c3 and second from c1 to f2, but they are not essential parts since they are doubled by other instruments. It is not known if the Schlesinger edition was prepared by Beethoven or by the publisher, but the instrumentation was probably meant to appeal to contemporary music directors.300 The use of the name York Corps in a German publication is not surprising because several bands in England during the eighteenth and nineteenth centuries were made up of German musicians.301 For many years, this use of the basset horn by Beethoven was not generally known because both marches were published in the Beethoven Gesamtausgabe (1862–1888) with an instrumentation purposely omitting basset horns and bass horns. By that time, basset horns had become scarce, and bass horns were obsolete.

Prussia The basset horn appeared in Prussian military bands during the 1820s, corresponding with Gaspare Spontini’s appointment as general music director on 1 February 1820. The “Hungarian Grenadier March” (“Ungarischer Grenadier Marsch”), written in Berlin about 1822, is reproduced in the New Grove article on the band. The march is written in C major and includes E piccolo, F clarinets, C clarinets, oboes, basset horns, bassoons, double bassoons and serpent, C horns, F horns, C trumpets, alto, tenor, and bass trombones, drum, triangle, bass drum, and cymbals.302 A second work for band including two basset horns is Georg Abraham Schneider’s arrangement of the overture to Spontini’s opera Olympia. It is dated 24 June 1823 in a manuscript in Berlin. This C major work includes clarinets in F and C; the basset horns play almost entirely in the clarino register, going no lower than e1, and the parts are doubled by horns in F.303

299. “Piccolo Clarinetto, Clar. I/II in C, Corni di Bassetti, Ob. I/II, Fl. I/II in F [sounding pitch E], Corni in F, Trombe in F, Trombe [one] Alto, Tenore e Basso, Fagotti, Contra Fag. e Bashorni, Tamb: di Sold; Triangli, Tamburen Piatti e Grand Caisse.” Cf. Kinsky, Das Werk Beethovens, 457. 300. Hess states that this edition was not prepared by Beethoven, in “Neues zu Beethovens ungedruckten Zapfenstreichen,” 526. 301. In 1820, according to the Kriegsarchiv in Vienna, an Austrian military band was employing two basset horns, along with clarinets in F and in C; see Armin Suppan and Wolfgang Suppan, “Band (i), III (2),” Grove Music Online. 302. Janet K. Page, “Band (i), II (2(i),” Grove Music Online. Another early use of the basset horn in military bands occurs in Finland. During the 1820s, a basset horn was used along with one E and two B clarinets in a band of about twenty; see Vuolio, “Military music in Finland,” Band International Journal of the International Military Music Society (March 1994) and http://www.worldmilitarybands.com/ﬁnland.html. 303. See Vessella, La Banda, 147–148; see his transcription, 297–304.

234 From the Clarinet d'Amour to the Contra Bass A third work is a band transcription by Doerfeld of a Marcia Trionfale from Spontini’s La Vestale for the band of the Imperial Army of Russia, also written during the 1820s. This work includes clarinets in F and in C and makes greater use of the chalumeau register in the second basset horn, with a lowest note of g in the trio section.304 A fourth work is an arrangement by Fr. Weller of the music for Preciosa by C. M. von Weber. Weller writes for a full Turkish music band (vollständige Türkische-Musik), including two F clarinets, two C clarinets, basset horns, ﬂutes, oboes, F horns, C trumpets, bassoons, contra bassoon with bass baritone, trombones, and percussion. Again, the basset horn parts are restricted to the clarino register, e1 and above.305 In 1828, August Sundelin, musician and conductor at the Berlin court, published an instrumentation treatise that includes the basset horn as part of the “InfanterieMusik” band, along with small clarinets in E and F and the middle-size clarinets in C or B. He brieﬂy describes the transposition required for the F basset horn, its compass of c to d3 notated in treble clef, and its basset keys for D and C.306 During the 1830s, shortly after the publication of Sundelin’s treatise, the Prussian infantry or military band added two basset horns and clarinets in F, E, C, B, and A.307 By about 1840, the Prussian infantry band included two small clarinets, sixteen large clarinets, and two basset horns.308 However, during Giacomo Meyerbeer’s tenure (1840–1848) as general music director of Prussian music, the clarinets in the Line and Guard Regiments (Linien- und Garde-Regimentern) band included one in A, two in E and F, seven to nine in B and C, and two alto clarinets in E and F; basset horns are no longer mentioned.309 Elsewhere in Germany, Gassner’s detailed study of score reading, Partiturkenntniss (1838–1842), includes a section about the basset horn with two examples of band scores, using Sundelin’s instrumentation.310 In 1843, Schlotthauer published a short guide to the use of instruments in the orchestra and military music that also includes the basset horn.311

304. See Vessella, La Banda, 305–310. 305. Published by C. F. Peters in Leipzig after Weber’s death in 1826. See Vessella, La Banda, 149; see the transcription, 311–316. 306. Sundelin, Die Instrumentirung, 11–12. 307. In a later article, Rode called them “die Bassets” and also “Bassetthörner,” stating that they were replaced by alto clarinets; Rode, “Zur Geschichte der k. peussischen Infanterie- und Jäger-Musik,” 151, 162; see also Kalkbrenner, Wilhelm Wieprecht, 34. 308. Eichborn, “Studien zur Geschichte der Militärmusik,” 116. 309. Matthias Brzoska, “Giacomo, Meyerbeer,” Grove Music Online; Rode, “Zur Geschichte der königl. Preußischen Infanterie-, Jäger- und Cavalleriemusik,” 72. 310. Gassner, Partiturkenntniss, vol. 1, 24; vol. 2, 153–157. In vol. 1, Gassner mistakenly calls the basset horn a bass clarinet. 311. Schlotthauer, Kurze Andeutungen, 7–8, and in his table of “instruments of the orchestra and of military music.”

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Mendelssohn Mendelssohn includes the basset horn in a work for wind band titled Trauermarsch, completed in 1836 and published in 1868. It was written for the funeral of the composer Norbert Burgmüller (1810–1836)312 and scored for ﬂute, two oboes, high F clarinets, two C clarinets, two basset horns, two bassoons, two E horns, two C horns, two C trumpets, alto and tenor trombones, bass trombone, contra bassoon, and bass horn. The basset horns support the clarinets and bassoons throughout and have a limited compass of ﬁrst from a to g2 and second from a to f2.313 Mendelssohn also wrote a wind band work in July 1824, titled Ouvertüre, for one ﬂute, pairs of C clarinets, oboes, bassoons, horns, one trumpet, and one bass horn. He revised the work on 27 June 1826 and called it Nocturno. In November 1838, the work was again revised for a large band, similar to that in his Trauermarsch: piccolo, ﬂute, pairs of high F clarinets, C clarinets, oboes, basset horns, bassoons, one contra bassoon, one bass horn, two C horns, two F horns, one C trumpet, alto, tenor, and bass trombones, and two percussion parts. The parts were published in 1839 by Simrock in Bonn and in an 1852 full score by the same publisher.314 The compass of both basset horns is wider than the previous work, f to d3, with more independent and demanding writing.315

England During the 1850s in England, use of the basset horn in the orchestra was acknowledged. In 1854, Porteous includes the basset horn in his Composer’s Musical Atlas “used at the Royal Academy of Music,” along with clarinets in high A, high A, G, F, D, E, E, C, B, and A; B bass clarinet; and A bass clarinet.316 However, Porteous did not include the basset horn among the instruments used in military and brass bands given in his Band Master’s Atlas “used at the Royal Academy of Music,” probably because their sound was too soft to be heard. Additional clarinets used in the band were those in high F and E and the normal C and B clarinets. Nevertheless, basset horns were employed in some special bands that played primarily indoors, such as the Grenadier Guards and the Prince Regent’s Band. In 1848, the Grenadier Guards Band included eight clarinets, one of which doubled on the basset horn.317 In 1855, the instrumentation of the Prince Regent’s Band included 312. R. Larry Todd, “Mendelssohn, Felix,” Grove Music Online. 313. Mendelssohn Bartholdy, Trauer-Marsch, 33–38. 314. See R. Larry Todd, “Mendelssohn(-Bartholdy), (Jacob Ludwig) Felix, worklist,” Grove Music Online. A copy of the 1826 autograph of the Simrock full score and translations of Mendelssohn’s letters relating to this work from 1824, 1838, and 1839 are in Boyd, “Ouvertüre für Harmoniemusik op. 24 by Felix Mendelssohn-Bartholdy,” 30, 49, 97–104. 315. Mendelssohn Bartholdy, Ouvertüre in C für Harmoniemusik. 316. Porteous, The composer’s musical atlas, 1 [unpaginated]. 317. Armin Suppan, Wolfgang Suppan, “Band (i), §III: Mixed wind bands, 2. Military bands,” Table 3: European military bands, 1838–1852, Grove Music Online.

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twelve clarinets and two basset horns.318 In 1859, Mandel wrote favorably about the basset horn and its use in military bands. The Bassett Horn. This is a kind of deep-tone clarionet, in F, and also, sometimes, in E, with an additional joint producing E, D (rarely D), and C, with a brass bell attached to it. This instrument, so extensive in compass, and so pleasing, should not be wanting in any reed band. With its low tones, it does far more than replace the tenor, and in depth even approaches most nearly the violoncello, the high solos on which (not always to be reached by the bassoon) it can render more characteristically than any other instrument. It can be employed by itself, and, also, as the representative of the vocal alto-solos, besides serving as the only sensible substitute possible for the orchestral tenor. The tenor-part, when given to clarionets or bassoons, contains merely a certain number of notes without any characteristic tone. The French horns might, it is true, execute harmonically the middle passages of the tenor; but what is a French horn, which requires to be employed with so much prudence, compared with the easily-ﬂowing tenor! Whatever new inventions are introduced, the bassett horn always will be, with so much prudence, compared with the easily-ﬂowing tenor!319 Further in Mandel’s Treatise, he states that he prefers the basset horn to the alto clarinet, even though band composers rarely make use of the “basset” or lower notes of the basset horn. The alt-clarionet. This is the same instrument as the basset horn, and is employed in the same keys of F and E; it is, however, not quite so perfect in the lower notes, since it wants those of C, D, D, and E, which may occur, although, it is true, they do so very rarely. On this account, the bassett horn is to be preferred to the alt-clarionet.320 In Germany by the 1860s, writers were beginning to assert the superiority and usefulness of the bass clarinet over the basset horn, particularly in military bands. In the second edition (ca. 1860) of his Handbuch, Gleich, whose textbook on instrumentation was used at the Music Conservatory in Prague, wrote: “The bass clarinet is today an indispensable instrument in every large orchestra and has almost entirely replaced the earlier, useful basset horn.”321 Gleich also 318. See “The Band of George the Fourth,” Brighton Gazzette, printed in The musical world (1855), cited by Carse, “The Prince Regent’s band,” 150. 319. Mandel, A treatise on the instrumentation of military bands, 13. 320. Mandel, A treatise on the instrumentation of military bands, 14. 321. “Die Bass-Clarinette ist in neuerer Zeit ein jedem grossem Orchester unentbehrliches Instrument geworden und hat das früher gebräuchliche Bassethorn fast ganz verdrängt.” Gleich, Handbuch der modernen Instrumentirung für Orchester, 30. The ﬁrst edition of Gleich’s book appeared sometime between 1852 and 1859 since it is listed in Hofmeister’s Handbuch der musikalischen Literatur in vol. 5 (1860 edition), 456. Gleich’s second edition is listed in Hofmeiter’s Handbuch vol. 6 (1868) published between 1860 and 1867.

Basset Horn Music 237 includes a section on the basset horn but mentions only Mozart’s use of it in the Requiem, La clemenza di Tito, Die Zauberflöte, and the Serenades for wind instruments and does not mention the basset horn in the section concerning military music.322 Kalkbrenner veriﬁed Gleich’s assessment by including the bass clarinet in the instrumentation of the Infanterie-Regiments band after 1860. There were two “Kleine Clarinette,” probably E clarinets; eight “Mittel-Clarinette,” probably B clarinets; and two “Grosse Clarinette,” probably bass clarinets.323 However, Streck, in his short guide to military music published about 1861, includes a page on the basset horn mentioning that the soloist Carl Bärmann, court musician in Munich, owned two basset horns.324 The only band that included basset horns competing at the 1867 international military music competition was the Russian Chevaliers Garde band. Nine other bands represented the countries of Prussia, Baden, Bavaria, Belgium, France (two bands), The Netherlands, Austria, and Spain.325 Virtuosi and Concert Appearances The earliest basset horn virtuoso was Leopold Valentin, who appeared in Lyon in 1769 and Paris in 1774.326 During the 1780s, basset hornists formed trios and duets to play various works. They were employed as musicians in royal court ensembles and toured various cities performing on their instruments. During the early nineteenth century, several soloists performed on the basset horn in public concert series.327 322. Gleich, Handbuch der modernen Instrumentirung für Orchester, 31. 323. Kalkbrenner, Wilhelm Wieprecht, 55–57. 324. Streck, Kurzgefasste practische anleitung zur militaermusik, 52. 325. Soyer, “De l’orchestration militaire et de son histoire,” 2152–2153; Armin Suppan, Wolfgang Suppan, “Band (i), §III: Mixed wind bands, 2. Military bands,” Table 4, European military bands, 1867. 326. It seems unlikely that Guillaume Ernest Assmann played the basset horn at the Paris Opéra in 1773 and 1774. Estock states that he played the basset horn but misinterpreted the word taille (viola), which Assmann played in the orchestra, not the basset horn. See, Pierre, Le Conservatoire national de musique, 437. This misidentiﬁcation is repeated by Weston, More clarinet virtuosi of the past, 27; and Melville-Mason, “The role of the basset horn in Middle Europe,” 31. 327. For biographies of many basset hornists, see Weston, More clarinet virtuosi of the past; Weston, Yesterday’s clarinettists. The Bohemian clarinetist and basset hornist Joseph Bicžisstie is described as traveling to Poland, where he stayed for ﬁve years. When he returned to Prague after 1780, he became ﬁrst basset hornist (Primarius Bassethornist) for the Duke Canal. “Er gieng also im J. 1775 noch mit einigen böhmischen Tonkünstlern nach Pohlen, wo er 5 Jahre verblieb, dann aber wieder zurück nach Prag kam, wo er einige Jahre in Graf Canlischen Diensten also Primarius Baßethornist mit Beifall und Ruhm zubrachte.” Dlabacˇ, Allgemeines historisches Künstler-Lexikon, 150–151. Melville-Mason mistakenly interpreted this passage to mean that Josef Bicˇíste (as he called him) played the basset horn in Poland from 1775 to 1780; Melville-Mason, “The role of the basset horn in Middle Europe,” 31. Furthermore, the earliest public performance featuring the basset horn in Warsaw was on 15 December 1789, when works for basset horn and clarinet were played by Hoffslaetter and Che˛ciñski; see Schiller, Klarnet—klarnecis´ci, 19, 95–96, 98.

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Matauschek, Czerný, Oliva The large number of eighteenth-century basset horns that survive reﬂects their growing popularity during the 1770s through the 1790s, particularly in southern Germany, Bohemia, Hungary, and Austria.328 Among the earliest basset horn players were three Bohemian musicians in the music chapel of Princess Theresia Kinsky-Poniatowsky of Baden Baden, living in Freiburg. During the late 1770s, Johann Matauschek studied for some time in Prague and was employed by the princess, who sent him to Linz to study, probably with Joseph Glöggl.329 During the late 1770s, Kasper Czerný studied at the University in Prague, where he became an expert concerto player. He joined the basset horn trio in 1781 and subsequently toured as a soloist as far as St. Petersburg, before rejoining Princess Poniatowsky’s court musicians in 1786.330 During the late 1770s, Franz Oliva studied singing in Seelau and Mühlhausen and later philosophy in Prague. In 1781, he joined the virtuoso basset hornists Czerný and Matauschek on a tour of Germany and Russia. They probably all played curved basset horns during their tour. From about 1787 to 1789, Oliva was at the Court of Prince Schwarzenberg in Vienna. He returned to Russia and was still there in 1796.331 From about 1787, Poniatowsky’s court in Freiburg im Breisgau was reorganized. In 1790, there were ﬁve musicians performing at the princess’s concerts and for table music: Gäring, the director, played violin or horn; Anton Tirry (Tyri) played clarinet; Kirrstein, ﬁrst basset horn or clarinet; Matauschek (Mathausheck), bassoon or second basset horn; and Czerný, third basset horn or bassoon. By this time, these musicians performed wind music probably on angled basset horns.332 328. Rendall, The clarinet, 131. 329. Dlabacˇ, Allgemeines historisches Künstler-Lexikon, vol. 2, 274; Dlabacˇ, “Versuch eines Verzeichnisses,” vol. 7, 258; Weston, More clarinet virtuosi of the past, 170–171. 330. Dlabacˇ, “Versuch eines Verzeichnisses,” vol. 7, 151; Allgemeines historiches Künstler Lexicon, vol. 1, 309. 331. Dlabacˇ, Allgemeines historisches Künstler-Lexikon, vol. 2, 408; Weston, More clarinet virtuosi of the past, 188–189. Weston asserts that all three basset hornists were sent to Linz to study the basset horn by the princess without any proof; Weston, More clarinet virtuosi of the past, 78, 170, 189. However, there is logic to this assumption, and it may have taken place. 332. “Ferner waren unter solcher Truppe dieser fürstl. Tonkünstler vorzüglichst zu bemerken: Herr Kirrstein Virtuos auf ’m Bassetthorn en premier, und in der Klarinette; Hr. Cyerny Virtuos auf ’m Bassetthorn en Basse, und dem Fagott; Herr Matauscheck Virtuos auf dem Fagott, den er durchaus rein, mit aller Fertigkeit und Zierde, bey achtem Geschmack tractirte; zuweilen bließ Hr. Matauscheck auch das Bassetthorn en second, worinn er seine Parthie mit allem Beyfall versahe.” Boecklin von Boecklinsau, Beytrage zur Geschichte der Musik, 108–109. In 1913, Schiedermair notes a performance in November 1773 of a theater and ballet company in Freiburg, and later writers have erroneously suggested that Kirrstein, Czerný, and Matauschek were active at this time. See Schiedermair, “Die Oper an den badischen Höfen,” 203; Rendall, The clarinet, 131; Kroll, The clarinet, 108; Weston, More clarinet virtuosi of the past, under Mathaushek, 170–171.

Basset Horn Music 239

Dworschack, David, Springer During October and November 1780, the young virtuoso clarinetist Josef Beer performed in St. Petersburg.333 Beer arrived in Moscow and performed in a concert on 16 January 1781.334 He brought his student Franz Dworschack (Dvorˇák), a Bohemian player of the clarinet, basset horn, and bassoon.335 Later in the year, Dworschack accompanied Beer to Warsaw, where Beer performed a clarinet concerto on 20 and 27 April at the Public Theater.336 On 12 May 1781, Anton David and Vincent Springer performed at the English House in Danzig (present day Gdansk) on clarinets and on “an unknown instrument called Corno di Basseto [basset horn], which has the tone of the clarinet.”337 According to the advertisement, David and Springer had previously played in Warsaw several times,338 and the duo played another concert on 15 May in which David played clarinet and Springer played basset horn.339 As reported by Cramer, David and Springer were touring basset hornists who had traveled from Russia and performed a concert in Ludwiglust in late 1782.340 David had given up the clarinet to devote himself to the basset horn by 1780, and Springer was his student.341 As a duet, they performed in Berlin, Hamburg, and many other places.342 Springer returned to Danzig to give concerts on 14 and 24 July 1782 but this time with Dworschack, who was playing clarinet in “new concertos, quartets and duets.”343 In another newpaper advertisement, Dworschack is mentioned as a clarinet student of the famous Beer, who he left in Petersburg.344 By 1784, David and Springer had traveled to Vienna, where they probably played in Mozart’s Serenade

333. Gazette de Saint-Pétersbourg, 29 September 1780, annonce; Mooser, Annales de la musique, vol. 2, 364, n. 6. 334. Gazette de Mouscou, 16 January 1781, annonce; Mooser, Annales de la musique, vol. 2, 365, n. 4. 335. Gazette de Moucou, 3 February 1781, annonce; Mooser, Annales de la musique, vol. 2, 365, n. 5. 336. Gazeta Warszawska, 1781, no. 47, printed in Polish and French; Schiller, Klarinet—klarnecis´ci, 18, 98. 337. “. . . die Herren David und Springer, jener auf dem Clarinet, dieser auf einem hier unbekannten Instrument, dessen Ton den des Clarinets selbst übertreffen soll, Corno di Basseto, im Engl. Hause hören lassen.” Wöchentliche Danziger Anzeigen und dienliche Nachrichten no. 19 (12 May 1781); reproduced in Ocieszak, Roz˙ek basetowy, 82. 338. “Da sie sich in Warschau vielen Beyfall erworben haben.” Wöchentliche Danziger Anzeigen und dienliche Nachrichten no. 19 (12 May 1781); reproduced in Ocieszak, Roz˙ek basetowy, 82. 339. Historische und gelehrte Neuigkeiten (15 May 1781); reproduced in Ocieszak, Roz˙ek basetowy, 83. A ﬁnal Danzig concert on 22 May included David and Springer, but no speciﬁc mention of instruments or music is given; see Ocieszak, Roz˙ek basetowy, 83. 340. Cramer, Magazin der Musik, 179–180. 341. Reichardt, “Forsetzung der Berichtigungen,” 41. 342. Gerber, Historisch-biographisches Lexikon, 327, 553. 343. “. . . neuen Concerten, Quatuors und Duettens hören lassen.” Wöchentliche Danziger Anzeigen und dienliche Nachrichten (8 June 1782); reproduced in Ocieszak, Roz˙ek basetowy, 84–85. 344. “Schon seit einigen Wochen, halten sich hier zwei sehr geschikte Musiker auf der Klairnette [sic], Hr. Dworsak und Springer auf, von welchen der erstere nur eben seinen Lehrer, den berühmten Bähr, in

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in B K. 361/370a.345 In October 1785, both played Mozart’s Maurerische Trauermusik and probably other works, such as Mozart’s Allegro Assai, KA. 95/484b, at Masonic lodges. Springer was engaged to play in Berlin;346 David played for Baron Hohberg in Silesia.347 In December 1787, David, Springer, and Müller performed Trio for Three Basset Horns and a Cello at the Gewandhaus in Leipzig. On 3 January 1788, Springer played a second concert with basset horn, accompanying Costanza Schicht in a Scene by Reichardt.348 In 1789, David, Springer, and Dworschack were together again in the court orchestra at Bentheim-Steinfurt.349 Clarinetists are not included in the orchestral list; in their place are three basset hornists: David, Springer, and Dworschak. Springer and Dworschak doubled as the ﬁrst and second violins; musicians were expected to be ﬂexible by playing either wind or string instruments when requested.350 The David, Springer, and Dworschak basset horn trio initially visited London in 1789 to perform during the summer season at Vauxhall Gardens, the ﬁrst time the basset horn was played in England. They gave the “most ﬁnished performances on novel instruments to this country.”351 On 5 and 17 September 1790, the trio was playing in The Hague, at the Court of William V, Prince of Orange-Nassau. David and Springer performed on the basset horn, and Dworschak on the clarinet in concerti and table music.352 During March 1791, Dworschak and Springer returned to London. They were featured in a double concerto (composer not named) for two basset horns at two of Salomon’s Concerts, both held at the Hanover Square Rooms on 21 March and 1 April 1791.353 By May, David joined them, and they performed again at Vauxhall

Petersburg verlassen hat.” Historische und gelehrte Neuigkeiten (20 June 1782); reproduced in Ocieszak, Roz˙ek basetowy, 85. Weston plausibly states, but without documentation, that David and Springer joined with Dworschak, who played bassoon for a tour of Germany in 1783; see Weston, More clarinet virtuosi of the past, 92. 345. Weston, Yesterday’s clarinettists, 60, 159. 346. Gerber, Historisch-biographisches Lexikon, 551. 347. Reichardt, “Forsetzung der Berichtigungen,” 41. 348. Dörffel, Geschichte der Gewandhausconcerte zu Leipzig, vol. 1, 193. 349. The personnel of this orchestra is listed as playing ﬂute, two oboes, six horns, three basset horns, two bassoons, ﬁve ﬁrst violins, ﬁve second violins, four violas, two cellos, two keyboards, three string basses, two trumpets, one timpani, one organist, and one organ blower. See the list “Bentheim Steinfurtische Kapelle auf dem Bagno 1789” in Musikalische Real-Zeitung 11 (17 March 1790): 82–83. 350. Kruttge reproduces the same orchestral list from the Musikalische Real-Zeitung, mentioning that Springer, Dwortzack, and David are not listed in the Akten or ofﬁcial records, suggesting that they were visiting, temporary musicians; Kruttge, Geschichte der Burgsteinfurter Hofkapelle, 94. 351. Rendall, The clarinet, 83, 132, 134. Rendall states that David and Springer played together and were occasionally assisted by Dworschak, who also played clarinet and bassoon. Unfortunately, he did not specify a source of the review citation. Weston states that the trio played at Vauxhall Gardens in 1789 but does not provide a source in More clarinet virtuosi of the past, 82, 92, 245. 352. Smet, La musique à la cour de Guillaume V, 124–125; see also Federici, “La musica per corno di bassetto in ambito Mozartiano,” 150. 353. McVeigh, “The professional concert,” 93, 99.

Basset Horn Music 241 Gardens. At least at ﬁrst, the compiler of a list of the Vauxhall concerts was not impressed by the trio. Thurs., May 19: Trio-the Bassett Horns-a very triﬂing matter. [As they continued to perform, his attitude continued to improve.] Sat., May 28: Concert-Bassett Horns. A tolerable good effect. Tues., May 31: Concerto-Bassett Horns. Fine playing & good music.354 They also played “Concerto, Bassett Horns” on July 28, but no comment was given on the playing.355 In total at Vauxhall Garden in 1791, the trio of Dworschack, David, and Springer performed three times on basset horns and ten times on clarinets. Dworschack played basset horn concerti sixteen times and clarinet concerti four times. Dworschack and Parkinson performed duets for clarinet and bassoon six times, and Dworschack and Springer a clarinet duet once.356 On 26 December, Dworschack was back in The Hague, where he played the clarinet. He also played the clarinet and basset horn at concerts on 19 February and 18 March 1792.357 During the 1790s, it seems likely that the trio was playing on angled basset horns.

Mahon The well-known British clarinetist and basset hornist John Mahon (1746–1834) moved from Cambridge to Dublin in 1792 and on 30 June married the singer Margarett Percy. After a honeymoon in London and Edinburgh,358 he started to play the basset horn professionally during a tour on 11 July 1792 in Belfast, Ireland. Other performers on the program were Madam Gautherot, violinist, and Joseph Reinagle, cellist. A concert advertisement mentions that Mahon played “a solo on the voce claria [basset horn], an instrument never heard in this country.”359 In another advertisement, Mahon’s instrument is described as the “Clareovon.”360 Perhaps Mahon provided this unusual name to increase people’s interest in hearing a strange, new instrument. The Belfast Newsletter gave a summary of the concert. The evening produced an exhibition in a very different style, and perhaps less directed to the heart, in the admirable performance of Madam Gauterot on the Violin, Mr Mahon the Voce Claria, and Mr. Reignagle on the Violoncello.361 354. Cudworth, “The Vauxhall Lists,” 34–35. 355. Cudworth, “The Vauxhall Lists,” 37. 356. Cudworth, “The Vauxhall Lists,” 42. 357. Smet, La musique à la cour de Guillaume V, 134, 137. 358. Weston, Yesterday’s clarinettists, 108. 359. Belfast Newsletter June 29–July 3 1792; see Johnston, “Concerts in the musical life of Belfast,” 232. 360. Northern Star 10 July 1792; see Johnston, “Concerts in the musical life of Belfast,” “Summary of Concerts,” an unpaginated supplement to “Concerts.” 361. Belfast Newsletter 10–13 July 1792; Johnston, “Concerts in the musical life of Belfast,” 231.

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The basset horn Mahon used was an angled instrument with eight keys, including low D and C.362 Mahon probably commissioned a basset horn from a German maker or purchased one at a music shop, because no British makers are known at this time (see chapter 2). Jakob Friedrich Grundmann is known to have received commissions from London and the Dresden Court,363 and it is possible that Mahon purchased a basset horn by Grundmann.364 In Edinburgh, Mahon performed a solo piece on his voce claria and a clarinet concerto in a concert on 8 August 1792 at St. Cecilia’s Hall. On 10 September 1793, Mahon played a concerto on the clarinet and a solo piece on the voce claria in Dundee.365 On Boxing Day (December 26) of 1794 in Edinburgh, he again played the voce claria at Aldridge’s Long Room.366 In December 1795, Mahon and his wife, on their way from Edinburgh to Dublin, performed in the Belfast Exchange Rooms. Mahon played leader (ﬁrst violin) and performed on the voce claria and clarinet; his wife sang. A Mr. Bunting performed on the pianoforte, and the military band assisted.367 No other concerts with Mahon playing the basset horn are recorded. However, it is possible that he played the instrument in performances at the King’s Theatre in London of Mozart’s La clemenza di Tito in 1806, Die Zauberﬂöte in 1811, and Le nozze de Figaro in 1812.368

Ott and Ott-Imhof Phillip Ott was a clarinetist and basset hornist with the Zurich Music Society from 1811, when he played clarinet concerti by Göpfert and Krommer. Conrad Ott-Imhof was also an accomplished clarinetist and basset hornist. He played the obbligato to “Non più di ﬁore” from Mozart’s La Clemenza di Tito several times: 24 November 1812 (accompanying Madame Thomann), 22 February 1813 (for Madame Lange), 6 February 1816 (for Madame Thomann), 15 April 1817 (for Mademoiselle Greuter), and 22 February 1825 (for Mademoiselle Hardmeyer). He also played Backofen’s quintet for basset horn and strings on 22 February 1813 and 28 November 1826. Phillip Ott played basset horn in Küffner’s quintet for basset horn, ﬂute, clarinet, horn, and bassoon on 12 August 1817 and “Non più di ﬁore” for Mademoiselle Hardmeyer on 7 March 1820.369 362. See the engraving of a basset horn in the ﬁngering chart in Mahon, A new and complete preceptor for the clarinet, 61; Lyle, “John Mahon’s clarinet preceptor,” pl. IX. 363. NLI, 149. 364. Shackleton mentions the resemblance of Mahon’s basset horn engraved in his 1803 tutor to instruments made by Grundmann in “The earliest basset-horns,” 12; repeated by Weston in “Britain’s ﬁrst basset-horn virtuoso John Mahon,” 28. 365. Announced in the Edinburgh Advertiser, according to Weston, “Britain’s ﬁrst basset-horn virtuoso John Mahon,” 28; Weston, Yesterday’s clarinettists, 108–109. 366. Weston, “Britain’s ﬁrst basset-horn virtuoso John Mahon,” 28. 367. Northern Star December 10–14, 1795; Johnston, “Concerts in the musical life of Belfast,” 233. 368. This possibility is suggested by Weston in “Britain’s ﬁrst basset-horn virtuoso John Mahon,” 29. 369. I thank Hans Stalder for information taken from programs listed in the “Concert Protocoll der Allgemeinen Musikgesellschaft in Zürich von 1811–1839” in the Allgemeine Musikgesellschaft Bibliothek,

Basset Horn Music 243

Schalk The most infamous of the basset horn virtuosi was Franz Schalk, who billed himself as “Musical Artist of Prague, Member of the Ducal Academy of Music of Parma.”370 He had a long career from 1818 to 1834 as a soloist playing the basset horn through many cities in Europe, including St. Petersburg. What makes him unusual is his roguish behavior on stage, which is mentioned by many critics. In fact, Weston points out that his name in German means “rogue” or “wag.” Although Schalk sometimes billed himself as a concert master from Prague,371 Rudolph mentions him as a concert master from 1821 to 1833 in Riga.372 On his concerts, Schalk included lighter, popular melodies and folk songs that he composed himself, such as “Reminiscence of Switzerland or Swiss Round-Dance with Echo,”373 “Variationen für das Basset Horn,” and “Kühreien auft dem BassetHorn und Polonaise.”374 He also arranged works to show off his technical abilities, such as a polonaise by Meyerbeer, variations on a theme from Rossini’s Cenerentola, variations on a theme of Carafa, and a polonaise by Beethoven.375 However, he also played a few serious works, such as basset horn concerto by G. A. Schneider, “Non più di ﬁore” from Mozart’s La clemenza di Tito, a basset horn concerto by Joseph Triebensee, and variations by Backofen.376 Some critics were not amused by Schalk’s antics. From Zurich in 1824, one critic states: “He tore through his passages in a manner not at all to the public taste.” In Vienna in 1824, another critic proclaims: “Risum teneatis amici! (Forbear from laughing, friend!) This was a veritable Schalks- or Eulenspiegel-prank to thoroughly tax our credulity and sell us frivolous bungling in place of the proper thing. Such a slanderer of art deserves to be ﬂung from Parnassus!”377 Sir George Smart and the violinist and composer Louis Spohr heard Franz

Zurich. Margareta Knittel was the ﬁrst woman player of the basset horn in the United States. She was born in Zurich in 1788 and came to the United States in 1816 with her husband, Anton, to perform on the clarinet in Philadelphia, Baltimore, New York, and Charleston. On 19 May 1817, she played an anonymous “Air, with variations, performed on the Corno de Bassetto with an accompaniment, for the Viola.” See Poulson’s American Daily Advertiser, May 19, 1817; Ellsworth, “The clarinet in early America,” 257–265. 370. “Artiste en Musique de Prag, Membre de l’Adkadémie de Musique Grande Ducale de Parme”. Cited without source by Grass and Demus, Das Bassetthorn, 120, 242. 371. In Zurich on 27 November 1823, a “Beneﬁtz-Conzert der Demoiselle Marianne Kainz aus Wien & des Herrn Conzertmeister Franz Schalk aus Prag” for the Allgemeine Musikgesellschaft Zürich. I thank Hans Stalder for information. 372. Rudolph, Rigaer Theater- und Tonkünstler-Lexikon, 208. 373. Weston, More clarinet virtuosi of the past, 220. 374. Bloesch, Die Bernische Musikgesellschaft, 469–470, concert of 9 December 1823. 375. Weston, More clarinet virtuosi of the past, 220, 222. 376. Bloesch, Die Bernische Musikgesellschaft, 470, concert of 17 December 1823. 377. Weston, More clarinet virtuosi of the past, 221.

244 From the Clarinet d'Amour to the Contra Bass (now called François) Schalk in Kassel on 4 November 1825. Smart criticized Schalk’s potpourri for basset horn as poor music—“his tone was not bad but he played out of tune”—and described the two other basset horn works as bad and dreadful. Spohr “disapproved altogether of the concert, Schalk, he said, being a quack.”378 Nevertheless, some critics of his later concerts during the 1830s praised his playing: “There was a pleasant effect in the appropriately melting sound of the instrument,” his tone was beautiful, and he handled the instrument delicately in the soft passages.379

Willman The well-known clarinetist Thomas Lyndsay Willman (1784–1840) also performed on the basset horn at least as early as 1820. On 24 April, he played the difﬁcult basset horn obbligato of the aria “Non più di ﬁore” from Mozart’s La clemenza di Tito for Miss Goodall.380 He became known for performing this part and repeated it on a number of occasions with a variety of singers: 27 May 1822 with Camporese, 25 May 1829 with Wranizkij, 17 May 1830 with Malibran, 23 September 1830 with Malinbran,381 7 October 1830 with Malibran,382 30 April 1832 with Madame de Mério, 10 June 1833 with Malibran,383 18 June 1833 with Malibran,384 9 May 1836 with Malibran,385 13 May 1836 with Malibran,386 1 May 1837 with Mrs. Wood, and 19 September 1837 with Clara Novello.387 He occasionally played solo works, such as a basset horn concerto at Cambridge in November 1827.388 On 13 September 1836, Willman played a basset horn solo at Manchester’s Theatre Royal.389 In December 1836, Hogarth noted Willman’s clarinet and basset horn playing in Mozart’s “Non più di ﬁore.”390 Willman’s playing is particularly praised in a review of an 1840 concert in Manchester. Mr. Willman favoured the society with his unrivalled performance on a favourite instrument of his own, the Cornet Bassetto, which unites the tones of the clarionet and trombone. His ﬁne, clear, sweet tones, and the masterly skill with which he compelled a ﬁne ﬂow of melody from an instrument, in 378. Smart, Leaves from the journals of Sir George Smart, 211–212. 379. Weston, More clarinet virtuosi of the past, 222. 380. Weston, More clarinet virtuosi of the past, 271. 381. “Norwich musical festival,” 463–464. 382. “Liverpool Musical Festival,” 465. 383. Weston, More clarinet virtuosi of the past, 271–272. 384. “Oxford Commemoration Concerts,” 166. 385. Weston, More clarinet virtuosi of the past, 272. 386. “Concerts. Philharmonic,” 141. 387. Weston, More clarinet virtuosi of the past, 272–273. 388. Weston, More clarinet virtuosi of the past, 273. 389. See Weston, Yesterday’s clarinettists, 183. 390. Hogarth, “Musical instruments,” 19.

Basset Horn Music 245 ordinary hands, of a most uninviting character, were the theme of general admiration. The air which formed the subject of his performance was “The soldier’s tear.” . . . Mr. Willman played the air, “Cease your funning,” on the cornet bassetto, in his best style; and it was midnight ere the song was hushed, and the sons of harmony had ceased to invoke their vocal muse.”391

India British musicians brought the basset horn to all parts of the empire. For example, in the only theater in Calcutta, India, weekly concerts were given during the 1820s with a selection of English, Irish, and Scottish melodies, interspersed by symphonies, concertos, and instrumental works played by an orchestra. At this theater in 1823, a basset horn concerto was played by a Mr. Kuhlau. A review appeared in the 1823 Calcutta Gazette. Mr. Kuhlau’s concerto upon the basset-horn was full of power and execution, and was composed by himself for this instrument, which has but lately been introduced, and combines the higher and more tender tones of the clarionet, with the deeper sounds of the horn. The execution of the concerto upon this difﬁcult instrument was so perfect, that it would have gained the applause of the fullest and most critical audience in Europe.392

1830s through 1850s In London, aside from the performances of Mozart’s “Non più di ﬁore,” the basset horn was played only occasionally during the 1830s. Two basset hornists performed for a program at the Ancient Concerts in 1834, which included the replacement aria “Al desio di chi t’adora” K577 from Mozart’s Le nozze di Figaro. We must notice Miss Shirreff ’s singing of an aria from ‘Figaro,’ ‘Al desio di chi t’adora,’ with an accompaniment of two Corni di bassetto; this is never sung at the theatre; but it is well worthy of a frequent hearing, and demands a singer of no ordinary powers.393 Willman may have been one of the basset hornists since he was actively playing the instrument at this time. After Willman’s death, his contemporary Joseph Williams (1795–1875) played the basset horn in performances of “Non piú di ﬁore” from Mozart’s La clemenza di Tito: 17 May 1841 with Elisa Meerti, 8 May 1843 with Emma Albertazzi, 31 March 1845 with Albertazzi, 18 May 1846 with Louisa Bassano, and 27 May 1861 with Miss 391. “Provincial,” The Musical World 13 (9 January 1840): 27–28. 392. “The state of music in Calcutta,” 111. 393. “Music—Antient Concerts,” 315.

246 From the Clarinet d'Amour to the Contra Bass Lascelles.394 The Tyler family played during November and part of December 1847 at the Shakespeare Concert Room in Belfast, Ireland. The father, George Tyler, played clarinet and basset horn; Joseph Tyler, clarinet and ﬂageolet; George Tyler (junior), horn and clarinet; and Thomas Tyler sang. A basset horn solo is not speciﬁcally listed on three of the programs, so the instrument was probably played in a work with several instruments arranged by George Tyler.395 On 3 March 1849, Mons. Guillaud played his own solos for clarinet and basset horn, accompanied by the band at the Music Hall in Belfast. Guillaud was listed as a graduate of the Conservatoire de Paris and bandmaster of the Thirteenth Regiment band. He was certainly highly regarded in Belfast, where the Anacreontic Society appointed him an honorary member by acclamation.396 Guillaud played his basset horn solo on subsequent concerts in Belfast on 30 March, 25 May, and 14 November 1849. The important British clarinetist John Henry Maycock (1817–1907) was featured as a soloist in many London concerts and was ﬁrst clarinetist of the Royal Italian Opera and the Drury Lane Theatre.397 Michael Balfe wrote for Maycock the extensive basset horn introduction to “The Heart Bowed Down” in his popular opera The Bohemian Girl (1843). In 1849, during a tour in Manchester at one of Adolphe Jullien’s concerts, Maycock also played an unusual trio, now lost, for oboe, basset horn, and ophicleide.398 By the mid-century in Hamburg, basset horn players and their instruments were scarce. For example, in 1855 Johannes Brahms took part in a concert on 24 November that included Mozart’s aria “Al desio di chi t’adora” K. 577, which includes two basset horns. He wrote to Clara Schumann the next day. 2. Aria by Mozart, sung by Frau Guhrau with orchestra. To my great joy, she was accompanied by two basset-horns, which had been obtained with much difﬁculty. I don’t believe any instrument blends so perfectly with the human voice as the basset-horn, the tone of which seems to come half-way between the cello (bassoon) and the clarinet.399 It is a pity that Brahms never wrote for the basset horn, or perhaps never had the opportunity to do so. In an 1857 concert of the New Philharmonic Society in London, Maycock and William Egerton (1798–1873) played basset horns in a performance of a novelty,

394. Weston, More clarinet virtuosi of the past, 270. 395. Johnston, “Concerts in the musical life of Belfast to 1874,” “Summary of Concerts.” 396. Johnston, “Concerts,” 382, and “Summary of Concerts.” 397. Weston, More clarinet virtuosi of the past, 171. 398. “Jullien’s concerts,” The Musical World 24, no. 1 (6 January 1849): 13–14. See also Carse, The life of Jullien, 62. 399. Letters of Clara Schumann and Johannes Brahms, 1853–1896, vol. 1, 56.

Basset Horn Music 247 Mozart’s Serenade for thirteen winds K. 361/370a. This work was performed as Schink heard it in the 1780s, shortened to four movements “because of the extreme length of the whole, and of the consequent desirability of reducing its limits to a proportion with those of the receptive capacity of an audience.”400 The Basset Horn Organ Stop Interestingly, during the mid-nineteenth century, some Swedish, British, and at least one German organ maker built 8’ reed stops imitating the sound of the basset horn. The earliest basset horn stop appears on the third manual of the 1840 organ by Pehr Zacharias Strand in St. Jacob’s church in Stockholm.401 The earliest British maker was probably Henry Willis of London, active from the 1850s to the 1870s. He called the 8’ reed stop “Corno-di-Bassetto,” and it appeared in his organs at the following locations: St. George’s Hall, Liverpool, completed in 1854–1855; Town Hall, Reading (1864); Royal Albert Hall, London (1871); St. Paul’s Cathedral, London (1872); and Salisbury Cathedral, Marlborough (1877).402 E. F. Walcker of Ludwigsburg included a “Bassethorn” stop in his 1858 organ for the Catholic church of St. Maria in Göppingen. He is also known to have used basset horn stops in the same year in the Stadtkirche of Ludwigsburg and another example in St. Michael’s Church in Schwäbisch Hall.403 Conclusion The musical introduction of the basset horn to its European audiences occurred in intimate chamber music (Mozart’s Duets of 1762) and on the concerto stage (Valentin’s Concerto of 1769). Within a very short time, the basset horn’s unique tone quality and ﬂexible nature made it the most well-known and beloved large-size clarinet. Beginning in the 1760s, it was constructed by a number of makers in several countries, adopted by many players and orchestras, and used by composers in concertos, operas, stage and sacred pieces, orchestral works, chamber works, and wind band works. Basset horn virtuosi traveled throughout Europe and Russia, such as Matauschek, Czerný, and Oliva; and Dworschack, David, and Springer performed duets, trios, and other chamber works. Famous soloists such as Anton Stadler and John Mahon performed throughout Europe, Scandinavia, and the United Kingdom several of their own works for basset horn and orchestra, including concerti written

400. “New Philharmonic Concert,” The musical remembrancer 3 (1 May 1857): 80–83. 401. See Åhlén, S:t Jacobs kyrkoorgel, 38; Edholm, Stockholm orgelstaden, 175. 402. Norman, The organs of Britain, 149, 192, 214, 252; Bicknell, The history of the English organ, 269– 270; cf. Norman, The organs of Britain, 302. Gray and Davison of London included a Corno di Bassetto stop in the Parish Church of Ludlow in 1860; Norman, The organs of Britain, 274. 403. Rensch, “Die Walcker-Orgel op. 99 in St. Maria zu Göppingen und ihr Bassethorn,” 107.

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for them. Later soloists such as Phillip Ott, Conrad Ott-Imhoff, Franz Schalk, Thomas Willman, Joseph Williams, and John Maycock specialized in playing basset horn obbligato parts. The basset horn’s greatest musical importance is in its use as an obbligato instrument in operas such as the aria “Non più di ﬁori” in Mozart’s La clemenza di Tito, as a solo instrument in the incidental music to Beethoven’s The Creatures of Prometheus, and in its prominent place in Mozart’s Requiem. The other works of lasting importance are in chamber music: Mozart’s Serenade in B K371, Mozart’s Six Notturni, and Mendelssohn’s Zwei Concertstücke for clarinet, basset horn, and piano. These are works that will continue to be part of the mainstream of repertoire played throughout the world. Beginning in the 1830s, the bass clarinet was developed by several makers and found a place in the orchestra as a solo and obbligato instrument, replacing the softer and less projecting basset horn. In fact, the basset horn never became a regular member of the large, nineteenth-century orchestra because its quality of sound was too quiet. After Iwan Müller’s introduction of a thirteen-key alto clarinet during the early nineteenth century, several makers constructed instruments for wind band use by the 1840s, replacing the softer basset horns. After 1860, the use of the basset horn declined, although the instrument did not disappear. However, a modern, louder basset horn made a notable return in works by Richard Strauss at the end of the nineteenth and beginning of the twentieth centuries, and in dozens of composers’ works up to the present.

4

Bass, Contra Bass, and Contra Alto Clarinets

Chapter Organization and Scope This chapter begins with a deﬁnition of the bass clarinet, followed by its deﬁning features, a brief review of its early developments, and a section on terminology. This is followed by a discussion of the development of the instrument from 1750 to 1860, based on seven shapes: plank or prototype, curved or basset horn, bassoon, serpent, straight, ophicleide, and straight with butt joint.1 The development of the instrument is discussed in chronological order under each maker, within each shape. Instruments by important makers and/or used in signiﬁcant works are discussed at greater length. Definition, Defining Features, and Early Developments The bass clarinet is designed to play an octave lower than the soprano clarinet. It is larger than a basset horn, with a wider bore, greater air column length, and larger mouthpiece and reed. It evolved from the desire of players and makers for a bass-voiced woodwind with a stronger and more even tone quality than was available with contemporary eighteenth-century bassoons. Bass clarinets were initially designed to play in wind bands. The earliest instruments are prototypes, limited in compass and intonation, that were played occasionally, if at all. Three unstamped prototypes with a planklike body were probably made in Germany after 1750. After these prototypes were developed, a unique curved (sickle-shaped) bass clarinet was constructed by Anton and Michael Mayrhofer in about 1765. About 1780, two unmarked bass clarinets were constructed with a plank body similar to the ﬁrst prototype instrument. 1. Van der Meer described four basic shapes and Dullat describes eight designs. I describe seven bass clarinet shapes in use to 1860. See Van der Meer, “The typology,” 65–88 and Dullat, Klarinetten, 73.

249

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From the Clarinet d'Amour to the Contra Bass

The ﬁrst playable bass clarinets were created in Dresden by Heinrich and August Grenser during the early 1790s. These instruments begin a discussion of bassoonshaped bass clarinets, a commonly made type of bass clarinet used throughout most of the nineteenth century. Other nineteenth century bass clarinets were straight shaped or ophicleide shaped; only a few were serpent shaped or straight with a butt joint. As the reader becomes acquainted with the number of designs and types of bass clarinets between 1750 and 1860, this entire period is understood as a time of experimentation by numerous makers and inventors. In fact, standardization of bass clarinet designs by manufacturers worldwide did not occur until the early twentieth century. To create a large instrument that could be held and played comfortably yet produce a sufﬁciently large tone quality with accurate intonation, makers experimented with shapes, bore sizes, and key mechanism designs. In fact, eighteenth- and nineteenthcentury bass clarinet designs are more diverse than any other woodwind except perhaps the basset horn. In most cases, makers utilized existing instruments for design concepts, all of which are discussed and illustrated in this chapter. However, several original designs were attempted, others were produced in small numbers, and yet others were designed and patented but probably not made. During the late eighteenth and early nineteenth centuries, several makers claimed to be the inventor of his newly designed bass clarinet and either stamped his instrument as such or mentioned it in documents. The accuracy of these claims is examined in this chapter. The two decades of the 1830s and 1840s are pivotal times in the development of the bass clarinet. The most important and successful examples were constructed by Göttingen maker Johann Heinrich Gottlieb Streitwolf, Catterino Catterini of Padua, Louis-Auguste Buffet of Paris, and Adolphe Sax of Brussels (later of Paris). Streitwolf ’s bassoon-shaped bass clarinets are very well made and had some success in Germany. Catterini’s bassoon-shaped bass clarinets were played in some of the earliest bass clarinet performances in Italy, Spain, and Portugal. Although bassoonshaped bass clarinets continued to be made in Italy, they were eventually eclipsed by the straight body design of L. A. Buffet. Ophicleide-shaped bass clarinets of brass or wood were also made from the 1840s. However, this design was eventually discarded as the design innovations in straight-body bass clarinets made by L. A. Buffet and Adolphe Sax were slowly adopted by contemporary manufacturers. Terminology The variety of names applied to the bass clarinet is impressive. The earliest term was Baßclarinetten in a 1791 review of Forkel’s Musikalischen Almanachen for 1782 through 1784.2 The maker Heinrich Grenser of Dresden announced his invention of the Clarinettenbass on 30 September 1794 in the K. K. Prager Oberpostamtszeitung.3 In 1803, 2. “Berichtigungen und Zusätze zum den Musikalischen Almanachen auf die Jahre 1782. 1783. 1784,” 41. 3. See Dullat, Klarinetten, 76, 151.

Bass, Contra Bass, and Contra Alto Clarinets 251 Franz Scholl of Vienna invented a bass clarinet that he called Schollbass or Sciolbasso.4 The clarinetist and goldsmith Dumas of Versailles invented a bass clarinet in 1810 for military bands that he called the basse guerrière (martial bass).5 The bass clarinet is also mentioned in the Italian treatise by Antolini (1813) who very likely was familiar with German sources describing the Grenser’s instruments. Here, he states that the clarone in C does not differ in its quality of sound from the basset horn but differs solely in their construction, and that its lowest note (C) is two notes less than the string bass (A).6 François Sautermeister of Lyon patented a brass bass clarinet in 1812 that he called bassorgue.7 In 1813, an advertisement by Uzal Miner in the Connecticut Courant mentions the clarion, a bassoon-shaped bass clarinet invented about 1810 by the maker George Catlin of Hartford, Connecticut.8 In 1827, Fétis reported that the inventor Iwan Müller was occupied with the construction of a clarinette violoncelle.9 In 1832, a bass clarinet known as a fagottino was constructed by Rupert Plößl of Teisendorf.10 In 1833, Catterino Catterini of Monselice (in the area of Padua) made a bassoon-shaped bass clarinet called a polifono.11 The next year Catterini was performing a difﬁcult bass clarinet solo by Mercadante in his opera Emma d’Antiochia on a bass clarinet called a contro clarinetto in the music and a glicibarifono in the reviews.12 In April 1836, the British clarinetist Thomas Willman played a difﬁcult bass clarinet part in Sigismund Neukomm’s concert aria “Make haste, O God, to deliver me” for contralto solo, C bass clarinet solo, and a string quintet of two violins, viola, cello and double bass. The instrument was called a bass clarone in a review in The Musical World.13 In 1837, a glicibarisofono appears in an inventory in the archives of the Teatro Regio of Parma.14 Pietro Fornari, a maker in Venice, exhibited a clarin basso at the 1838 exhibition of various products in Milan and Venice.15 Clarinetist, teacher, 4. Scholl, “Anzeige,” 1174. 5. “Basse guerrière de M. Dumas,” 222–223. 6. “Il clarone, che non differisce quasi in niente nella qualità della voce, dall corno-basseto, differisce solatanto nella costruzione, e nella estensione, avendo due voci di meno di questo nei bassi, come può rilevarsi dall’ ora citato espempio 17.” Antolini’s tavola 2 indicates the compass of a clarone (bass clarinet) in C as c to c3. It shows the corresponding pitches of basset horns pitched in G, F, and E. See Antolini, La retta maniera di scrivere per il clarinetto, 50; tavola 2, no. 17. 7. Sautermeister, “Note pour servir à la description du bassorgue.” 8. Eliason, “George Catlin, Hartford musical instrument maker, part 1,” 31. 9. Fétis, “Des révolutions de l’orchestre,” 179. 10. See Tremmel, Blasinstrumentenbau im 19. Jahrhundert in Südbayern, 84–85. 11. Giornale di belle Arti e Tecnologia 1 (1833), 292; quoted by Kalker, Die Geschichte der Klarinetten, 123. 12. See Mercadante, “Emma d’Antiochia,” (1834); Della Seta, “Dal Glicibarifono al clarinetto basso,” 1119. 13. “Miscellaneous.” The Musical World, vol. 1, no. 3 (1 April 1836): 47; “Concerts.” The Musical World 1, no. 4 (15 April 1836): 59–60; “Concerts—Mrs. A. Shaw’s Concert.” The Musical World 1, no. 11 (21 May 1836): 174. 14. Della Seta, “Dal Glicibarifono al clarinetto basso,” 1116, n. 11. 15. See Collezione degli Atti delle solenni distribuzioni de’ premj d’industria fatte in Milano ed in Venezia dall’anno 1838, vol. VI, Milano: Imp. Regia Stamperia, 1839, 322–323, cited by Della Seta, “Dal Glicibarifono al clarinetto basso,” 1123–1124.

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From the Clarinet d'Amour to the Contra Bass

and inventor Giovanni Bimboni of Florence designed an ophicleide-shaped bass clarinet about 1849 called a bimbonclaro.16 In 1852, Franz Losschmidt (Lausschmidt) of Olmütz received a royal privilege from the Vienna court for his ophicleide-shaped bass clarinet called a clariofon.17 In 1853, Anton Nechwalsky of Vienna took out an Austrian patent for a bass clarinet made in an ophicleide form, an instrument called a klariophon.18 By about 1860, the name was standardized for use in published music scores and books as Bass Klarinette (German), basse clarinette (French), clarinetto basso (Italian), and bass clarinet (English).19 Prototypes (Plank Shape) The earliest attempts to construct a bass clarinet are designated prototypes. They have three to six keys and are limited in musical use by their simple construction.20 The ﬁrst is a mid-century instrument (B-Bruxelles, M939) made with a maple body covered with leather. It has ﬁve sections: mouthpiece, brass crook, cylindrical body with an attached plank and seven ﬁnger holes bored at oblique angles, brass tube bent at an acute angle with a large decorative arrow at the base, and upturned brass bell. There are three saddle-mounted keys for S, A, and E/B; the touch piece of the last key is placed for the little ﬁnger of the left hand (L4), and the open standing round ﬂat key head is mounted on a separate saddle. This instrument was clearly meant to play in the overblown register; Mahillon describes it as having a bad quality, lacking in timbre and accurate intonation.21 Young’s observation that the brass neck and bell sections have a newer appearance suggests that these parts were later and incorrectly proportioned replacements.22

16. Reported in 1850 by Tosoroni, Trattato pratico, 27. 17. Klein, “Erﬁndung,” 116. 18. Mandyczewski, Geschichte der K. K. Gesellschaft der Musikfreunde in Wien, 168. 19. Variants of these names appear in music scores and books published in a variety of other languages. 20. Two single reed instruments are sometimes included in discussions of bass clarinet history. The ﬁrst is a ﬁve key bass chalumeau by W. Kress (A-Salzburg, 8/1) and the second is an anonymous plankshaped one key chalumeau (D-Berlin, 2810, destroyed during World War II). Neither of these instruments were designed to overblow as all bass clarinets are designed, thus, they are both bass chalumeaux. See discussions of these instruments in Rice, The baroque clarinet, 32–35; Van der Meer, “The typology and history of the bass clarinet,” 65–68. 21. Victor-Charles Mahillon, Catalogue descriptif, vol. 2, 220. According to Snoeck, Catalogue de la collection d’instruments de musique anciens, 173; Rendall, The clarinet, 139. This instrument was previously in the collection of Adolphe Sax. In 1890, it was exhibited at the Royal Exhibition in London. See Day, A descriptive catalog, 123 and plate V, ﬁg. A. 22. Young, The look of music, 197, which includes a photo of the side of the bass clarinet; Young, “A bass clarinet by the Mayrhofers of Passau,” 40. For a photo of the opposite side of this clarinet showing the third key, see Rice, The baroque clarinet, 36; for a photo showing a front view with the six ﬁnger holes, A key, and E/B key, see Van der Meer, Musikinstrumente, 215.

Bass, Contra Bass, and Contra Alto Clarinets 253 The second prototype, an unstamped three-key bass clarinet (CH-Sonogno), shares a similar design with the examples from the Berlin and Brussels museums in its use of a wing joint or excrescence like that of the bassoon. The instrument is missing its mouthpiece, brass crook, and register key and consists of a long, straight wooden tube stained dark brown with an attached wing joint, and a brass ferrule toward the top of a downward-pointing wooden bell. The left thumb hole opens into the cylindrical bore, and the seven ﬁnger holes are bored like the earlier prototype, through the wing joint at oblique angles for convenient ﬁnger placement. The A and E/B keys are mounted in metal saddles, and the key head of the E/B key is mounted in a wooden knob. According to Kalina, the speaker and A key tone holes were probably moved from their original locations, although a photo of the instrument indicates the speaker hole on the front of the instrument, which could be an original design. Van der Meer dates this instrument to around 1750, but Kalina believes the construction is more sophisticated, reﬂecting a late-eighteenth-century date. The use of round, ﬂat key heads, a brass saddle, and block mounting suggest a date of about 1780 to 1800.23 The third prototype is a late-eighteenth- or early-nineteenth-century unmarked bass clarinet (I-Firenze, 109) similar in body shape to the bass clarinet in Sonogno. It is in four sections: mouthpiece with a small socket, brass crook, cylindrical body stained brown with a wing joint attached, and straight brass bell. It is probably in C because of its overall length of 107.3 cm. There are six keys with square key heads mounted in brass saddles and a wooden ring: S, A, f/c, A/E, F/C, and E/B.24 This instrument is more advanced than the prototype bass clarinets and equivalent to a contemporary ﬁve-key soprano clarinet. The six ﬁnger holes are placed vertically on the wing joint, a seventh ﬁnger hole for F/C is on the right side of the wing joint adjacent to the A/ E touch, and a ring for a strap is on the back of the cylindrical body.25 The mouthpiece construction is very similar to some eighteenth- and early-nineteenth-century clarinet d’amour mouthpieces, and its brass bell is like those used on basset horns. Because it is the only six-key bass clarinet extant in this shape, it seems doubtful that it was a successful playing instrument. Van der Meer suggests a plausible date around 1780, although the construction characteristics suggest 1790 to 1810.26

23. Van der Meer, “Vivaldi’s esoteric instruments,” 138. Also see the descriptions in Rendall, The clarinet, 140; the description and photo in Kalina, “The structural development of the bass clarinet,” 10, 11, ﬁg. 3, 12. I thank Francesco Carreras for tracing the location of this bass clarinet to the Museo di Val Verzasca in 2007. 24. See the detailed drawing and measurements in Gai, Gli strumenti musicali della corte Medicea, 221–222, and the brief description and photo in Antichi strumenti: dalla raccolta dei Medici e dei Lorena alla formazione del Museo del Conservatorio di Firenze, 103, 114. 25. The ﬁnger holes are clearly seen in the photos of this instrument in Kalina, “The structural development of the bass clarinet,” 13, ﬁg. 4. 26. Van der Meer, “Vivaldi’s esoteric instruments,” 138. Young questions the authenticity of these three prototype bass clarinets. See Young, The look of music, 197.

254

From the Clarinet d'Amour to the Contra Bass Curved or Basset Horn Shape

The basset horn shape refers to the curved or sickle shape of the earliest basset horns, dating from the 1760s. There is only one bass clarinet with this shape; it is by the Mayrhofers and is an important and early example.

The Mayrhofers Anton Senior (ca. 1716–1774) and Michael Mayrhofer (1707–1778), both of Passau, the self-proclaimed inventors of the basset horn, made an early bass clarinet around 1765;27 the body is curved and undoubtedly evolved from the Mayrhofers’ continuing experiments with the similarly shaped basset horn. Anton was a tower watchman assistant, played the violin and trumpet, and was a licensed innkeeper. Michael was an organist and possibly an organ builder. Anton Mayrhofer Junior (ca. 1738–1794) was a trumpet player and a violin maker. Saam surmised that all three Mayrhofers contributed to their woodwind-making business: Anton senior contributed skills as clarinetist, Anton Junior as wood carver, and Michael as an organ builder.28 Their extant instrument (D-München-S, 52–50, ca. 1765; ﬁgures 4.1 and 4.2) is pitched in B (an octave below the B clarinet) and is maple with brass ferrules. It has six sections: mouthpiece (replacement), barrel (replacement), left- and right-hand sections, coiled section, and brass bell (replacement).29 Both ﬁnger hole sections are made in a curved or sickel shape with an octagonal outer surface covered by brown leather like the Mayrhofers’ basset horns. A unique feature at the bottom of the lower section is a 360-degree wooden coil in place of the basset horn’s box. This coil is formed of glued wedge-shaped pieces covered with leather. A stamp impressed in the leather on the side of the loop30 reads “ANT: et MICH:/MAYRHOFER/INVEN. & ELABO:/PASSAVII.” (Anton & Michael Mayrhofer, Inventors and Improvers, Passau). This stamp appears in an elaborate rococo cartouche.31 According to Shackleton, the leather on the top of the right-hand section is embossed with a pair of petalled ﬂowers.32 X-rays indicate that the two main sections are curved by the use of saw cuts going through most of the body, stopping short of the outside surface. The groove or kerf 27. Young suggests a date of about 1760(?) and Shackleton between 1760 (or earlier) and 1774; see Young, The look of music, 198; Shackleton, “The earliest basset horns,” 12. Van der Meer suggests 1770 in “The typology and history of the bass clarinet,” 87. NLI suggests late 1770s, 257. 28. Saam, Das Bassetthorn, 8–17, 19–21; NLI, 257. 29. Rainer Weber’s 1971 restoration included replacing a part of the upper section, mouthpiece, barrel, and bell. See the restoration reports and photos in Weber, “Baßklarinette oder Bassetthorn von Mayerhofer?”; “Ein Bassetthorn (Baßklarinette?) des Musikinstrumentmuseums im Münchner Stadtmuseum.” 30. Described by Young, “A bass clarinet,” 36–46; 4900, 154. 31. See the transcription by Eppelsheim, “Bassetthorn-Studien,” 86; Bär, Verzeichnis, Band 6, 69. Photos of the side of the box where the stamp is located on the Mayrhofer seven-key basset horn (D-Nürnberg, MI 133) is given by Saam in Das Bassetthorn, 28; Bär, Verzeichnis, Band 6, 75. 32. Shackleton, “The earliest basset horns,” 16.

Bass, Contra Bass, and Contra Alto Clarinets 255

Figure 4.1. Anton and Michael Mayrhofer, Passau, 7-key B bass clarinet (ca. 1765, D-Munich-S, 52-50), front view.

of the saw cuts supplied enough space to permit compression into the desired curve. A ﬂexible piece of wood or spline was then glued inside the bore, over the saw cuts, for rigidity and strength, and the leather covering keeps air from leaking out of the tube.33 Seven brass keys (S, A, A/E, F/C, F/C, E/B, and C) are mounted in brass saddles; the touches for the lowest three keys are for the thumb as found on some basset horns. The swallowtail touch for F/C reﬂects the tradition of playing with either the right or left hand lowermost on two- or three-key clarinets or clarinets d’amour. This instrument, however, was designed to be played with the right hand lowermost because the A/E key is mounted to the right of the F/C key. It is equivalent in ﬁngering to a ﬁve-key soprano clarinet with the addition of a low C.34 This is the ﬁrst bass clarinet to have C as its lowest note (sounding BB, always found on basset horns and commonly utilized on early-nineteenth-century German bass clarinets). Shackleton suggests the loop section, which carries the lowest tone hole, was replaceable by a shorter section, now lost, to give D (sounding C) instead.35 Weber is not certain if this instrument is a unique basset horn–shaped bass clarinet or a basset horn. The label at the Munich Stadtmuseum (in 2005) designates it 33. Young, “A bass clarinet,” 43–45. 34. Other photos appear in Joppig, “Holzblasintrumente,” 76; Young, The look of music, 198, no. 244; Birsak, The clarinet, 79, pl. 20. 35. Shackleton, “Bass clarinet,” Grove Music Online.

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Figure 4.2. Anton and Michael Mayrhofer, Passau, 7-key B bass clarinet (ca. 1765, D-Munich-S, 52-50), side view.

as a basset horn.36 However, Young measured the air column length as 177 cm, and the bore is wider than most basset horns, varying from 15.8 to 16.7 mm, suggesting a bass clarinet.37 Considering that this is the only extant bass clarinet with this unique design feature, it is uncertain how successful it was in performance. The Mayrhofers’ basset horns have a one-piece body while the body of this larger bass clarinet is in two pieces. Young states that the coil condenses about 34 cm of 36. See the doubts expressed about this instrument being a bass clarinet by Van der Meer in “The typology and history of the clarinet,” 87; Riehm, “Zum Problem der tiefen Klarinetten,” 219. 37. In comparison, the 1793 Heinrich Grenser bass clarinet has almost the same air column (168.2 cm) and a somewhat smaller bore, varying from 14 to 14.8 mm. The Mayrhofer curved basset horns (and later, the angular-shaped basset horns by August Grenser, Heinrich Grenser, Kirst, and Griessling & Schlott) have an average air column length one third less and bores often as much as one quarter less than the Mayrhofer basset horn-shaped bass clarinet. See Young, “A bass clarinet,” 40–41, 198; 4900, 104; for bore measurement, see Eliason, “George Catlin, Hartford musical instrument maker, part 2,” 36. The curator of the Stadtmuseum, Gunther Joppig, agreed with the author in 2005 that Mayrhofer’s instrument is a bass clarinet.

Bass, Contra Bass, and Contra Alto Clarinets 257 air column into a section about 12 cm in overall length, a compression similar to what the box or kasten of the basset horn accomplishes. Young further theorizes that the Mayrhofers used this coil construction before using the more complex kasten design on their basset horns.38 A number of eighteenth-century documentary sources report the Mayrhofers’ work on the basset horn, covered in chapter 3.

Eighteenth-Century Organ Stop In Germany, the bass clarinet sound was of sufﬁcient interest that some organ makers of the late eighteenth century added a four-foot pedal reed stop called Klarinettenbass. Johann Philipp Stumm (1705–1776) and Johann Heinrich Stumm (1715?–1788) added the earliest known example to their organ built in the Abbey church at Amorbach, completed between 1774 and 1782.39 It is possible that these organ makers had never heard an actual bass clarinet but simply made a clarinet stop in the four-foot pedal register. Bassoon Shape By 1791, an anonymous author states that the so-called bass clarinets (die sogenannten Baßclarinetten) are an effective replacement in many cases for the bassoon and criticizes J. M. Forkel for failing to mention the bass clarinet in his Musikalischer Almanachen of 1782, 1783, and 1784.40 This anonymous author’s observations suggest that bass clarinets were played and appreciated in wind ensembles since the early 1780s. Bassoon-shaped bass clarinets often have seven sections: mouthpiece, barrel, brass crook or L-shaped barrel, left-hand joint or wing joint, butt joint with ﬁnger holes for the right hand, long joint, and an upright brass or wooden bell. This construction resembles a bassoon, but the wing joint is bored cylindrically, not conically. The large butt joint includes within it a U-shaped tube at its lower end.

38. Young, “A bass clarinet,” 45–46. An anonymous three-key bass oboe (F-Paris, E.749) is made in a curved shape similar to Mayrhofer’s bass clarinet. It is constructed with less of a curve throughout, an octagonal outer surface covered in brown leather with a 360-degree loop at the bottom, and a later serpent-head bell decorated with ivory eyes, painted pupils, and a large, ﬂat, metal, rattling tongue in its mouth. Finkelman suggests that the Mayrhofers may have built this instrument, which so closely resembles their bass clarinet, and in a recent e-mail attributes this bass oboe to the Mayrhofers. See Finkelman, “A provisional world inventory of the lower oboes.” The instrument was purchased by the Musée de la Musique from Adolphe Sax’s collection; see the Musée’s Web site, http://mediatheque.cite-musique.fr. It seems likely that the dragon-head bell was previously part of an upright serpent or Russian bassoon, commonly made with these types of bells during the early nineteenth century. 39. Williams and Owens, “Organ stops,” New Grove, vol. 2, 920; Hans Klotz, “Stumm,” New Grove, vol. 3, 468; Williams, The European organ, 272; Schmid, Die Orgeln von Amorbach, 103. 40. “Berichtigungen und Zusätze,” 41–42.

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From the Clarinet d'Amour to the Contra Bass

The Grensers Heinrich Grenser (1764–1813) of Dresden was the ﬁrst to develop the bassoon-shaped bass clarinet. Heinrich served his apprenticeship with his uncle August Grenser (1720–1807) in Dresden from 1779 to 1786, and in 1789 he married August’s daughter Henriette Regina Grenser. Within a few years, he became a prosperous woodwind maker with an active business employing several workers.41 The announcement of Grenser’s invention, dated 19 December 1793, was published in the K. K. Prager Oberpostamtszeitung on 30 September 1794. I am notifying all learners and lovers of music herewith that I have invented an instrument and call it clarinet bass. It has a beautiful and quite strong sound descending as low as BB. Each octave may be played four times with B and C played ﬁve times. Those who play the clarinet or basset horn can easily play this instrument. . . . I am hoping that through this instrument that I have made that I am recognized not only as a student of the famous instrument maker, August Grenser, but that I have worked in his ﬁrm for a number of years. Dresden on 19 December 1793. Heinrich Grenser, Instrument Maker.42 It is obvious from this announcement that Grenser wanted to be recognized as an established maker by his own accomplishments. His only surviving bass clarinet (S-Stockholm, M2653; ﬁgure 4.3) is bassoon shaped in C. It is not surprising that he made a bass clarinet in this shape because he and August were very skilled bassoon makers. The instrument is boxwood with brass ferrules and seven sections: mouthpiece (replacement), yellow-colored ivory barrel (replacement), brass crook (replacement), wing (left-hand) joint, butt (right-hand) joint, long joint, and bell. Its dark wood mouthpiece is not much larger than a soprano clarinet mouthpiece (76 mm) and marked with a letter “A.”43 The butt joint has a U-shaped tube, similar to the bassoon butt joint, and two sockets to ﬁt the tenons of the wing and 41. NLI, 145. 42. “Allen Kennern und Liebhabern der Musik mache ich hiermit bekannt: Daß ich ein Instrument erfunden, dem ich den Namen eines Clarinettenbasses beigelegt habe. Es hat dieses Instrument einen schönen und zugleich starken Ton, geht herunter bis ins tiefe H. Jede Oktave kann man 4 mal, H und C aber 5 mal angeben. Derjenige, der Clarinette oder Bassethorn spielet, kann diese Instrument sogleich regieren. . . . Ich werde mich bemühen, durch jedes von mir verlangte Instrument des mir gegönnten Zuspruches mich würdig zu machen, da ich nicht nur ein Schüler des von einem verehrungswürdigen Publiko sehr wohl aufgenommenen Instrumentenmachers, Herrn August Grenser, bin, sodern auch seit verschiedenen Jahren schon mit ihm in Compagnie stehe. Dresden, am 19ten December 1793, Heinrich Grenser, Instrumentenmacher.” “Anzeige,” K. K. Prager Oberpostamtszeitung (30 September 1794), v, cited and quoted by Dullat, Klarinetten, 76, 151. A shorter description is repeated in 1812 by Gerber in Neues historisch-biographisches Lexikon, 393. 43. Bass clarinet notes, Musikmuseet. Swen Berger, former curator at Stockholm’s Musikmuseet, estimated the pitch to be B. For a description and photos see Kalina, “The structural development of the bass clarinet,” 16, 17, ﬁg. 6, 18.

Bass, Contra Bass, and Contra Alto Clarinets 259

Figure 4.3. Heinrich Grenser, Dresden, 8-key C bass clarinet (1793, S-Stockholm, M2653).

long joints. On the front side of the butt joint is the stamp “(crossed swords)/H. GRENSER/DRESDEN/1793.” It is the only instrument with a date by Heinrich Grenser;44 he must have been proud of his invention. There are eight keys mounted in wooden blocks and brass saddles: S, A, A/E, F/C, F/C, E/B, D, and BB.45 The last three keys are on the back side of the butt joint, positioned for the right thumb. Below the touches for closed E/B and open D is a tonehole for the right thumb; above the tonehole is an open BB touch. Covering the right thumb hole alone produces E; covering the right thumb hole with the D key closed produces a C.46 There is a thumb hole for the left thumb and one speaker key on the back of the long joint. The A key head is octagonal on a 44. See Young, The look of music, 198; 4900, 99–107. This instrument was listed in an 1893 sales catalog as an “Althoboe” (no. 1490), included in a photograph of all the woodwind instruments, and purchased by J.M. Heberle. See Katalog der reichhaltigen und ausgewählten Kunst-Sammlung des Museum Christian Hammer in Stockholm, 130 and photo; I thank Jörn Öierstedt for information from his copy of this catalog. 45. Shackleton states that both Grenser bass clarinets descend to written BB, although Grenser describes his instrument as having a lowest note of BB and Gerber, who probably copied from Grenser’s advertisement, gave BB as the lowest note. See Shackleton, “Bass clarinet,” Grove Music Online; Dullat, Klarinetten, 76; Gerber, Neues historisch-biographisches Lexikon, 393. 46. Cf. the descriptions of the keys given by Eliason, “George Catlin (Part 2),” 36, with Van der Meer, “The typology and history of the bass clarinet,” 69.

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brass tonehole seat, the A/E key head is round, and the F/C key has a single touch positioned like contemporary basset horns, with the A/E key to the right of the F/C key. The F/C key has a long touch for L4 identical to contemporary clarinets. This instrument is constructed so that the position of the bell is at the player’s right.47 Hoeprich notes that there is evidence of alterations in the tone holes and key positions and believes it to have been experimental.48 For example, the brass crook has a key lever and key head mounted on a brass saddle, probably for correcting the intonation of high notes. However, the crook itself was a replacement, and this key was never used because a second touch on the back was required to connect with the key by using a circular linkage to press against the touch on the crook. It should be noted that Berger, curator at the Musikmuseet, was able to play three octaves on this instrument “well in tune.”49 August Grenser made a C bassoon-shaped bass clarinet (D-Darmstadt, Kg 67:133) stamped “1795.” It is very similar to Heinrich’s instrument, constructed of boxwood with brass ferrules in seven sections: mouthpiece (replacement), barrel (replacement), crook (replacement), wing joint, butt, long joint, and brass bell.50 August followed the key layout on Heinrich’s bass clarinet, using octagonal key heads for A and A/E. A ninth key on the back of the wing joint has a straight, long touch piece mounted in a block next to the register key. The end of this touch is positioned below the touch of the register key. This second key is connected to a half ring that is meant to open a key head mounted on a brass saddle on the brass crook, although at present it appears that it will not function in this manner because the lever of the second key is above the half ring on the replaced crook. Kalina speculates that this key was meant to act as a second speaker for high notes in the clarino register b2, c3, c3, d3, and d3 (written in treble clef).51 This bass clarinet also includes an owner’s stamp of Grand Duke Ludewig I placed on the front side of all three boxwood sections: “(crown) over a large L in a stylized, cursive script.”52 The use of a second register key suggests August Grenser’s attempt to improve the speaking qualities of its highest range, or a later alteration. Both

47. Eliason, “George Catlin (Part 2),” 36. 48. See Hoeprich’s comments from a letter cited by Powell in Tromlitz, The keyed ﬂute, 201, n. 48. Other photos appear in Baines, European and American musical instruments, no. 647; Young, The look of music, 198, no. 245; Dullat, Klarinetten, 75, Abb. 34. 49. Berger’s comments are mentioned by Kalina in “The structural development of the bass clarinet,” 16. 50. Its metal crook and mouthpiece were copied from Stockholm’s bass clarinet in order to replace these missing sections. Photos of the Grenser bass clarinet were received by me from the Darmstadt Museum in 2006. The front and back sides of the instrument without a crook and mouthpiece are photographed in Kalina, “The structural development of the bass clarinet,” 20, 22, ﬁgs. 7–8; the front side is photographed in Musik Instrumente aus dem Hessischen Landesmuseum, 48, no. 50, and by Van der Meer in Musikinstrumente, 215. 51. Kalina, “The structural development of the bass clarinet,” 19. 52. See Musik Instrumente aus dem Heissischen Landesmuseum, 48, and the photo on the same page.

Bass, Contra Bass, and Contra Alto Clarinets 261 Grenser bass clarinets differ from contemporary bassoons in that the bell is to the right of the wing section; on bassoons, the bell is to the left of the wing section from the player’s viewpoint.

Scholl In Vienna, the Austrian maker Franz Scholl (ﬂ. 1792–1804) was granted a privilege by Kaiser Franz II in 1802 to manufacture and sell his newly invented Schollbass, a bass clarinet with a range of four octaves.53 Scholl advertised three new instruments: basset clarinet,54 bass clarinet, and clarinet d’amour in G (discussed in chapter 1) and called the second a Schollbass in the 1803 issue of Wiener Zeitung. He manufactures an instrument which is an entirely new invention named the Schollbass or Sciolbasso. This clarinet type instrument, constructed with the low C of the bassoon, has a command of more than 4 octaves which none of the known wind instruments possess.55 Like Mayrhofer’s bass clarinet, Scholl’s instrument descends to low C. Unfortunately, examples and documentation have not survived, and we cannot be certain of the shape. Based on the fact that most bassoon-shaped bass clarinets descend to C, it seems likely that it was made in a bassoon form like Grenser’s instruments. Waterhouse suggests that Scholl’s bass clarinet descended to BB, assuming that his instrument was built in the nominal pitch of B like the Grenser’s instruments.56 This suggestion does seem likely.

Dumas The goldsmith, clarinetist, and inventor Dumas (1755–1832) started work in 1808 on a bass clarinet for military bands. He played a bass clarinet that he called a basse guerrière (martial bass) on 30 March 1810 for a Paris Conservatory committee for its comments and approval. The 1811 committee report concludes that the bass clarinet has the same compass as the soprano clarinet (three octaves and a fourth), was pitched an octave lower, was about a meter long, and had an identical timbre to that of the clarinet. The committee recommended Dumas’s instrument for wind bands, 53. See Haupt, “Wiener instrumentenbauer,” 172; NLI, 361. 54. See the description of Scholl’s basset clarinet in Rice, The clarinet in the classical period, 74. 55. “Verfertiget er ein Instrument von neuer ganz eigener Erﬁndung, nämlich den Schollbaß (Sciolbasso). Dieses ist ein clarinettartigen Instrument, welches bis in des tiefe C des Octav-Fagottes bauweise reicht, und einen Umfang von mehr als volkommen 4 Octaven beherricht, welchen noch kein bis jeßt bekanntes Blasinstrument bestegt.” Scholl, “Anzeige,” 1174; reproduced by Ross, “A comprehensive performance project in clarinet literature,” 271. 56. NLI, 361. Hanslick mentions Scholl’s 1802 patent or exclusive privilege, which he received from the Kaiser for his newly improved bass clarinet. Hanslick, “Musikalische Instrumente,” 103.

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From the Clarinet d'Amour to the Contra Bass

where it would complete the harmony and produce very beautiful effects.57 In 1833, Fétis reported that when Dumas played his thirteen-key bass clarinet for the conservatory committee in 1810, it frightened the French players who were familiar with six-key clarinets.58 However, because neither of the two reports from the conservatory committee speciﬁes the number of keys, it seems more likely that Fétis was mistaken and Dumas’s bass clarinet had fewer keys, perhaps ten as used by Desfontenelles in 1807 (see the description under clarinet-shaped bass clarinets later).59 A short anonymous entry in the 16 January 1812 Gazette Nationale mentions their support of Dumas’s basse guerrière and proposed that it would be possible to design a clarinet with the same dimensions, producing a sweet and mellow tone quality.60 The wording of these reports is not sufﬁciently clear to establish the shape of Dumas’s bass clarinet, but because of its short overall length (about a meter) and the description of his contra bass guerrière (see later) as bassoon shaped, we can assume that his bass clarinet was also made in a bassoon shape.61 Dumas continued to improve his bass clarinet, as substantiated in a manuscript report of the Institut Impérial meeting on 11 July 1818. Its mouthpiece was made of either brass or crystal glass.62 In 1822, Gardeton reported that Dumas’s bass clarinet was adopted by the band of the Imperial Guard and had been examined and approved by Grétry, Lesueur, Martini, Gebauer, Desvignes, Cornu, and others.63 On 29 November 1823, Dumas appeared with an improved bass clarinet. The members of the Institut Impérial were unanimously supportive of the tuning of the instrument and Dumas’s playing.64 No Dumas bass clarinet is extant. A few 57. “Le basse guerriere, avec trios octaves et quatre mi. . . . Il nous reste à longueur repective est environ double . . . ou à peu près égale à un métre pour la basse. . . . L’auteur a dissimulé une partie de cette longueur en contournant sinueusement le canal supérieur, étant corrélatif à cette longueur, on a suppleé en partie au simple doigter par des touches ou clés qui en font les functions. . . . Quant à nous, nous pensons que la basse . . . guerrieres de M. Dumas, introduites dans les orchestras militaries, en compléteront l’harmonie et y produiront un très-bon effet . . . .” “Rapport fait par MM. Gossec, Grétry, Méhul,” 420–421; “Basse guerrière de M. Dumas,” 222–223. 58. Fétis, “Instrumens nouveaux,” 121–122. 59. Rendall speculates that in order to keep his invention a secret, Dumas entrusted its construction to a provincial maker and that his instrument may be identiﬁed with Desfontenelles’s bass clarinet; see Rendall, The clarinet, 142. 60. “M. Dumas . . . qui complete le système des instrumens militaries dans le genre indiqué. Cet artiste se propose, d’après sa théorie, de donner à la clarinette des dimensions qu’il croit plus dans la nature de cet instrument, et qu’il regarde comme propres à lui donner les sons suaves et moëlleux . . . .” “Arts Industriels-Musique,” 63–64. 61. Kalina also came to this conclusion; see “The structural development of the bass clarinet,” 24–25. 62. “. . . faite en cuivre ou en cristal lorsqu’il existait en bois . . . .” “Procès verbaux et rapports de l’année 1818,” 11 July 1818. Since 1806, Claude Laurent of Paris made crystal glass ﬂutes, see NLI, 225. I thank Jean Jeltsch for a transcription of this report. 63. “Cet instrument, adopté par la musique de la garde impériale, a été examine et approuvé par MM. Grétry, Lesueur, Martini, Gebauer, Desvignes, Cornu, etc.” Gardeton, Bibliographie musicale, 348. 64. “La section de musique a examine la nouvelle clarinette de M DUMAS, et elle a reconnu à l’unanimité que leur auteur par de profondes et savants connaissances des lois de l’acoustique était parvenu à porter

Bass, Contra Bass, and Contra Alto Clarinets 263 days before Dumas died in 1832, Fétis reports that he had given his bass clarinet to Isaac Franco Dacosta (1778–1866), a military musician and clarinetist of the Italian opera.65 Dacosta immediately began studying the instrument and the next year worked with the Parisian instrument maker L. A. Buffet to improve Dumas’s design and create a clarinet-shaped bass clarinet, as described later.66

Sautermeister Experiments with bassoon-shaped bass clarinets continued throughout the ﬁrst half of the nineteenth century. In 1809, François Antoine Sautermeister (d. 1830) established a woodwind- and brass-making company in Lyon. On 12 August 1812, he was granted a French patent (no. 755) for a bassoon-shaped bass clarinet called a bassorgue. This is the ﬁrst known patent for a bass clarinet (see ﬁgure 4.4). A single page of patent text and illustration depicts the front and back sides of an instrument in bassoon form, in six sections: mouthpiece, long brass crook, wing section with a metal ferrule (left-hand), butt section with two metal ferrules (righthand), long section with a metal ferrule, and brass upward-pointing bell. There are saddle-mounted open keys for L3 and R2 (which closes the ﬁrst tone hole on the butt joint), two thumb holes (one on the butt and one on the long section), and eight saddle-mounted keys with round, ﬂat key heads.67 Since it closely resembles the Grensers’ bass clarinets, Sautermeister may have copied the design of these instruments. However, it is unlike Grensers’ bass clarinets in that the bell is to the left of the wing section and in its arrangement of keys. Sautermeister’s instrument has a compass of more than three octaves chromatically and makes use of a curved or straight brass bell or made in a globular shape pierced with a (resonance) hole.68 Its eight keys appear to be for S, A, C/G (for LT), B/F (LT), A/E (R4), F/C (R4), E/B (RT), and BB (LT). There are two serious errors in the drawing. The keys on the back of the left-hand joint have been mistakenly drawn on the long joint, and the lowest key should have

cet instrument à un haut degré de perfection, et que part la facture de sa basse de clarinette il était parvenu aussi à completter cette partie intéressante d’une execution musicale!” “Minutes des procès verbaux,” 29 Nov. 1823. I thank Jean Jeltsch for a copy of a transcription of the 1818 and 1823 reports. 65. Fétis, “Instrumens nouveaux,” 122–123; Pierre, Le Conservatoire national de musique, 757. An earlier French instrument made by Gilles Lot in 1772 and called a basse tube is now considered a basset horn; see chapter two. 66. Fétis, “Exposition des produits de l’industrie,” 173. 67. Sautermeister, Brevet le 12 Aout 1812 (no. 755). I thank Jean Jeltsch for a copy of this patent which includes a colored drawing. Kalina lists this patent as no. 488 and reproduces the uncolored drawing in “The structural development of the bass clarinet,” 26. According to a communication from Jeltsch, there are some sketches in addition to the two drawings. They appear in the partial manuscript and printed Brevets d’Invention, vol. 6 (1812), 355. 68. “L’instrument appelé Bassorgue contient trois octaves pleines et quelque note ayant toute la facilité de faire les tone et demi-tons. Je recourberois le pavillon ou je le remplacerois par un globe de même par un tube percé de part et d’autre.” Sautermeister, “Note pour servir à la description du bassorgue.”

264 From the Clarinet d'Amour to the Contra Bass

Figure 4.4. François Antoine Sautermeister, 10-key bass clarinet, French patent, 1812 (no. 755), plate 7; reproduced in Kalina, “The Structural Development of the Bass Clarinet,” 26.

been drawn on the back, not the front, of the long joint. Covering the right thumb hole would produce a D and covering a left thumb hole would produce a C. Its lowest key on the back side was probably meant to produce a BB because it is located in a high position on the long joint. The patent illustration indicates a mouthpiece positioned for playing with a reed-above mouthpiece position. No extant example has survived. There is no further documentation other than the patent.

Catlin In America, the ﬁrst to construct a bass clarinet was the woodwind maker George Catlin (1778–1852) of Hartford, Connecticut. Catlin was a jack-of-all-trades making

Bass, Contra Bass, and Contra Alto Clarinets 265 stringed instruments, keyboard instruments including organs, all types of woodwinds, and scientiﬁc instruments.69 He called his bass clarinets clarions, and their earliest mention is an advertisement by his apprentice Uzal Miner (1785–1822) on 14 September 1813 in the Connecticut Courant. Uzal Miner Musical Instrument Maker Opposite Messrs. Ward & Bartholomew’s Main St. Hartford (Conn.) Has on hand and for sale very low for cash the following articles—Viz: bassoons, Catlin’s patent clarions, clarinets, hautboys . . . bassoon, clarion, clarinet, and hautboy reeds.70 Eliason plausibly conjectures that Catlin began making these instruments about 1810.71 No patent for a bassoon-shaped bass clarinet has been located, so it may be assumed that the word patent was a false claim to protect Catlin’s invention from theft. It is possible that Catlin saw and copied a continental bass clarinet, but his body design is sufﬁciently different from continental examples to suggest that he developed it independently. For example, his instrument and the eight other extant American-made bassoon-shaped clarinets were constructed so that the bell is positioned on the player’s left side rather than on the right side, as with Grensers’ bass clarinets. Catlin’s design and placement of keys are also different from the Grensers’, and the bore of Catlin’s and other American bass clarinets is larger.72 George Catlin’s only surviving bass clarinet (US-MI-Dearborn, 77.68.1) has stamped on the back of the butt section “Invented and/Made by/GEORGE CATLIN/Hartford/ Con.” It is maple with ivory ferrules. There are eight sections: English-style long-tenon mouthpiece, barrel, second barrel, L-shape joint with a 90-degree bend (replacement), wing or left-hand joint, butt or right-hand joint, short section, and a long bell. Its six brass keys all have ﬂat, rounded, spade-shaped key heads, which Eliason calls the “Hartford spade”: S, A, A/E (L4), F/C (R4), E/B, and D, the last two positioned for the right-hand thumb.73 This instrument is equivalent to a four-key soprano clarinet and lacks the F/C key of the common ﬁve-key clarinet. An ivory bushed hole on the butt joint produces C when all the ﬁnger holes and the E/B key are closed. Eliason suggests that a seventh key for low BB could have been installed on this instrument, as found on the other eight extant American bassoon-shaped bass clarinets.74 69. Catlin’s activities and life in Hartford and Philadelphia are discussed by Eliason in “George Catlin, Hartford musical instrument maker, part 1,” 16–37. 70. Eliason, “George Catlin, Hartford musical instrument maker, part 1,” 31. 71. Eliason, “Catlin,” NGDMI, vol. 1, 316. 72. The American bass clarinet bore varies from 16 to 19 mm; the Heinrich Grenser bass clarinet bore is 14.5 mm. See Eliason, “George Catlin, Part 2,” 36–37. 73. For clear photos of the front and back sides and the maker’s inscription, see Eliason, “George Catlin, Part 2,” 32–35, ﬁgs. 14, 15. A photo of the back of this instrument is given by Young in Twenty ﬁve hundred historical woodwind instruments, pl. VII. 74. Eliason, “George Catlin, Part 2,” 34–35.

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There are several differences in design between Catlin’s and Grenser’s bass clarinets. Catlin uses an L-shaped maple section instead of Grenser’s brass crook; Catlin uses a short joint and a long wooden bell rather than Grenser’s long joint and a short brass bell; Catlin’s keys are mounted in saddles, as found on bassoons, but Grenser’s keys are mounted in wooden blocks; Catlin’s bore is larger at 17.3 mm, closer to later bass clarinets, whereas Grenser’s bore is 14.5 mm, closer to soprano clarinets; Catlin’s number and choice of keys are different from the Grensers’. The Grensers placed the bell on the right side; Catlin anticipated later makers by placing the bell on the player’s left, a more natural playing angle with better visibility for the player.75 Catlin also uses an additional tenon section after the barrel probably for adjusting the tuning. The eight remaining American-made bassoon-shaped bass clarinets generally follow Catlin’s design. All of these instruments have keys mounted in saddles, or wooden knobs, and all have a short key for C/G (for R1), a long key for A/E (L4), thumb hole for low C, and thumb keys for E, D, and BB. One has an F/C key (R4), and three include a low thumb E. On some examples the long saddle mounted speaker and A/E keys are identical to the keys on contemporary British and American bassoons. Three of the bass clarinets are stamped with the name of the maker or dealer: Catlin and Bacon (ﬂ. 1815–1818) of Hartford, Connecticut, stamped “Patent,” nine-key (US-NY-Castile, ca. 1812); Uzal Miner of Hartford, ninekey (US-CT-Farmington, 167 a + b); and Marsh and Chase (ﬂ. 1819–1836) of Calais, Vermont, seven-key (US-NY-Poughkeepsie, ca. 1825). Eliason attributes two ninekey anonymous examples to Miner (US-NY-Buffalo, 61.259; US-MI-Dearborn) and a bass clarinet to Perry Marsh (ﬂ. before 1819) of Calais, Vermont, or Fischer & Metcalf (ﬂ. 1824) of Woodstock, Vermont, seven-key (US-DC-Washington-S, 65.609). Finally, there are two bass clarinets with no attribution, both seven-key (US-NHConcord, 1966.544.6; US-NC-Durham, E200).76 The Catlin & Bacon bass clarinet (US-NY-Castile) is boxwood and maple with ivory and brass ferrules. There are six sections: mouthpiece (boxwood), barrel (boxwood), ivory knee, wing or left-hand joint, butt or right-hand joint, and long brass bell. There are nine keys: four spatula, one square, and four Hartford spade key heads.77 The length of the air column is 165 cm (neck has been shortened); the bore is 17.3 mm. Uzal Miner’s bass clarinet (US-CT-Farmington) is maple with a maple bell, brass keys, ivory and brass ferrules, and nine keys: one spatula, one square, and seven Hartford spade key heads. The length of the air column is 169 cm; the bore is 17.3 mm. One instrument attributed to Miner (US-NY-Buffalo) is maple; it has a copper bell, brass keys, ivory and brass ferrules, and nine keys: ﬁve spatula and four Hartford 75. Eliason made many of these points in “George Catlin, Part 2,” 38, 40. 76. See Eliason, “George Catlin, Part 2,” 36–37; 4900, 48, 166. 77. The mouthpiece and barrel may have been later replacements. I thank Leonora Brown of the Letchworth State Park for sending photos.

Bass, Contra Bass, and Contra Alto Clarinets 267 spade key heads. The length of the air column is 166 cm (neck has been replaced); the bore is 17.3 mm. The second instrument attributed to Miner (US-MI-Dearborn) is maple with a maple bell, brass keys, ivory and brass ferrules, and nine keys, all with Hartford spade key heads. The length of the air column is 159.5 cm (neck has been shortened); the bore is 17.5 mm. The Marsh & Chase bass clarinet (US-NY-Poughkeepsie) is maple with a copper bell and crook, brass keys, ivory and brass ferrules, and seven keys: two spatula and ﬁve square key heads. The length of the air column is 176.7 cm (neck questionable, connecting tenon between bell and butt section is missing); the bore is 18.5 mm. The instrument attributed to Perry Marsh or Fisher & Metcalf (US-DC-Washington-S) is boxwood; it has a boxwood bell, brass keys, ivory and brass ferrules, and seven keys: two spatula and ﬁve square key heads. The length of the air column is 172 cm; the bore is 19 mm. The ﬁrst unstamped instrument (USNH-Concord) is maple, with a maple bell, brass keys, and seven keys: two spatula and ﬁve square key heads. The second unstamped instrument (US-NC-Durham, E200) is maple with a brass bell and keys, ivory and brass ferrules, and seven keys: two spatula and ﬁve square key heads. The length of the air column is 160.3 cm (probably shortened); the bore is 16–19 mm. The spatula key heads are similar to key heads used on Catlin’s bassoon (US-MI-Dearborn, 76.27.1) and English-made bassoons.78 In summary, the keys of these bass clarinets are equivalent to a four-key clarinet with the A/E key moved from R4 to L4; F/C, when present on one example, is operated by R4 instead of L4; and the keys for low E/B, E, D, and BB are operated by the right thumb. The lowest note is played by depressing three keys and covering the thumb hole.79 Eliason has suggested that these right-hand thumb keys are based on the arrangement of keys for the left thumb on the English and American six-key bassoon.80 Advertisements in various journals suggest that the clarion was accepted in several cities throughout New England. For example, the Franklin Musical Warehouse in Boston advertised clarions or bassoon-shaped bass clarinets in the April 1820 Euterpeiad; the dealers Fisher and Metcalf offered clarions in the 7 December 1824 Woodstock, Vermont, Observer. The New York woodwind maker and dealer Edward Riley (1769–1829) also supplied clarions, as listed in the New York Directory for 1825 to 1826.81 However, the Boston dealer I. E. Glover advertised on 8 December 1821 receipt of wind instruments (including clarions) and violins from London.82 Since early-nineteenth-century British-made bassoon-shaped bass clarinets are not 78. This paragraph is based on Eliason, “George Catlin, Part 2,” Table 1, 36–37; there are photos of Catlin’s seven bassoon-shaped bass clarinets and a bassoon, 22, ﬁg. 1, 34–35, 38–44. 79. Eliason, “George Catlin, Part 2,” 43. 80. Eliason, “George Catlin, Part 2,” 35. 81. Eliason, “George Catlin, Part 2,” 43–46. The letters used on the title page of The Euterpeiad for vol. 1, no. 32 (4 November 1820) feature a number of musical instruments arranged to read like letters, including a clarinet and a clarion to form the letter A. 82. The Euterpeiad 2, no.19 (1821), 151.

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extant, it seems likely that Glover was selling American-made bass clarinets falsely advertised as made in England to command a higher price. The popularity of bassoon-shaped bass clarinets as band instruments in America continued through the 1830s, documented by illustrations showing them in marching bands in three lithographed sheet music covers published in Boston: “The Berry Street Rangers Quick Step” (Henry Prentiss, 1837); “Captn. E. G. Austin’s Quick Step” (Parker & Ditson, 1837);83 and “Whig Gathering, Song and Chorus Respectfully Dedicated to the Whigs of the United States” (Henry Prentiss, 1840).84

Streitwolf Johann Heinrich Gottlieb Streitwolf (1779–1837) of Göttingen was a cellist in a local nonprofessional orchestra who later taught cello, guitar, and voice and also composed for these instruments. He married in 1801 and began to make ﬂutes and other wind instruments in 1809. By 1820, Streitwolf was employing a number of assistants and was in close touch with the famous clarinetist Simon Hermstedt and other clarinetists at the Sondershausen court for whom he made clarinets.85 In September 1828, Streitwolf devised one of the more mechanically advanced bass clarinets.86 It was made in bassoon form with seventeen to nineteen keys mounted on short pillars, in saddles, and in wooden blocks. A gifted maker, he also produced all types of woodwinds, including thirteen- and ﬁfteen-key clarinets and sixteen-key basset horns (see chapter 2).87 In 1828, Streitwolf published a pamphlet on his bass clarinet called Description of my newly invented bass clarinet (Beschreibung der von mir neu erfundenen BassClarinette) that presents his vision of the ideal instrument. All of the keys and holes lie so conveniently, that any average-size hand can reach and cover them, and since the instrument is in C, like the clarinet in C, it allows itself to be used in all practical musical forms, as does the bassoon. In reference to tone, it has something original and gripping, closest to the basset horn, but it has a much more beautiful and stronger tone and it excels as both a bass and a solo instrument. Next to a bassoon, it could

83. See Eliason, “George Catlin, Part 2,” 43–48, ﬁgs. 28–30. Parker & Ditson published the same illustration of a band as pictured in “Captn. E. G. Austin’s Quick Step” as the title page of “The New Nautical Song, A Yankee Ship and A Yankee Crew, as ﬁrst performed by the Boston Brigade Band on the Anniversary of the Boston Light Infantry, May 31st 1837,” UCLA, Library, Special Collections Department. 84. This cover illustrates a band playing during a rally on behalf of William Henry Harrison, Whig candidate for president of the United States in the 1840 election. See Levy, Picture the songs, 37. 85. NLI, 389–390. 86. The precise date of September 1828 is given by A. Wendt in his description in the Berliner allgemeine musikalische Zeitung 7, no. 21 (1830), 167; quoted by Kalker, Die Geschichte der Klarinetten, 124. 87. 4900, 231–233.

Bass, Contra Bass, and Contra Alto Clarinets 269 almost serve as a contra-bassoon. Comparing it to the B clarinet and the basset horn, or the old alto clarinet, it is very much the same as the cello is to the violin or viola, and therefore completes the clarinet quartet. It is pure in intonation on all occasions and the blowing is exceptionally easy. Every tone can be manipulated to swell and diminish from the softest piano to the loudest forte. Whoever buys such an instrument from me will also receive the required directions on how to use it.88 In the 1830 Berliner allgemeine musikalische Zeitung, Wendt describes Streitwolf ’s 1828 bass clarinet “as made in boxwood and played in the same manner as the clarinet or basset horn but an octave lower. It is pitched in C, made in an angled form like a basset horn with a knee joint, with a basset horn sized mouthpiece. It has seventeen keys and overall made in an attractive position that handles like a clarinet from low E onward. The seller of these instruments provides each buyer with an instruction book; and the price is 55 Reichsthalers.”89 The angled form refers to a 40degree angle of a knee or elbow joint placed after a long barrel and not to the overall body shape, as shown by surviving instruments and a drawing in Streitwolf ’s price list (Verzeichniss) of about 1830.90 Streitwolf ’s extant instruments are boxwood, rosewood, or maple with brass ferrules in six or seven sections: mouthpiece, wooden barrel and knee joint (or brass crook), wing joint, butt joint, long joint, and brass bell. Six-section instruments use a brass crook instead of a barrel and knee joint.91 They have seventeen to nineteen keys with a four-octave range from a lowest note of BB. There are ﬁve keys for notes below E, including keys for E and D positioned for the right thumb; C, BB, and BB are positioned for the left thumb.92 According to Heinroth, “the compass

88. Translated from Günther Hart, “Streitwolf ” in “Musikinstrumentenmacher in Göttingen bis zur Mitte des 19. Jhdts” (MS., 1965), 100 cited by Kalina, “The structural development of the bass clarinet,” 49–50; see also the title of Streitwolf ’s pamphlet, in Dullat, Klarinetten, 151 n. 127. A copy of Hart’s manuscript is in the Deutsches Museum of Munich, according to Kalker, Die Geschichte der Klarinetten, 125. 89. “Diese Instrument ist von Buchsbaum gemacht und wird ganz so geblasen, wie die Klarinette, oder das Bassetthorn; es stehet eine ganze Oktave tiefer als unsere gew. C-Klarinette. . . . Die äussere Form ist die des Bassetthorns, statt des S-Knie und Mundstück eines Bassetthorns. Die Klappen, deren das Instrument 17 hat, kommen in Ansehnung ihrer Lage und Behandlung vom tiefen E auf aufwärts ganz mit denen der Klarinette . . . überein. . . . Der Käufer eines solchen Instruments empfängt zugleich die erforderliche Anweisung zum Gebrauch desselben. Der Preis ist 55 Rthlr.” A. Wendt in Berliner allgemeine musikalische Zeitung 7, no. 21 (1830), 167, cited by Kalker, Die Geschichte der Klarinette, 124; the entire text is cited by Dullat, Klarinetten, 83–84. 90. Streitwolf, “Verzeichniss von Flöten, Clarinetten, Oboën, Fagotten, Basshörnern, Flageoletten etc. welche zu beigefetzten Preisen verfertigt warden,” 2. 91. See 4900, 233, Y1, Y5, Y7, Y2, Y6. 92. See the description by Fétis in “Nouvelle invention d’une clarinette-basse,” 330. Fétis’s article was translated into English and published as “On two newly-invented clarinets” in The Harmonicon 9 (1831), 38; see Rice, “On two newly invented clarinets,” 39.

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is from BB, a full four octaves and one note higher. The tone is fuller than a basset horn and has an indescribable pleasantness, similar to the depth of the most beautiful trombone tones.”93 There are a total of eight extant Streitwolf bassoon-shaped bass clarinets: seventeen key (D-Sondershausen, Mu 3, in C);94 seventeen key (CH-Zurich-B, 123, in C); eighteen key (D-Leipzig, 1539, in B); nineteen key (D-München-DM, 68079, in C); nineteen key (D-Nürnberg, MIR 477, in B); nineteen key (NL-Den Haag, 0840392, in B); nineteen key (NL-Den Haag, 0840390, in B); and incomplete (DKronach).95 The keywork of these instruments is equivalent to eleven or twelve key soprano clarinets. The Sonderhausen bass clarinet was purchased by Prince Günther Friedrich Carl I for his musicians in Sondershausen and is probably the ﬁrst instrument Streitwolf constructed in 1828.96 It is boxwood with brass ferrules in eight sections: mouthpiece (African black wood), brass barrel, long barrel, knee or elbow joint, one-piece wing joint with six ﬁnger holes, short butt joint of brass, one-piece long joint, and upward-pointing brass bell. Each ﬁnger hole in the wing joint is bored at an angle to make it easier for the player to cover the tone hole. The maker’s stamp on the body is “STREITWOLF/GÖTTINGEN/(butterﬂy),” and the mouthpiece and knee are stamped “STREITWOLF/(butterﬂy).”97 Later instruments include differences in construction and a pitch letter under the stamp such as “C.” Another beautiful example (NL-Den Haag, 0840392, ca. 1830; web photo 14) in boxwood with brass ferrules is quite similar to the Sondershausen bass clarinet. It is pitched in C with nineteen keys in seven sections: mouthpiece, long barrel, elbow joint, one-piece wing joint with six ﬁnger holes, small brass butt joint, one-piece long joint, and a brass bell.98 It includes a “plug puller,” or straight brass rod attached to the brass cover at the end of the butt joint for easy removal of the cover.99 An oval metal plaque on the back of this instrument is engraved within a wreath: “Erfunden/und/verfertiget/G. Streitwolf/Göttingen” (invented and made by G. Streitwolf,

93. “Sein Ton-Umfang gehet vom Contra-B durch vier Octaven, auch wohl noch einige Töne höher. Der Ton selbst ist noch voller, als ihn das Basset-Horn giebt, hat etwas unbeschreiblich Angenehmes und gleicht in der Tiefe dem schönsten Posaunentone.” Heinroth, “Neue Erﬁndungen,” 203–204. 94. For photos and a description, see Bestandskatalog zur Sammlung Musikinstrumente des Schlossmuseums Sondershausen, 51. For additional photos and descriptions, see Kalina, “The structural development of the bass clarinet,” 51–52, 53, ﬁg. 22; Hart, “Gottlieb Streitwolf,” 4. 95. This incomplete Streitwolf bass clarinet was given to the German maker Guntram Wolf of Kronach in 2006. It is missing its mouthpiece, crook, and bell. I thank Thomas Reil and Guntram Wolf for information. 96. See NLI, 390; Bestandskatalog zur Sammlung Musikinstrumente, 51. The catalog description states that this instrument has eighteen keys; the author has counted seventeen; see also Kalina, “The structural development of the bass clarinet,” 52. 97. Bestandskatalog zur Sammlung Musikinstrumente, 51. 98. 4900, 233, Y3; museum no. Ea 604–1933; see Complete list, 55. This instrument was studied by me in 1990. 99. Young noted this characteristic on this instrument and the example in Zurich; see 4900, 233, Y5 and Y6.

Bass, Contra Bass, and Contra Alto Clarinets 271 Göttingen) in cursive writing. This model is Streitwolf ’s earliest design because a bass clarinet with an elbow joint is sketched in a manuscript price list (Verzeichniss) around 1830. The only difference is that the instrument in the sketch has an open key for R3. According to this list, a bass clarinet cost 225 francs or 50 ﬂorins.100 A similar but later Streitwolf C bass clarinet (D-München-DM, 68079, ca. 1833) is very high-quality maple with brass ferrules decorated with beading in seven sections: ivory mouthpiece with a double screw ligature, long barrel, elbow joint, wing or left-hand joint, large butt joint, long joint, and brass bell. All later Streitwolf bass clarinets were made with a separate butt joint about the size of that on the bassoon, rather than two long joints ﬁtted into a small brass butt section. On the dorsal side, a screw securely fastens the wing joint to the bass joint. The instrument carries a maker’s stamp “(maple leaf)/STREITWOLF/GÖTTINGEN/(linden leaf)/C” on the upper parts of the wing and joints and the lower part of the elbow joint. Engraved on the bell and on the decorated brass ferrule on the butt joint is “ERFUNDEN UND VERFERTIGT/VON G. STREITWOLF/IN GÖTTINGEN.”101 It has nineteen keys: S, A, G, f/c, E/B, C/G, B/F (2), A/E, F/C, F/C, E/B, E (2), D, C, C, BB, and BB and is pitched in C.102 The only differences between this example and the previous example (NL-Den Haag, 0840392) are an f/c key positioned for L3 instead of R1, and a closed key for B/F (R3), and below that, an open standing touch for R3. When either touch is depressed, they operate a pin through the butt that opens or closes a corresponding key heads on the rear side. Another touch for R4 below the one for R3 is for A/E opened by a rod and axle mounting on the back of the butt.103. The workmanship of the keys is very precise. The key heads are round and ﬂat, mounted on brass saddles, on short pillars attached to metal plates screwed onto the body, and in thick wooden blocks on the back of the long joint. The register key is mounted in a saddle, and there is an open key with a large salt spoon key head for covering the tone hole for the left thumb. Finger holes are bored at an angle in a similar manner to those made on contemporary bassoons. In comparison with previous bass clarinets, Streitwolf ’s instruments are of the highest quality, carefully designed and expertly constructed. 100. I thank the late William Waterhouse for sending a photocopy of the Verzeichniss. According to Altenburg, this Verzeichniss was owned by Friedrich Wilhelm Kruspe (1838–1911), son of Franz Carl Kruspe, who also owned a B bass clarinet by Streitwolf. See Altenburg, “F. Besson’s KontrabassKlarinette,” 595. 101. 4900, 233, no. Y1. A nineteen-key B example in Berlin (D-Berlin, 87) with the same inscription was destroyed during World War II; see 4900, 233, Y4. 102. Seifers, Die Blasinstrumente im Deutschen Museum, 88 and a photo on 89. The author studied this instrument in 2005. 103. The use of pins connected to levers to close key heads on the back side of instruments was used on bass clarinets in the late 1820s by Papalini and by contemporary bassoon makers. See Siefers, Die Blasinstrumente im Deutschen Museum, 88–89 and compare the similar Nuremberg Streitwolf (D-Nürnberg, MIR 477) bass clarinet, Bär, Verzeichnis, Band 6, 214–216, 221–222.

272

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Another very similar example (D-Nürnberg, MIR 477, ca. 1835) is the second model of Streitwolf ’s bass clarinet; made of boxwood stained dark brown. It differs in construction from the earlier examples by substituting a brass crook for the long barrel and elbow joint. Thus, it has six sections: dark wood mouthpiece (replacement by Heckel), brass crook, wing joint, large butt joint, long joint, and brass bell. The position and shape of the keys are identical except for a few small differences in touches, the use of thinner brass ferrules on the upper sections of the wing and long joints, and the mounting of the speaker key head through wood body rather than through the brass ferrule of the wing joint.104 The long joint has the extension keys: E (left thumb with an additional lever for the right thumb), C (right thumb), C, D (right thumb), BB, and BB (left thumb). The overall length is about 165 cm, with a 21-mm bore.105 The bore of this Streitwolf bass clarinet is greater than any of the American bassoon-shaped bass clarinets and must have a fuller and louder sound than earlier bass clarinets. The last example in The Hague (NL-Den Haag, 0840390, ca. 1835) is practically identical to the Nuremberg bass clarinet. The body is rosewood with a brass crook and the same key design, with only minor differences.106 Along with Wendt, Fétis noted in 1830 that Streitwolf furnished a tutor with each instrument.107 Preserved with the Munich instrument is a unique copy of Streitwolf ’s 1833 tutor for the bass clarinet, Instructions to learn and play the bass clarinet, invented and sold by G. Streitwolf in Göttingen (Anweisung, die Bass-Clarinette kennen und blasen zu lernen. Erfunden und verfertiget von G. Streitwolf in Göttingen), published in Mainz by Schott. It has a ﬁngering chart for a nineteen-key bass clarinet and ﬁve pages of text. Alterations in ink changes the instrument’s pitch from B to C, adds an open touch for R3 (marked H for B) which closes with a pin an open key on the back side, and crosses out ﬁngering for some musical examples. A ﬁngering in the chart is given for B (marked H) that uses LT, L1, L2, L3, R2 and R3. With the addition of the key for R3, the keywork of the instrument in the ﬁngering chart (ﬁgure 4.5) is identical to the instrument in the Deutsches Museum. However, the use of a brass crook matches the second model of Streitwolf ’s bass clarinet as found in two instruments (D-Nürnberg, MIR 477; NL-Den Haag, 0840390). A 19 March 1834 AMZ report mentions that Streitwolf ’s bass clarinet may be learned in eight days and that the Twenty-Eighth Royal Prussian Infantry Regiment adopted this instrument in October 1833.108 Despite the high quality of Streitwolf ’s instruments and their use by some bands, it appears that his instruments were of 104. See the description and photos in Bär, Verzeichnis, Band 6, 214–224. 105. Van der Meer, “The typology and history of the bass clarinet,” 70–72; photographed in ﬁgs. 3a and 3b, 73. Photos of Streitwolf ’s bass clarinets in Sondershausen and The Hague are found in Heyde, Musikinstrumentenbau, pl. 75; Young, The look of music, 200. 106. For a photo of the front side and description, see Young, The look of music, 200. The author studied this instrument in 1990. 107. Fétis, “Nouvelle invention d’une clarinette-basse,” 330. 108. “Nachrichten,” AMZ, 36, no. 12 (March 19, 1834), 194. See also Kalina, “The structural development of the bass clarinet,” 56.

Bass, Contra Bass, and Contra Alto Clarinets 273

Figure 4.5. Johann Heinrich Gottlieb Streitwolf, Anweisung, die Bass-Clarinette kennen und blasen zu lernen (1833), bass clarinet ﬁngering chart.

limited popularity. Factors could have been cost, lack of interest by players, insufﬁcient marketing by Streitwolf, and competition by foreign ﬁrms engaged in developing and selling bass clarinets. In 1834, Fétis notes that since the introduction of Streitwolf ’s bass clarinets ﬁve years earlier, they are used neither in France nor in Belgium.109 In 1835, Streitwolf was awarded a medal for his bass clarinet by the Hannover trade association.110 After Streitwolf ’s death in 1837, his instruments seem to have been quickly forgotten. On 17 June 1843, an auction of the stock of Louis Plattner, a Rotterdam musical instrument dealer, included a twenty-key Streitwolf bass clarinet. It is described in French and German as having “the same pitches as the bassoon but not two thirds as large. It plays very easily and has a compass of about four octaves played as a solo or a contra bass instrument.”111 109. Fétis, “Exposition des produits de l’industrie,” 172. 110. NLI, 390. An unstamped seventeen-key bassoon-shaped bass clarinet (DK-København, 132) with a brass crook appears similar to a Streitwolf bass clarinet. It is described and photographed in Hammerich, Das Musikhistorische Museum, 34. Snoeck also owned an unstamped eighteen-key bassoonshaped bass clarinet that he attributed to Streitwolf; see Snoeck, Catalogue de la collection d’instruments de musique anciens ou curieux, 171 no. 903. 111. “. . . d’un tiers plus petit que le Basson, don’t elle a les sons graves, d’un maniement facile, étendue d’environ 4 octaves qui peut server d’instrument Solo- et de Contrebasse.” Catalogue d’une collection, 22. Kalina mistakenly states that two twenty-two-key bass clarinets by Imandt were sold at the Plattner auction. Only one Streitwolf bass clarinet was included in the auction catalog. See “The structural development of the bass clarinet,” 179.

274 From the Clarinet d'Amour to the Contra Bass

Plößl and Amer A bass clarinet, known as a fagottino, was constructed by the German maker Rupert Plößl (ﬂ. 1832) of Teisendorf, a student of Georg Waldhauer (1765–1831) of Straubing. It is mentioned in a letter written by Plößl on 21 September 1832 in which he claims that his new instrument has the “depth of the bassoons with the high notes and tone quality of clarinets.”112 Tremmel suggests that another maker, Anton Amer (ﬂ. 1831–1843), also a student of Waldhauser, completed a bass clarinet based on Plößl’s design that was exhibited at the 1835 Bavarian Industry Exhibition in Munich.113 The boxwood instrument has twelve brass keys with a brass crook and brass bell. It was awarded an honorable mention.114 Amer offered his instrument with a scale or ﬁngering chart at a rather high price of 100 ﬂorins, twice as much as the high-quality bass clarinets by Streitwolf. The instrument may have been made in a bassoon shape, but there are no known extant examples.

Wood The woodwind maker George F. Wood of London initially worked with his father, James Wood, from 1821 and apprenticed to Thomas Percival in 1823. In 1832, he took over his father’s woodwind instrument business and was succeeded by the ﬁrm of Wood & Ivy from 1837 to 1847.115 Wood completed a C bass clarinet by 1833. It is described in a one-page ﬁngering chart indicating a compass from BB to c3, four octaves and minor third.116 Besides thumb holes for low C and BB, there are six ﬁnger holes and eighteen keys: S, A-B, A, G, f/c, f/c, E/B, C/G, B/F (2), A/E, F/C, F/C, E/B, D, D, C, and BB.117 Thumb holes are indicated for low C and BB. Wood stated: “This Instrument is in Unison with the Bassoon, consequently an Octave lower than the C. Clarionet, and the Music for it will be written in the Same key as the Violin.” More speciﬁc information is lacking because the ﬁngering chart does not include a

112. “Tiefe des Fagotts mit der Höhe und Tonfeinheit eines Klarinetts.” Tremmel, Blasinstrumentenbau im 19. Jahrhundert in Südbayern, 84–85. 113. Tremmel, Blasinstrumentenbau im 19. Jahrhundert in Südbayern, 84–86. 114. Bericht der allerhöchst angeordneten Königlich Bayerischen Ministerial-Commission über die im Jahre 1835 aus den 8 Kreisen des Königreichs Bayern in München stattgehabte Industrie-Austellung (Munich: A. Weber’sche Buchhandlung, 1836), 30, as cited by Tremmel, Blasinstrumentenbau im 19. Jahrhundert in Südbayern, 86, n. 36. 115. NLI, 435. 116. A scale for the bass clarionet, London, British Library, e. 180 (19). Reproduced by Rice in a communication in JAMIS 14 (1988), 189; Aber, “A history of the bass clarinet as an orchestral and solo instrument,” 78; Dullat, Klarinetten, 82. 117. Cf. Van der Meer, “The typology and history of the bass clarinet,” 87–88.

Bass, Contra Bass, and Contra Alto Clarinets 275 drawing. However, because of the compass to BB, it is assumed that Wood made this instrument in a bassoon form. No bass clarinets by Wood are extant, but newspaper advertisments of London concerts in 1836 suggest that a clarinet by Wood was played by the clarinetist Thomas Willman (see chapter 5). Van der Meer attributes an anonymous B bass clarinet, straight with butt joint (US-MA-Boston, 17.1880), to George Wood, but it was clearly made later than Wood’s working career. It is brown-stained boxwood or maple with nickel silver ferrules. There are ﬁve sections: mouthpiece, nickel silver crook, upper joint, butt joint with two sections of unequal length, and an upright nickel silver bell pointing outward. There are one thumb hole, four ﬁnger holes, a ring for L3 that closes an open standing key, and another open standing key for R1. The twenty keys are mounted on pillars and posts including the usual thirteen keys plus duplicates for f/c and B/F. Similar to Wood’s instrument, it has a chromatic low register of E, D, C, and C.118 The butt joint differs from Streitwolf ’s earlier design in that a second smaller section is used to provide a tenon leading upward to the bell.119 This instrument also has screws with long, ﬂat heads like those used on three clarinets (US-CAClaremont, W62, 66, 77, ca. 1860) by the German ﬁrm of Stümpel in Minden. It was probably made about 1850 to 1860 in Germany and exported to England, based on the style of its keywork; use of nickel silver alloy for its keys, neck, and bell; and use of screws with long, ﬂat heads.120

Catterini Catterino Catterini (ﬂ. 1833–1853) of Monselice (in the area of Padua) was a clarinetist and inventor who developed a pedal mechanism to improve the timpani.121 In 1833, he designed a fourteen-key bassoon-shaped bass clarinet called a polifono that won a gold medal at an exhibition of the Imperiale Regio Istituto del Regno Lombardo-Veneto in Venice on 4 October.122

118. See the descriptions in Bessaraboff, Ancient European musical instruments, 103; Day, A descriptive catalogue of the musical instruments, 126. 119. See the description and photo on the Museum of Fine Arts Web site, http://www.mfa.org; color photos are in a poster entitled “Selmer Pictorial History of Clarinets,” no. 11, and on the cover of the recording “Music for Clarinet & Piano.” 120. In 1881, Boosey & Co. in London began to sell bass clarinets, presumably thirteen-key models, and the following year they began to manufacture bass clarinets, annually up to 1904. See White and Myers, “Woodwind instruments of Boosey & Company,” 70. F. Besson & Co. in London probably began manufacturing bass clarinets during the 1880s. A thirteen-key example with two register keys is preserved at the Fiske Museum (US-CA-Claremont, W84). 121. Valdrighi, Nomocheliurgografìa antica e moderna, 134; NLI, 59. 122. The gold medal awarded at the Venice exhibition is reported in the series of Collezione degli atti delle solenni distribuzioni de’ premj d’industria, according to Rocchetti and Rossi Rognogni, “Gli strumenti musicali premiati dall’Istituto Lombardo di Scienze, Lettere ed Arti nell’Ottocento,” 12.

276

From the Clarinet d'Amour to the Contra Bass It is composed of two parallel bores united below in the manner of a reversed siphon, the upper portion ends in a bent tube of brass similar to the bocal of the bassoon, and includes a small funnel [bell] similar to those of a horn or trumpet. The total height of the instrument is about 8 decimetres . . . nine keys and two holes on the front, ﬁve keys and one hole on the back.123

It is not certain which maker constructed the polifono since Catterini himself was an inventor and player. Catterini must have played his bass clarinet for Saverio Mercadante, who wrote for the contro clarinetto (called glicibarifono in the reviews) in the score of his opera Emma d’Antiochia, premiered at the La Fenice Theater in Venice on 8 March 1834. Because of the rarity of bass clarinets and their players in Italy, Catterini probably played in the opera’s subsequent performances in Venice (1834, eight in March),124 Milan (1835), Naples (1835), Trieste (1835), Genoa (1836), and Padua (1837).125 In 1837, a glicibarisofono [sic] appears in an inventory in the archives of the Teatro Regio of Parma.126 It may represent another instrument designed by Catterini or an old instrument that he sold to the Parma Theater. Concerts featuring the glicibarifono are reported in Parma (1837), Modena (1838), Trieste (1847), and Bologna (1847).127 On 18 May 1847, a glicibarifono was included in an exhibition at the Treiste Teatro Nuovo.128 One example of this design survives (GB-Oxford, 496), made in a bassoon shape with a body constructed of a single block of boxwood in an oval section with two parallel bores, mouthpiece, brass crook, and an upward-pointing boxwood bell. It is stamped “No. 3./Premiata invenzione/di/CATTERINO CATTERINI/in/PADOVA/ (circular designs)” (First invention of Catterino Catterini in Padua), suggesting that this is the third example of this design of a bass clarinet (web photos 15–16). It does not carry a maker’s name and was attributed to Giacinto Riva (ﬂ. ca. 1833–1861) of San Giovanni in Persiceto, a province of Bologna.129 There are twenty keys mounted in saddles with long rods to place key heads correctly, including a diatonic extension downward from E to C, and a lowest note of BB. There are eight open standing or plateau keys, three for the ﬁngers of each hand, and two for each thumb on the back side. The plateau keys are wide and dished so that ﬁngers don’t slip while play123. “ . . . componesi questo di due tubi paralelli uniti abasso in giusa da formar una specie di sifone rovescio, e le cime superiori terminano l’una con un canello ricurvo d’ottone su cui adatta una piva simile a quello del fagotto, l’altra con un piccolo imbuto simile a quel de corni e delle trombe. La altezza totale dello strumento e di circa 8 decimetri . . . [n]ove chivi e due fori sul dinanzi, 5 chiavi, ed un foro sul di dietro. . . . ” Giornale di belle Arti e Tecnologia 1 (1833), 292, quoted by Kalker, Die Geschichte der Klarinetten, 123. This article is cited and the Polifono is described in “Nachrichten,” AMZ 36, no. 34 (20 August 1834), 571. 124. March 9, 13, 15, 16, 18, 19, 20, and 22; see Della Seta, “Dal Glicibarifono al clarinetto basso,” 1119. 125. Kaufman, “Emma d’Antiochia performance history,” 46. 126. Della Seta, “Dal Glicibarifono al clarinetto basso,” 1116, n. 11. 127. Amore, La scuola clarinettistica italiana, 22. 128. See Della Seta, “Dal Glicibarifono al clarinetto basso,” 1116, n. 12. 129. NLI, 59, 330.

Bass, Contra Bass, and Contra Alto Clarinets 277 ing. Two of the plateau keys, for R1 and R3, are a different color brass but resemble the other keys and are either original or replacements. For some notes, the thumb of either hand must hold down an open key and another key at the same time.130 Altogether the twenty keys comprise eleven on the front side for: A, G (for L2), A/B (for L2), f/c (R1), E/B, C/G, F/C, B/F (R3), B/F (R3), A/E, and F/C. Nine keys on the back side are for: two S (LT), duplicate lever for f/c (LT), duplicate lever for C/G (RT), E/B (RT), E (open keyhead, RT), D (RT), C (LT), and BB (LT).131 All the keys include round, slightly domed key heads, closing on raised brass inserts, and there is a ring on the back for a sling. The highest speaker key closes a small hole on a raised brass tube soldered to a circular base screwed into the wood. The lower speaker key covers a larger tone hole directly into the wood body. There are three black, rectangular areas on the back, which indicate that brass plates were removed, probably to hold a protective brass cover or platform over the E/B key head. The tube length without the mouthpiece is 149.3 cm, with a bore of 22 mm at the top of the instrument, suggesting a nominal pitch of C. Baines and Van der Meer observe that the use of two bores made in one body section is closer to the old dulcian form found in the bass chalumeau (ca. 1700) by Kress (A-Salzburg, 8/1).132 According to Gandini, the design was successful enough to be used in several wind bands in Italy.133 Despite its success, this bass clarinet was not known outside Italy; in fact, it was deﬁned incorrectly by Soullier in his 1855 dictionary as “a small expressive organ with four octaves that one is able to control the volume of sound.”134

Maino Paolo Maino (ﬂ. 1836–1880) of Milan was a musical instrument maker who established a woodwind and brass instrument factory in 1836. In 1838, a bassoon-shaped B bass clarinet (B-Bruxelles, M941) was made by Maino with an overall length of 170 cm.135 This instrument is made as a conventional bassoon-shaped bass clarinet in six sections: mouthpiece, brass crook, wing joint, butt joint, long joint, and long 130. The instrument is described by Rendall in The clarinet, 143, and photo in pl. 7, c. See NLI, 59; La Rue, The Bate collection of historical instruments, 26; Van der Meer, “The typology and history of the bass clarinet,” 76, erroneously states that the instrument has seventeen keys. Photos of the front and back of the glicibarifono are found in Van der Meer, Musikinstrumente, 215. 131. Cf. this description to Rendall, who describes the instrument as having a lowest note of C, The clarinet, 143. I thank Francesco Carreras and Andrew Lamb for sending photos. 132. Baines, European and American musical instruments, 116; Van der Meer, “The typology and history of the bass clarinet,” 76; to compare a photo of the Kress bass chalumeau, see Rice, The baroque clarinet, 32, 34, photo on 33, ﬁgs. 1.12–1.13. 133. Gandini, Cronistoria, vol. 1, 363; Van der Meer, “The typology and history of the bass clarinet,” 76. 134. “C’est un petit orgue expressif à quatre octaves, don’t on peut gouverner les sons à volonté.” Soullier, Nouveau dictionnaire, 136. 135. Mahillon, Catalogue descriptif, vol. 2, 222; NLI, 250. Van der Meer points out the length and indicates this instrument is probably at a B pitch, “The typology and history of the bass clarinet,” 76. It was exhibited in London at the Royal Military Exhibition of 1890; see Day, A descriptive catalogue, 125.

278

From the Clarinet d'Amour to the Contra Bass

brass bell. There are fourteen keys with round ﬂat key heads mounted on saddles, plus three open or plateau keys for L1, R1, and LT. The eight keys on the front side are for A, G (L1), f/c (L3), E/B (L3), B/F, F/C, A/E, and F/C. The six keys on the back side are for two S (LT), C/G (RT), E/B (RT), D (LT), and BB (LT). With the E/B key and the open hole for RT closed, an E is produced.136 Maino is credited with making a bass clarinet in 1838 for the Modena theater.137 In 1844, the French writer and composer J. G. Kastner states that the glicibarifono was recently invented in Milan, based on a communication he received from Hyacinthe Klosé, clarinet professor at the Paris Conservatoire.138 We may conclude that Klosé was referring to Maino’s bass clarinet and not Catterini’s bass clarinet attributed to Riva.

Fornari Pietro Fornari (1793–after 1856), a Venetian clarinetist, woodwind maker,139 and opera librettist. He was ﬁrst clarinetist in the Italian opera theater orchestra in Moscow (c. 1824), played in Italian theater orchestras in Belluno (1836), Treviso (1836), Teatro di Caneda in Venice (1836), and in the Teatro la Fenice in Venice (1837 to c. 1856).140 Fornari worked on improving Catterini’s glicibarifono during the late 1830s. A report of the 1838 exhibition of various products in Milan and Venice states that Fornari’s clarin basso was divided into two main sections with a curved metal neck and curved bell, creating perfect intonation. “The instrument had a chromatic compass from BB to d3 or four octaves and one third. It will play the cello parts as well as any stringed instrument. In the medium range it sounds full and melodious, sweet and round in the low range, gentle and penetrating in the high register; it keeps its character equally in all of the chromatic scales. It will prove a useful addition to industry and to the improvement of music. The Royal Institute [presented Fornari] a new silver medal.”141 During the 1839–1840 Venetian carnival season in a 136. Compare the keys given in Van der Meer, “The typology and history of the bass clarinet,” 76; see also Mahillon, Catalogue descriptif, vol. 2, 223. Both sides are photographed in Kalina, “The structural development of the bass clarinet,” 174, pl. 81; the front side is photographed in Dullat, Klarinetten, 78, Abb. 37. A photo with the long joint inserted backward appears in Le Roseau et la musique, 112, C144. 137. NLI, 350. 138. Kastner, Supplément au Traité générale d’instrumentation, 25. 139. See Alfredo Bernardini, “Fornari, Andrea,” Grove Music Online. 140. Amore, La scuola clarinettistica italiana, 36. 141. “Il Fornari, che già da qualche anno si occupava nella costruzione del suo clarin-basso, seppe incurvara la canna entro la botticella per modo che la corda aerea si ripiega uniformemente e seguita ad espandersi senza riﬂessioni e strozzature, ed ha perciò conseguito la perfetta intonazione. Inoltre il clarin-basso è l’istromento da ﬁato di maggiore estensione che si conosca; percorre tutti I gradi cromatici dal si bimmolle profondo al re acuto, comprende cioè quattro ottave ed una terza. Eseguisce la parte del violoncello con pieno successo, dando con ciò prova di legar bene anche cogli stromenti da corda. I suoni medj sono pieni e melodiosi, egualmente dolci e rotondi i gravi, soavi e penetranti gli acuti, conservando sempre l’egualglianza del carattere per tutti i gradi cromatici della scala.—Come un utile

Bass, Contra Bass, and Contra Alto Clarinets 279 performance of Mercadante’s Emma d’Antiochia, the glicibarifono part was played on the clarino basso, presumably Fornari’s instrument. A stamped bass clarinet by Fornari has not survived.

Anonymous Two examples of unmarked bassoon-shaped bass clarinets are extant (US-NY-New York, 89.1636, 89.1635) that date from the 1840s or 1850s.142 The ﬁrst is boxwood with brass ferrules. It has six sections: mouthpiece, small brass crook, wide right hand section, butt joint, long joint, and small, upward-pointing, boxwood, twopart bell. The appearance is rather squat like the glicibarifono; the instrument may have been made in Italy. Altogether there are twenty keys and six opening standing keys operating levers that close, round, domed keys and some with rectangular key heads with round corners (TV screen shaped). Rectangular plates for L1, L2, and L3 and the left hand touches are placed over the left tube, the corresponding keyheads are positioned over the right tube. Most of the keys are mounted on saddles, a few are on pillars mounted to brass plates, and some have rectangular key heads with rounded corners (TV screen shape)143. The twelve keys on the front appear to be for: A-B, A, G, f/c (R1), E/B, C/G, B/F, B/F, A/E, F/C, F/C, and E/B (L4). The eight keys on the dorsal side are for: two S (LT), E (RT), D (RT), C (closed by palm of left hand), C (closed by palm of left hand), BB (L3), and BB (L3). The C and C keys are short key levers and keyheads mounted one above the other on the back of the long joint, so the keyhead of one is next to the touch of the other. The two lowest keys have long saddle mounted levers along the left side of the long joint connected by key levers at a 90 degree angle. The second unmarked bassoon-shaped example (US-NY-New York, 89.1635) is similar in construction and key layout to the ﬁrst. It consists of six sections: darkwood mouthpiece, brass crook, dark brown maple left-hand joint, butt, long joint, and bell (missing). The only differences are in the use of dark brown stained maple for the three wooden sections, a bell, and an open ﬁnger hole for R2 bored at a slanted angle. Many of the keys are mounted in saddles, some on the front side are pillar-mounted and soldered on metal plates; most of the key heads are round and domed. There are twenty keys and ﬁve open

accrescimento ai mezzi industriali di esecuzione dell’arte soavissima della musica. I’l. R. Istituto premiò il nuovo instromento colla medaglia d’argento.” In Collezione degli Atti delle solenni distribuzioni de’ premj d’industria fatte in Milano ed in Venezia dall’anno 1838, vol. VI, Milano: Imp. Regia Stamperia, 1839, 322– 323; see Della Seta, “Dal Glicibarifono al clarinetto basso,” 1123–1124. See also Rocchetti and Rossi Rognoni, “Gli strumenti musicali premiati dall’Istituto Lombardo di Scienze, Lettere ed Arti nell’Ottocento,” 12. 142. I thank J. Kenneth Moore for sending photos of these instruments. 143. These types of key heads are sometimes found on key heads of ﬂutes made by Gennaro Bosa of Naples during the 1830s.

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standing keys operating levers which close round, domed keyheads for L1 (the lever and keyhead is broken off), L2, L3, R1, and R3; there is one open ﬁnger hole for R2. The twelve on the front appear to be for: A-B (R1), A, G, f/c (R1), E/B (L3), C/G, B/F, B/F, A/E, F/C, F/C (L4), and E/B (L4) (for the middle joint of L3). The left hand is not positioned directly above the right but to the left side in order to cover the touches of the open keys. The eight keys on the back are for: two S (LT), E (RT), D (RT, the connecting lever is broken off), C (closed by palm of left hand), C (closed by palm of left hand), BB (RT), and BB (RT). The C and C keys are short key levers and keyheads mounted one above the other on the back of the long joint, so the keyhead of one is next to the touch of the other. The two lowest keys have long saddle mounted levers along the left side of the long joint connected by key levers at a 90 degree angle. Each of these instruments has rings on the dorsal side for a strap.

Louis Müller Louis Müller (ﬂ. 1836–1867), a maker from Lyon, was the nephew of François Antoine Sautermeister, with whom he worked. In 1830, Müller succeeded Sautermeister, and the ﬁrm became Sautermeister & Muller (instruments were stamped without an umlaut in Müller’s name), producing a variety of brass and woodwind instruments.144 In 1846, he took out a French patent (no. 3,192; ﬁgure 4.6) for a boxwood bassoon-shaped bass clarinet with two bores in one section, similar to the construction of Catterini’s glicibarifono. There is a large mouthpiece, short brass crook, and large brass bell pointing upward. The patent text indicates nineteen keys, one ring for L3, and two rings for R1 and R2, and a lowest note of C. The drawing appears to show two thumb keys for RT for E/B and D, and two for LT for C and C. Müller claimed that this mechanism was better than that found on the ordinary bass clarinet and provides improved execution by using the ring key and forked ﬁngerings.145 The bell is placed to the player’s right, Catterini’s bell was to the left. Pontécoulant reports that Müller’s bass clarinet completed the lower range by descending to C.146 No extant instruments of Müller’s design have been identiﬁed.

De Azzi Pellegrino De Azzi (ca. 1772–1835) and his son Pietro (after 1805–1849/1850) were woodwind makers in Venice; Pietro also worked in Padua. They made all types of 144. NLI, 276. 145. Louis Müller, “Demande de brevet d’invention de quinze ans pour une nouvelle clarinettebasse-complète,” 4, 7. I thank Jean Jeltsch for a copy of this patent. 146. Pontécoulant, Organographie, vol. 2, 449.

Bass, Contra Bass, and Contra Alto Clarinets 281

Figure 4.6. Louis Muller, 19-key bass clarinet, French patent, 1846 (no. 3,192).

woodwind instruments. The relationship of Antonio De Azzi to these two makers is not known, but Antonio also made woodwinds in Venice from 1855 to 1882.147 A bassoon-shaped bass clarinet (D-Uhingen, previously reported to be in DMünchen-S) stamped “✶/DE AZZI/VENEZIA/✶” and attributed to Pietro De Azzi of Venice was probably ﬁnished about 1848.148 His bassoon-shaped bass clarinet is dark147. Details concerning the family of Pellegrino and Pietro are given by Bernardini, “Woodwind makers in Venice,” 62, 64. 148. Bernardini, “Woodwind makers in Venice,” 64. According to the owner, Thomas Reil, this instrument may have been made by Antonio De Azzi later during the nineteenth century.

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stained fruitwood with nickel silver keys and bell. It includes six sections: mouthpiece, brass crook, wing section, butt section, long section, and bell (web photos 17–18). De Azzi was able to avoid drilling large ﬁnger holes at oblique angles by ﬁtting large, ﬂat rings mounted to round plates that close round, ﬂat key heads. The keys are mounted in the center of their levers with rounded brackets soldered to round plates. There are seventeen keys that extend to low C. The mechanism appears very neatly and adroitly constructed.149 The ﬂat, round keyheads are similar to the keyheads used on the Cuvillier alto clarinet. The choice of keys on this instrument is similar to the New York bass clarinets with a chromatic range of E, D, C, and C on the back.

Losschmidt The maker Franz Losschmidt (Lausschmidt) of Olmütz is known to have made clarinets and bass clarinets from 1852. He received a royal privilege from the Vienna court for his ophicleide-shaped bass clarinet called a Clariofon.150 Losschmidt’s ophicleide-shaped metal bass clarinets were being produced in 1852 (see later). One bassoon-shaped bass clarinet by Losschmidt (I-Trieste, 10492, ca. 1855) is wood, probably maple, and includes a mouthpiece, nickel silver crook, wing section, boot section, long joint section, and a nickel silver upright-pointing bell. It appears that this instrument was probably made for the Italian market, where the majority of extant bass clarinets are constructed of wood rather than brass, as made in Germany. Della Seta provides a photo and brief description, incorrectly calling it a glicibarifono. It was assembled incorrectly for the photo, but the arrangement of keys appears to be very similar to a Losschmidt metal ophicleide-shaped bass clarinet (D-Nürnberg, MIR 481) with seventeen keys and six plateau keys.151 A photo of the front of the bass clarinet has the long section mistakenly turned backward, indicating the two lowest keys for C and C, which should be placed on the back side.152

Widmann The woodwind maker Josef Ignaz Widmann worked in Freiburg im Breisgau from 1838 until 1863.153 At the 1854 industrial exhibition in Munich, he exhibited a metal 149. For a photo of the front and back sides of the instrument, see Bernardini, “Woodwind makers in Venice, 1790–1900,” 65, ﬁg. 6. A mid-nineteenth-century Italian bass clarinet maker was Carlo Bachet; see NLI, 14. 150. Klein, “Erﬁndung,” 116. I thank John Roberts and Manuel Erviti of the music library of the University of California, Berkeley, for a copy of this source. Another article about Losschmidt’s bass clarinet called a clarifono appears in the Gazzeta Musicale di Milano vol. 10 (1852), pt. 8, 36; see De Gregorio, Gli strumenti musicali, 93; cf. NLI, 241. 151. Bär, Verzeichnis, Band 6, 234, 240. 152. See Della Seta, “Dal Glicibarifono al clarinetto basso,” 1115, ﬁg. 4; Dugulin, Il Civico museo teatrale, 60. According to the museum records, this instrument was acquired from a Giovanni Gengross on 31 December 1883. I thank Francesco Carreras for obtaining the information from Stefano Bianchi, curator of the Civico Museo Teatrale “Carlo Schmidl.” 153. NLI, 427.

Bass, Contra Bass, and Contra Alto Clarinets 283 clarinet with eleven keys, an F basset horn made in cocus wood with twenty-three keys, and a bass clarinet of boxwood in low C.154 There is no further description of the bass clarinet, but it seems likely that it was made in a bassoon or ophicleide shape like the bass clarinets made by Losschmidt.

Riva Giacinto Riva of San Giovanni in Persiceto (ﬂ. 1833–1861) produced a number of different woodwinds. A B bassoon-shaped bass clarinet (US-NY-New York, 89.4.3124) by Riva of Persiceto was made about 1860.155 It has dark-stained boxwood sections and a more streamlined look than the two anonymous examples in the Metropolitan Museum because of a thinner wing joint, thin brass crook, ebony mouthpiece with a nickel silver sheath over the tip, slightly curved brass bell, pillar mounting for all keys, and ring keys for R2 and R3, with a vent key for B/F. The instrument displays slanted open ﬁnger holes for L1, L2, L3, and R1. A duplicate key for E/B is mounted so it is operated by RT. The nineteen nickel silver keys—eleven on the front, eight on the back—are all mounted on pillars and extend chromatically to C. One end of the open C key is anchored into the wood next to the open C key on a ﬂat excrescence, both closed by the palm of the left hand. There is a ring for a sling soldered to the ferrule at the end of the butt section.

Serpent Shape

Papalini In an 1826 parish register, Nicola Papalini (1781–?) of Chiaravalle (a village close to Ancona) is listed as a forty-ﬁve-year-old man with a wife, Cattarina, 47, son Luigi, 16, and daughter Anna, 13 (see ﬁgure 4.7). Many of the registers are missing from this archive, so the amount of information is limited.156 Papalini is known primarily for devising a unique serpent-shaped bass clarinet, probably during the 1820s; his most advanced bass clarinet has ten keys and is dated 1829. A Domenico Papalini and family members are listed in an 1816 register, and it is possible that Nicola and his family arrived in Chiravalle close to this time. After 1829, no more speciﬁc information is known about Nicola’s life. There are six surviving serpent-shaped bass clarinets preserved in museums, dating about 1820 to 1829. The only other surviving instrument by Papalini is a cimbasso or bassoon-shaped wooden instrument (I-Roma, 609) played with a cup-shaped mouthpiece.157 154. “Klarinette, ganz von Messing, mit 11 Klappen, Basset-Horn in F von Cocosholz mit 23 Klappen, Baßclarinette von Buchs in tief C.” Katalog der allgemeinen deutschen Industrie-Ausstellung, 3. 155. See NLI, 330. I thank Kenneth Moore for photos. 156. I thank Francesco Carreras for a copy of the 1826 register. 157. See NLI, 291. I thank Francesco Carreras for information about Papalini.

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Figure 4.7. 1826 Parish register, Chiravalle (near Ancona), showing Nicola Papalini and his family.

Papalini’s bass clarinet is made in a curved outline, similar to the serpent, carved from two slabs of maple, pearwood, or olive, glued together, and secured with wooden or iron pins. He is the only maker to construct bass clarinets in this manner. The curved body results in an instrument shorter than the older bassoon-shaped model. With this design, it is possible to place the ﬁnger holes closer together in a more comfortable position for the player. The six examples are all probably pitched in C (D-Leipzig, 1538; B-Bruxelles, 940; US-MA-Boston, 17.1879 (unstamped); US-NY-New York, 89.4.2345 (unstamped); F-Paris, E.760, C. 550; I-Roma, 617). The ﬁrst four examples have ﬁve brass keys: S, A, A/E, F/C, and E/B as found on soprano clarinets with the S and E/B keys positioned on the back for the left and right thumbs. There are six sections: mouthpiece, curved section similar in shape to the Greek letter omega (W), barrel, body section with ﬁnger holes and one thumb hole bored at an oblique angle, bell base, and bell ﬂare.158 The length and bore of the long serpentine body produce a sound an octave lower than the soprano clarinet.159 On what is the earliest of the extant Papalini bass clarinets (D-Leipzig, ca. 1820), the omega section has a single coil, unlike all later examples, which have a double coil. It has seven round ﬁnger holes, one thumb hole, ﬁve keys with square heads with the A/E key positioned for R4, the F/C and E/B keys positioned for L4 as on the soprano clarinet, and a resonance hole on the bell base. There are no double ﬁnger holes as found on later examples.160 Stamped on the omega section is “N.PAPALINI/CHIARAVALLE.” A photo of this bass clarinet in 1901 shows a second barrel section and mouthpiece; this appears to be replaced with a single-coil omega section above the barrel in a photo for the Heyer Collection catalog of 1913.161 158. See 4900, 174–175. 159. For photos of examples in Brussels and Boston, see Young, The look of music, 199. 160. Kalina, “The structural development of the bass clarinet,” 38–40, ill. 39, ﬁg. 16. Another unmarked serpent-shaped ﬁve-key bass clarinet very likely by Papalini was in the Berlin Museum (no. 2908) but was destroyed during World War II. See Sachs, Sammlung alter Musikinstrumente, 299; Führer durch das Musikinstrumenten-Museum, 73. 161. See Kraus, Catalogo, 17 and photo toward the end of the book. Kraus calls this instrument a clarinetto a onda (clarinet with waves). This instrument was later in the Heyer collection; for a brief description

Bass, Contra Bass, and Contra Alto Clarinets 285 Three of the six Papalini bass clarinets (B-Bruxelles; US-MA-Boston, ca. 1825; USNY-New York, ca. 1825) show a later design. They have a boxwood barrel with horn ferrules connecting the omega sections to the main body. The two halves of the body and omega sections of the Brussels example are connected with wooden pins, the Boston example has iron pins, and there are no pins in the New York example.162 The E/B key is now positioned for the right-hand thumb, the A/E key moved so that the touch is placed for L4, and there are nine oval ﬁnger holes, including one for each thumb, with ﬁnger holes L1 and R3 doubled for playing f1/c3 or f1/c3 and g/d2 or a/e2.163 The shape of the body enables the ﬁnger holes to be placed closer together, but the ﬁngering of some notes has become awkward. The tip of L1 covers a single or double hole, and the lowest joint covers the hole on the outside of the curve. The tip and a lower part of the ﬁrst joint of the right-hand ring ﬁnger (R3) are required to cover the large double holes. The instrument in Boston is unstamped except for “1” or “I” on the bell, and the instrument in New York is unstamped; both are attributed to Papalini.164 On the Brussels instrument, there is an oval resonance hole not covered with a ﬁnger, toward the outside of a curve below L3, and another on the bell to correct intonation.165 Each of the ﬁnger and keyholes is numbered one through nineteen; “NICOLA/PAPALINI/INVENTORE” is stamped on the lowest bulge of the instrument, next to the bell (web photo 19). In addition to the arrangement of the ﬁve keys as in the Brussels, Boston, and New York examples, two (F-Paris, ca. 1827; I-Roma) of the six Papalini basses have additional keys. The Paris example has eight keys, including three brass buttons with round key heads, on the ﬁnger hole side, which push brass rods through holes to levers that open closed keys with round key heads on the dorsal side. Since each ﬁnger and tone hole is given a number from the top of the instrument, these brass buttons are numbered 7, 9, and 14.166 (A similar use of keys with connecting rods to open closed keys on the dorsal side is found on bassoons during the early nineteenth century.) The ﬁrst key is between L1 and L2, suggesting it is for E/B; the second is between R1 and R2, which suggests B/F; the third is between R2 and R3

and photo, see Kinsky, Kleiner Katalog, 173, Tafel 27. The mouthpiece, long straight barrel, and bell ﬂare were lost during World War II. For a description see 4900, 174; I am grateful to the late Phillip Young for information and photos. This bass clarinet has been recently restored by Hannes Vereecke. 162. 4900, 175. The Brussels example was exhibited in 1890 in London at the Royal Military Exhibition. See Day, A descriptive catalog, 123 and plate V, ﬁg. B. 163. An x-ray photo of the New York example indicates the position of all its keys and the bore shape; Libin, Musical instruments in the Metropolitan Museum, unpaginated. 164. Information from a presentation given by Phillip Young on Papalini’s bass clarinets presented at a 1989 meeting of the Galpin Society and the Gesellschaft der Freunde alter Musikinstrumente in Basel, Switzerland. 165. Cf. Bessaraboff, Ancient European musical instruments, 103. Young notes the similar use of the ﬂeshy part of the ﬁnger as well as the tip when playing the racket, a double-reed bass instrument; Young, The look of music, 199. 166. See Kalina, “The structural development of the bass clarinet,” 46.

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and suggests B/F.167 Each of the key heads, including the three on the dorsal side, have a round, ﬂat head with a saddlelike mount that allows the head to pivot. The position of the E/B key has now been changed to the front of the instrument to be operated by L4. The ﬁngering of the instrument is easier because Papalini removed the double holes, providing single holes for L1 and R3. The stamp reads “PAPALINI/ INVENTORE/CHIARAVALLE”; “PAPALINI” is also stamped on the barrel and bell sections, and the instrument was previously owned by Adolphe Sax.168 The Papalini bass clarinet in Rome has ten keys and is missing its mouthpiece, omega section, barrel, and a partial bell or bell ﬂare.169 It includes ﬁve brass buttons with round key heads on the ﬁnger hole side (the button for B/F is missing), which push brass rods through holes on the front side to levers to open closed keys with round key heads. Like the Paris example, each ﬁnger and tone hole is given a number from the top of the instrument, including the brass buttons. The additional keys are for f/c and C/G. The three long keys for A/E, F/C, and E/B on the front positioned for L4 are arranged in a similar manner to the Paris example. The instrument is stamped “NICOLA/PAPALINI/INVENTORE/CHIARAVALLE/1829.”170 Even with his last improvements, Papalini’s bass clarinets were not adopted, presumably because of their awkward ﬁngering and lack of an extended lower range. Bessaraboff called them a clever experiment in reducing the length of the instrument in order to bring the ﬁnger holes together.171 Straight or Clarinet Shape

Desfontenelles Clock maker Desfontenelles (ﬂ. 1807) of Lisieux invented the earliest clarinet-shaped bass clarinet (F-Paris, E.1055, C.1136), presumably in 1807. According to Pierre, the B instrument is stamped “Desfontenelles, Lisieux 1807.”172 It has a straight boxwood body with brass ferrules, an upturned bell, and curved barrel. There are eight sections: mouthpiece, barrel, second curved barrel, upper left-hand section, lower 167. Three photos of the Paris instrument are available on the Web site of the Cité de la Musique, http://mediatheque.cite-musique.fr. For a color photo, see Dullat, Klarinetten, 267, Abb. 168; Petoit, Buffet-Crampon, 4, for a clear black-and-white photo. 168. Chouquet, Le musée du conservatoire national de musique, 137; see Catalogue du musée instrumentale de M. Adolphe Sax, no. 304. 169. I am grateful to Francesco Carreras for photos of this bass clarinet. The author adopted Young’s terminology for the Papalini bass clarinets presented in 4900, 116. 170. Cervelli, La galleria armonica, 199. A photo (ca. 1940) of this complete Papalini bass clarinet when it was owned by the collector Evan Gorga is found in Cionci, Il tenore collezionista, 115, ﬁg. 37. 171. Bessaraboff, Ancient European musical instruments, 103. 172. Pierre, La facture instrumental à l’Exposition universelle de 1889, 49; see also Le musée du conservatoire national de musique, 1er Supplément, 32, in Chouquet, Le Musée du Conservertoire; NLI, 88. A stamp or date is not readable in photos of the instrument; see http://mediatheque.cite-musique.fr.

Bass, Contra Bass, and Contra Alto Clarinets 287 left-hand section, right-hand section, curved U-shape stock section, and straight bell. The mouthpiece and two barrels resemble the head of a duck.173 A detailed engraving in a book by Constant Pierre clearly shows its ten keys: S, A, G, E/B, C/G, B/F, A/E, F/C, F/C, and E/B.174 The levers of the two last keys curve around the U-shape stock joint. Unlike earlier bass clarinets, it does not produce notes below e.175 It is uncertain if Desfontenelles constructed this instrument himself, or if it was constructed by another maker. The ten keys of this bass clarinet were used on the most advanced contemporary soprano clarinets of the early nineteenth century. These keys were helpful in correcting the poor intonation of cross ﬁngerings in the low register of earlier ﬁve- and six-key clarinets. Desfontenelles’s bass clarinet is the earliest to have keys mounted on posts and to have ﬂat and round key heads. The speaker key’s touch piece is close to a second, redrilled thumb hole; the lever curves around toward the front side and includes a round key head. On the dorsal side, there is a metal plate mounted to two posts on a wide metal ferrule with a small hole. This appears to be have been used with a strap because there is a ring attached on the dorsal side of the stock section. Since only this example survives, it appears to be an experimental model and probably only this bass clarinet was made.176

Dacosta and L. A. Buffet During 1833, the clarinetist Isaac François Dacosta (1778–1866) worked with Paris instrument maker Louis Auguste Buffet (b. 1789), also known as Buffet jeune (the younger), to produce a clarinet-shaped bass clarinet that Dacosta later played in the famous act ﬁve solo of Meyerbeer’s opera Les Huguenots (1836).177 On 12 May 1833,

173. For a description, see Pierre, La facture instrumentale à l’Exposition universelle de 1889, 50–51; also see the photo in Van der Meer, Musikinstrumente, 216, Abb. 356. 174. For a description and photos, see the Musée de la Musique’s Web site, http://mediatheque.citemusique.fr. Pierre incorrectly states that it has twelve keys, and Dullat states thirteen keys. See Pierre, La facture instrumentale à l’Exposition universelle de 1889, 51; Dullat, Klarinetten, 81. 175. Pierre, La facture instrumentale à l’Exposition universelle de 1889, 50. 176. Another aborted attempt at making a bass clarinet in Paris is recorded in 1827 by Fétis. He mentions that Iwan Müller, the clarinetist and inventor of the thirteen-key clarinet and alto clarinet, was occupied in the construction of a clarinette-violoncelle. It is not known why Müller abandoned his new design, but it may have been due to the excellent design and success of Streitwolf ’s instruments in Germany; see Fétis, “Des révolutions de l’orchestre,” 279. 177. Fétis, “Exposition des produits d l’industrie,” 171–172. Lavoix states that a bass clarinet in C by Buffet was used in Les Huguenots in Histoire de l’instrumentation, 124. However, the part was written for a bass clarinet in B; see Meyerbeer, Les Huguenots, 847. According to Pillaut, Claude-François Buteux played the solo in Les Huguenots on a bass clarinet made by the Parisian maker François Lefèvre; see Le Musée du Conservatoire national de musique, supplément 1er, 32. Bass clarinets by Lefèvre have not been found. In 1830, both Dacosta and Buteux were in the Opèra orchestra, but Dacosta was the senior player; see Nectoux, “Trois orchestras Parisiens en 1830,” vol. 4, 495.

288

From the Clarinet d'Amour to the Contra Bass

Dacosta played Dumas’s bass clarinet at a concert at the Saint-Jean de l’Hôtel-deVille in Paris. Fétis favorably describes his performance as presenting a “sensation of pleasure” to the large audience rewarded by prolonged applause.178 According to Fétis, Dacosta states that two or three hours’ practice was sufﬁcient to learn this instrument because the bass clarinet differed in only three or four notes from the ordinary clarinet. Dacosta proposed to manufacture a number of bass clarinets and intended to publish a ﬁngering chart that would help clarinetists play it.179 Unfortunately, the proposed ﬁngering chart did not survive or was never completed. Buffet, however, continued to experiment with the shape of his bass clarinets, as well as the construction of the bore and tone holes.180 An early example of a thirteen-key straight-shaped bass clarinet (F-Paris, E.0644, ca. 1834) stamped “BUFFET JNE/A PARIS” in an oval, is likely to be the same model that was played by Dacosta. The instrument is made of rosewood with wide brass ferrules. It consists of ﬁve sections: mouthpiece (missing), brass crook, left- and righthand sections, and straight rosewood bell. There are thirteen brass keys with slightly rounded key heads mounted on pillars soldered onto oval plates. The G key crosses over the A key as used in Buffet’s later Boehm system clarinet. For convenience in ﬁngering, open standing keys were added, covering the holes for L3 and R1. The remaining keys are identical to contemporary thirteen-key clarinets: S, A-B, A, G, f/c (R1), E/B (L2), C/G, B/F (R3), B/F (R3), A/E, F/C, F/C, and E/B. Pillars for a second register key and a brass plate to support a lever that covers a tone hole in the brass neck appear added at a later date and not completed, or the second register key was removed.181 The evidence of a second register key suggests the inﬂuence of Adolphe Sax’s bass clarinets, all of which include a second register key. A second very similar clarinet-shaped B bass clarinet (D-München-BNM, 117, ca. 1836–1837) by L. A. Buffet is rosewood with brass ferrules. It is very similar to the Paris example in ﬁve sections: mouthpiece, brass crook, right- and left-hand sections, and downward-pointing brass bell. The only differences between these two bass clarinets are the use of a cross f/c key rather than a long f/c for R1, a more rounded touch for the plateau key covering L3, and a brass rather than wooden bell.182 The cross f/c key and brass bell bell are more often found on German-made bass clarinets. This instrument has an eventful history. The Munich Court Theater wanted to perform Meyerbeer’s successful opera Les Huguenots, and the administrators believed that they had to have the same type of bass clarinet used at the opera’s premiere. Therefore, on 28 April 1838, the Munich court orchestra purchased Buffet’s bass clarinet for 103 ﬂorins, 45 kreuzer for use in the important bass clarinet solo. The Munich clarinetist and basset hornist Carl Baermann (1810–1885) was asked to 178. Fétis, “Instrumens nouveaux,” 122. 179. Fétis, “Instrumens nouveaux,” 122–123. 180. Fétis, “Exposition des produits de l’industrie,” 172. 181. This instrument was studied by me in 2005. 182. See the description by Wackernagel, Holzblasinstrumente, 304–307, with two photos.

Bass, Contra Bass, and Contra Alto Clarinets 289 learn and perform Meyerbeer’s difﬁcult solo on this instrument in two weeks. On 22 May 1838, the German version of Les Huguenots, entitled Die Anglikaner und die Puritaner, was performed with Baermann playing the bass clarinet part. On the Munich bass clarinet, above the maker’s stamp in an oval on the right hand section, is stamped “(crown)/L” and below the maker’s stamp “INV:/No. 1” indicating the inventory of the Munich court orchestra. Engraved on the brass bell is “INV:/No. (laurel leaves/shield of the Royal Family of Baveria of 1835/palm leaves).”183 Another early straight Buffet bass clarinet (GB-Edinburgh, 4948, Ex Shackleton, ca. 1837) is made of rosewood with brass ferrules. There are fourteen keys and two plateau keys for L3 and R1, and it is identical to the Paris example, with the addition of a cross f/c for L2 along with an f/c key for R1, one roller for the touches of the cross E/B and B/F keys, and rollers on the adjacent key touches for A/E and F/C. All keys have ﬂat, leaf springs either screwed or riveted to the bottom of the keys.184 At the 1839 Paris Exhibition, L. A. Buffet exhibited ordinary ﬂutes and thirteen-key clarinets, a thirteenkey bass clarinet, and Boehm system ﬂutes and clarinets. Buffet received a bronze medal for his instruments, and the judge noted that his ordinary clarinets were in the ﬁrst rank.185 In 1842, Jobard, a supporter of Adolphe Sax, mentions that Buffet and Dacosta did not take into account the changes in air column when designing their thirteen-key bass clarinet. He describes the tone of the Buffet bass clarinet as thin and unequal.186 Aside from the shape and arrangement of keys, Buffet’s most important design elements were described in his 1843 French patent (no. 16,036) for a clarinet and oboe with movable rings, later called Boehm system instruments. These are needle springs attached to the underside of pillars for ring keys and ﬁnger keys, several duplicate keys for the right or left ﬁngers facilitating ﬁngering, and a clutch or lever connecting the rings of the right joint with that of the left joint for facilitating arpeggios.187 Many of these designs were subsequently adopted by Buffet and later makers on their bass clarinets. In addition, Buffet modiﬁed his bass clarinets by using a larger bore of 22.3 mm, additional plateau keys, ring keys for the right hand, and a large uprightpointing brass bell, as seen on a thirteen-key B instrument (GB-Edinburgh, 4734, Ex Shackleton, ca. 1845). The keys have ﬂat leaf springs riveted and screwed onto the underside of the keys and some needle springs.188 183. Wackernagel, Holzblasinstrumente, 305–307; see also Kalina, “The structural development of the bass clarinet,” 60–61, ﬁg. 27. 184. See also the description in Shackleton Collection, 728. I thank Arnold Myers for sending his observations. 185. “Placé au premier rang pour les clarinettes ordinaries.” See Savart, “Instruments de musique,” 1839, vol. 2, 365. Despite the fact that Buffet’s bass clarinet was played in Meyerbeer’s opera and becoming well known among musicians, Choron mistakenly identiﬁes it as a basset horn. See Choron and La Fage, Nouveau manuel complet, vol. 4, 42. 186. See Jobard, Industrie français: Rapports sur l’exposition de 1839, vol. 2, 155. 187. Rendall, The clarinet, 97–98. 188. For a description and photo, see Shackleton Collection, 730. The author thanks Arnold Myers for his observations.

290 From the Clarinet d'Amour to the Contra Bass

Bachmann The clarinetist and teacher Georges Chrétien Bachmann (1804–1842) established an instrument-making workshop in Brussels in 1824, where he specialized in clarinets and made some improvements to the mechanism.189 According to Fètis, in 1827 Bachmann was ﬁrst clarinetist in Brussels’s principal theater and a teacher at the Royal Conservatory, where he taught the clarinetist Arnold Joseph Blaes.190 Bachmann is known to have made clarinets during the 1830s.191 Commetant relates an anecdote concerning Adolphe Sax and Bachmann. About 1838, Sax obtained permission to play his bass clarinet at a rehearsal of the royal wind band in Brussels. Because Bachmann was a member of this band and wanted to use a bass clarinet of his own manufacture, he objected to this intrusion and cried, “I shall no longer play!” Seconds later, regretting his outburst, he added, “if miserable students like mister Sax are allowed to play in such a distinguished orchestra as this.” Sax replied, “I should be very sorry Sir, if the public were deprived of your ﬁne talent through my invention, but I will not retract at all.” Bachmann replied, “What do you propose to do then?” “Let you play ﬁrst and then play myself. The public will decide whether the great Master or the miserable student wins the ﬁght.” Bachmann accepted the challenge muttering under his breath, “I shall crush him like a ﬂy!” Even though Bachmann was held in great esteem by the public, his solo did not receive special recognition, but Sax was greeted with a storm of applause. From this time on, Sax played bass clarinet solo in the royal wind band and in the orchestra of the Société Philharmonique.192 At the 1841 Brussels Exhibition, Bachmann exhibited a number of woodwinds and brasses, but his bass clarinet is not mentioned.193 A bass clarinet by Bachmann is not extant.

189. Rapports du jury et documents de L’Exposition de L’industrie belge en 1841, 375; cf. NLI, 15. 190. Fétis, Biographie universelle, vol. 1, 430; English trans. by Jo Rees-Davies in Fétis on clarinettists and clarinet repertoire, 13; see also Weston, Clarinet virtuosi of the past, 186; cf. NLI, 15. 191. Two examples of thirteen-key clarinets by Bachmann (GB-Edinburgh, 4804; 5058) are made of boxwood and ebony with ivory ferrules. Clarinet 5058 was previously owned by Arnold Blaes; see Shackleton Collection, 280–281. 192. “Je cesserai de jouer, dit-il dans un moment d’emportement qu’il dut plus d’une fois regretter, si l’on donne dans cet orchestre, jusqu’ici respectable, une place à de chétifs élèves tels que M. Sax. Je jouerai seul de l’ancienne clarinette, ou je cède la place tout entière à M. Sax et à son instrument nouveau. Je serais désolé, monsieur, répondit le virtuose-inventeur, piqué de ce manqué d’égards, si par mon fait le public se trouvait privé de votre beau talent; d’un autre côté, je ne puis consenter à me retirer. Que voulez-vous donc faire? Vous laisser jouer, et jouer après vous, aﬁn que le public juge qui du grand maître ou du chétif élève l’emportera. Le déﬁ fut accepté, et, en sortant de la répétition, le furieux clarinettiste laissa échapper ces paroles: Je l’écraserai comme on écrase une mouche!” Comettant, Histoire d’un inventeur, 7–8; Weston, More clarinet virtuosi of the past, 28–29. 193. Rapports du jury et documents de L’Exposition de l’industrie belge en 1841, 250–252; Pontécoulant, Organographie, vol. 2, p. 422.

Bass, Contra Bass, and Contra Alto Clarinets 291

Sax One of the most important advances in the evolution of the bass clarinet is manifest in an instrument made by the brilliant player, maker, and inventor Antoine Joseph (Adolphe) Sax (1814–1894). According to Kastner, Sax had worked on his bass clarinet between 1835 and 1837194 before applying for a Belgian patent (no. 1,051) on 19 June 1838, approved on 1 July 1838.195 A sketch (ﬁgure 4.8) in the patent shows a

Figure 4.8. Adolphe Sax, 21-key bass clarinet, Belgian patent, 1838 (no. 1,051).

194. Kastner, Manuel général de musique militaire, 231; repeated by Fétis, “Sax, Antoine-Joseph,” Biographie universelle, vol. 7, 414. Hemke mistakenly states that Sax exhibited his bass clarinet at the Belgian Exposition of 1835. See Hemke, “The early history of the saxophone,” 10, 58. In the 1835 Brussels Exposition, Charles Sax, wind instrument maker in Brussels and father of Adolphe, exhibited twentyﬁve brass instruments and sixteen woodwinds, as well as “une clarinette en buis à 24 clefs, inventée et perfectionnée par Sax ﬁls.” See Catalogue des produits de l’Industrie belge admis à l’Exposition de Bruxelles au mois de septembre 1835, Brussels, 1835, 97–98, cited by Haine, Adolphe Sax, 262, n. 155. Since Charles Sax used plateau keys on a bassoon of 1825, Adolphe Sax’s twenty four key clarinet may have consisted of a thirteen key clarinet with four duplicate keys and seven plateau keys for LT, L1, L2, L3, R1, R2, and R3; NLI, 348. 195. Sax, “Description de la nouvelle clarinette-basse”; cf. Rendall, The clarinet, 144; Haine, Adolphe Sax, 190; see Dullat, Klarinetten, 89. A few sources mistakenly give 1836 as the patent date, probably beginning with Altenburg, “Adolphe Sax,” 1019.

292 From the Clarinet d'Amour to the Contra Bass straight-shaped, twenty-key bass clarinet in two sections with large ferrules, large plateau and open standing keys,196 curved neck and mouthpiece, and downwardpointing bell. A second upward-pointing, curved bell is pictured with four holes meant to play as low as C,197 providing notes for E, D, C, and C. However, none of the surviving bass clarinets by Sax or attributed to him includes a curved bell ﬁtted with four keys, and it is likely that Sax was not able to design a key extension that would successfully produce these notes. Sax’s extant bass clarinets are made of boxwood, maple, African black wood, or cocus with brass ferrules and either twenty or twenty-one brass keys mounted on brass posts and pillars ﬁrmly screwed into the wood body.198 They feature seven large plateau or open standing keys for T, L1, L2, L3, R1, R2, and R3. Each plateau key has a wide depression for the ﬁngertip and is conveniently placed for the ﬁngers. The key heads of the plateau keys cover large tone holes placed in their acoustically correct position. They have the usual thirteen keys of the soprano clarinet, lacking the A-B trill key, a second E/B key to provide an option in ﬁngering (lacking on the example in Ann Arbor), and a second register key covering a small tone hole in a brass protrusion placed high on the front side of the brass crook.199 The last key was a genuine innovation and brilliant idea; with its use, the upper register was greatly improved. The earliest example (US-MI-Ann Arbor, 637, ca. 1840; web photo, 20) has its register keys placed as drawn in the patent, that is, one on the body of the instrument and the second on the front side of the brass crook. The bore is 22.9 mm.200 The other two bass clarinets made in Brussels (B-Bruxelles, M175; M2601, ca. 1840) have the key heads of both register keys mounted on the back side of their crooks; M175 has an additional E/B key positioned for R1. The long levers of the F/C and E/B keys are securely mounted in the grooves of a large brass rounded saddle.201 The end of the crook has a tenon; thus, the large dark-wood mouthpiece is designed with a socket and includes a nickel silver ferrule at its end. The mouthpiece on the M175 bass clarinet is stamped

196. An open standing key includes a touch connected by a lever to a keyhead covering a tone hole out of reach of the ﬁnger. A plateau key is an open touch that closes a large key head over a ﬁnger hole that is too wide to be covered by ﬁngers or a thumb. Sax was the earliest maker to make consistent use of plateau and open standing keys on his bass clarinets. In this text, both types of keys are usually referred to as plateau keys. 197. “Du pavillon no 3 alors l’instrument descend a l’ut.” Sax, “Description de la nouvelle clarinettebasse.” I thank Jean Jeltsch for a copy of this patent. 198. The following paragraph is based on direct study by me of four Sax bass clarinets in the Musée de la Musique and one bass clarinet at the Gemeentemuseum of The Hague. A partial list of extant instruments is described by Young, 4900, 202. 199. Cf. Haine and De Keyser, “Catalogue des instruments Sax au Musée Instrumentale de Bruxelles,” 73–74. 200. See Borders, European and American wind and percussion instruments, 44, no. 637. 201. The rounded form of this saddle was used previously by Georges Bachmann on his clarinets; see the photos in Shackleton Collection, 280–281.

Bass, Contra Bass, and Contra Alto Clarinets 293 “SAX A BRUXELLES” and “B” on M2601,202 but the mouthpieces on the instruments made in Paris are not stamped. A brass platform is made near the end of the tenon and beginning of the crook, making the mouthpiece feel very solid to the performer because it will not move when played. A useful addition is a large rounded thumb rest with a ring soldered to its upper end for a neck strap.203 The instruments appear massive and modern looking. According to Kastner, Sax made his bass clarinets pitched in C or B, but Berlioz states that Sax’s bass clarinets were made in B.204 Based on the length and pitch letters, ﬁve examples appear to be in C and ﬁve in B; however, several have not been tested for nominal pitch.205 As early as 1842, Sax also made an acoustic concave reﬂector or a metal plaque that could be attached under the bell to direct and augment the volume considerably.206 According to Kastner, reﬂectors were available for the bass clarinet, bassoon, English horn, and saxophone. Unfortunately, none of Sax’s reﬂectors has survived. There are only ten extant examples: three made in Brussels, four made in Paris, and three more attributed to Sax in Paris. Seven Stamped Instruments (B-Bruxelles, M2601, thirteen key and seven plateau, ca. 1840). In B, it is boxwood with brass ferrules. The instrument has ﬁve sections: mouthpiece (boxwood), brass crook, left- and right-hand sections, and straight brass bell. The maker’s stamp on the left-hand section is “✷/SAX/✷”; on the righthand section is “✷/SAX/A BRUXELLES✷.” Although this stamp indicates the Sax ﬁrm in Brussels, its manufacture or supervision is attributed to Adolphe Sax, who was responsible for the 1838 Belgian patent. Both register keys are mounted on the inside of the crook.207 (B-Bruxelles, M175, fourteen key and seven plateau, ca. 1840). In B, it is ebony with silver ferrules. The instrument has ﬁve sections: mouthpiece 202. See the descriptions and photos in Haine and De Keyser, “Catalogue des instruments Sax au Musée Instrumentale de Bruxelles,” 72–75 (M175) and 76–77 (M2601); Faszination Klarinette, 105 (M2601); and Kalina, “The Structural Development of the Bass Clarinet,” 85, 87–88. 203. This thumb rest appears on the Paris-made bass clarinet (F-Paris, E.1223 C.1337). Sax’s key designs were intended to accommodate his own large ﬁngers and thumbs. 204. Kastner, Supplément au Traité général d’instrumentation, 24; Berlioz, Traité d’instrumentation et d’orchestration, 150. 205. Cf. the uncertain pitch data in 4900, 202. 206. Berlioz, “Instrumens de musique,” reproduced in Zermani, Sax, 15, trans. by Kochnitzky in Adolphe Sax & his saxophone, 11, 13; Castil-Blaze, “Adolphe Sax,” 277; Berlioz, Traité d’instrumentation et d’orchestration, 150. 207. For a description and photo, see Haine and De Keyser, “Catalogue des instruments Sax au Musée Instrumentale,” 76–77; Dullat, Klarinetten, 88, Abb. 46; Restle and Fricke, Faszination Klarinette, 105; photo in Kalina, “The structural development of the bass clarinet,” 87, ﬁg. 34.

294 From the Clarinet d'Amour to the Contra Bass (ebony), silver crook, left- and right-hand sections, and straight silver bell. A fourteeth key is a duplicate, cross E/B for L3. The maker’s stamp on the right and left sections is “✷/SAX/A BRUXELLES/✷.”208 Both register keys are mounted on the inside of the crook. (US-MI-Ann Arbor, 637, thirteen key and seven plateau, ca. 1840). In C, it is dark-stained maple with brass ferrules. The instrument has ﬁve sections: mouthpiece (missing), brass crook, left- and right-hand sections, and straight brass bell (replacement). The maker’s stamp on the left- and right-hand sections is “✷/SAX/A BRUXELLES✷.” The key seat for the ﬁrst register key is placed on the highest section of the stained maple body. The key seat for the second register key is positioned to the front of the neck with a brass ring encircling it, allowing the left thumb touch to open the keyhead. This instrument is identical to the bass clarinet pictured in the 1838 patent sketch.209 The straight brass bell is a replacement stamped “CH. ROTH/A/STRASBOURG.”210 (F-Paris, E.759 C.552, fourteen key and seven plateau, ca. 1843). In C, it is maple with brass ferrules. The instrument has ﬁve sections: mouthpiece (missing), brass crook, left- and right-hand sections, and straight brass bell. The highest register key is placed on the outside of the crook. This bass clarinet is similar in almost every respect to the stamped Paris instrument (C.1223 E.1137). However, the key touches for E/B and C/G are less curved, and the B/F touch is joined at ninety degree angle to a pillar operating the keyhead.211 An early version of the maker’s stamp is on the upper part of the left-hand section “AIS.”212 (F-Paris, E.1223 C.1137, fourteen key and seven plateau, ca. 1843). In C, it is dark-stained maple with brass ferrules. The instrument has ﬁve sections: mouthpiece (ebony), brass crook, left- and right-hand sections, and straight 208. For a description and photo, see Haine and De Keyser, “Catalogue des instruments Sax au Musée Instrumentale,” 72–75; description by De Keyser in Haine and Meeùs, Instruments de musique anciens à Bruxelles et en Wallonie, 98, no. 63; photo in Kalina, “The structural development of the bass clarinet,” 87, ﬁg. 34. 209. See the description and photo in Borders, European and American wind and percussion instruments, 44, no. 637. 210. I thank Chris Dempsey for sending photos of this instrument; see Roeckle, “The bass clarinet,” 107. 211. According to Chouquet, this instrument was purchased from Adolphe Sax’s collection. Chouquet, Le Musée du conservatoire national de musique, 137. For a description and photos, see Kalina, “The structural development of the bass clarinet,” 82–83, ﬁg. 31; Le Roseau et la musique, 112, C143; Musée de la Musique Web site, http://mediatheque.cite-musique.fr. This instrument was studied by me in 2005. 212. Several instruments made in the Adolphe Sax shop include this mark, but this is among the few instruments that does not include a serial number below the mark; according to the list compiled by Haine and De Keyser, “Catalogue des instruments Sax au Musée Instrumentale de Bruxelles,” 226–229; see also the List of Adolphe Sax Instruments compiled by Eugenia Mitroulia and Arnold Myers of the University of Edinburgh, http://www.music.ed.ac.uk/euchmi/galpin/gdsl.html.

Bass, Contra Bass, and Contra Alto Clarinets 295 brass bell. The highest register key is placed on the outside of the crook. The maker’s stamp on the upper part of the left-hand section is “AS (monogram)/ AD.SAX & Cie/PARIS,” and engraved on the bell toward the rim is “Adolphe Sax et Cie à Paris.”213 It was owned and played by Eduoard Duprez.214 (NL-Den Haag, 0840392, fourteen key and seven plateau, ca. 1845). In B, it is stained maple with brass ferrules. The instrument has ﬁve sections: mouthpiece (missing), brass crook, left- and right-hand sections, and straight brass bell. The highest register key is placed on the outside of the crook. The maker’s stamp on the upper part of the left-hand section is “AS (monogram)/ AD.SAX & Cie/PARIS”; the bell is not engraved (web photo 21).215 (US-MA, Newton Centre, fourteen key and seven plateau, ca. 1870). In B, it is African black wood or cocus with nickel silver keys, ferrules, crook, and nickel bell. Like the previous instruments, its ﬁve sections include a mouthpiece, brass crook, and left- and right-hand sections, but it has an upward-pointing nickel silver–plated bell. The highest register key is on the inside of the crook. The key touches and seven plateau keys are slim, not as wide as the earlier models, and the G key crosses over the A key. In fact, the instrument distinctly resembles those made by L. A. Buffet and Buffet-Crampon during the late nineteenth century. The only original aspects are several key heads with a wave or swirling design. The maker’s stamp on the upper part of the left hand section is “AD.SAX/et Cie/PARIS,” and the bell is engraved “Clarinette basse en Si/Adolphe Sax à Paris/Fteur de la Mson Milre de l’Empereur” (bass clarinet in B, Adolphe Sax in Paris, Maker of the Emperor’s military instruments).216 According to Haine and De Keyser, Sax began engraving the names of instruments on the bells of saxophones and brass instruments about 1854.217

213. For a description by Florence Gétreau and a photo, see La Facture instrumentale européenne, 221–222; photo in Dullat, Klarinetten, 268, Abb. 170; Musée de la Musique: Guide, 231, photo 1; description and photos on the Musée de la Musique Web site, http://mediatheque.cite-musique.fr. This instrument was studied by me in 2005. 214. This instrument was given by Paul Lacombe to the museum of the Paris Conservatoire in 1889. According to Pillaut in his catalogue, Bernard [sic, Edouard] Duprez played this bass clarinet for thirteen years, including Meyerbeer’s important solo in the ﬁfth act of Les Huguenots. See Le Musée du Conservatoire National de Musique: Supplément 1er, 32, in Chouquet, Le musée du conservertoire; Gétreau, Aux origines du museé, 680. However, Duprez must have owned another B bass clarinet for performing Meyerbeer’s solo. 215. For a description and photo, see Baines, European and American musical instruments, 114, photo 650; Kalina, “The structural development of the bass clarinet,” 90, ﬁg. 37. I thank Michael Latcham for sending a photograph. 216. I thank Marlowe Sigal for sending photographs and information. 217. Haine and De Keyser, “Catalogue des instruments Sax au Musée Instrumentale de Bruxelles,” 224. However, Thomas Kiefer, a collector in Germany, owns a Sax baritone saxophone (serial no. 5140, ca. 1846–1847) with an inscription “Saxophone baryton en Mi, breveté”. I thank Thomas Kiefer for sending photos.

296

From the Clarinet d'Amour to the Contra Bass Three Instruments Unstamped but Attributed to Sax (F-Paris, E.2197, fourteen key and seven plateau, ca. 1843). In C, it is maple with brass ferrules. The instrument has ﬁve sections: mouthpiece (missing), brass crook, left- and right-hand sections, and straight brass bell. The highest register key is on the outside of the crook. It is similar to the stamped example (F-Paris, E.1223 C.1137)218 but includes a few different positions for keys and tone holes. For example, on the left-hand section, the open standing key for L3 or the G/D tone hole is placed further down the front side and closed by means of a pillar-and-rod mechanism. The C/G key lever is placed at an angle connected to a pillar-and-rod mechanism opening the key head on the dorsal side rather than the front side. On the right-hand section, the position and size of the touch for the B/F key is different from the examples previously cited, and the position of the key head was changed, as indicated by a ﬁlled-in tone hole. This instrument was deﬁnitely experimental for Sax’s own use; the left-hand section is now badly cracked.219 (J-Hamamatsu, A-0164R, fourteen key and seven plateau, ca. 1845). In C, it is ebony or black wood with nickel silver ferrules. The instrument has ﬁve sections: mouthpiece (missing), brass crook, left- and right-hand sections, and straight nickel silver bell. The highest register key is on the outside of the crook.220 This instrument is similar in the shape and position of its keys and the mounting of its F/C and E/B keys to the stamped examples in The Hague and Paris. (F-Paris, E.713 C.551, fourteen key and seven plateau, ca. 1867). In B, it is one section of brass with an upturned brass bell and is the only bass clarinet made entirely of brass. The F/C and E/B key heads are mounted on the bell, and the instrument is similar in most repects to the stamped wooden instruments, although there are some differences in the design of the plateau and open standing keys. The highest register key is on the outside of the crook. According to Kastner, Sax offered a bass clarinet with an upturned bell, called clarinette basse recourbée, as early as 1845.221 These were probably

218. Gétreau mistakenly states that this bass clarinet was number 52 in the auction catalog of Adolphe Sax’s collection. However, a “Clarinette-Contre-Basse-Sax” is listed in the Catalogue du musée instrumental de M. Adolphe Sax, 4, no. 52. In addition, the museum’s Web site states that this instrument was donated in 1934. 219. For a description and photo, see Kalina, “The structural development of the bass clarinet,” 82, 84, ﬁg. 32; this photo includes a mouthpiece; Musée de la Musique Web site, http://mediatheque.citemusique.fr. The author studied this instrument in 2005. 220. A small photograph is in Catalog. Hamamatsu Museum of Musical Instruments, 41; Rosenbaum, “The property,” 10, no. 78.85. 221. Kastner, Manuel général de musique militaire, 273, 375–376, pl. XXV1 no. 5 between 382 and 383, titled “Nouveaux instruments du système Ad. Sax”; Kalina, “The structural development of the bass

Bass, Contra Bass, and Contra Alto Clarinets 297 meant for military use as suggested by Rendall.222 This instrument is dated 1867 by the museum, probably because the 1867 prospectus includes only a straight-model bass clarinet. It was previously owned by Sax and sold at auction in 1877.223 One Instrument Destroyed in World War II (D-Berlin, 2901, thirteen? key and seven plateau).224 This instrument appears to have been an unsigned, straight-shaped, early example with a brass crook and straight wooden bell.225 Since only three Brussels-made Sax bass clarinets survive, it is not known how much work was actually completed by Sax himself, his father, or workers in Charles Sax’s factory. In any case, all commentators agree that full credit for the development of this bass clarinet must be given to Adophe himself.226 Table 4.1 shows the extant bass clarinets of Adolphe Sax arranged chronologically. Each instrument is described by number of keys, inscription, date, nominal pitch, length, bell shape, body material and location.

clarinet,” 80, ﬁg. 30. However, Kastner made an error in his engraving of a “Clarinette basse recourbée (Systéme Sax).” The long bell and number of keys on the bell indicate that this is an engraving of a baritone saxophone. Cf. the left proﬁle photo (proﬁl droit) of the brass bass clarinet by Adophe Sax (E. 713) on the Musée de la Musique Web site, http://mediatheque.cite-musique.fr. 222. Rendall, The clarinet, 144. 223. A “Clarinette-Basse, Ad. Sax, à Paris” is listed in an auction catalog titled Catalogue du musée instrumental de M. Adolphe Sax, 4, no. 51. The auction was held at the Hôtel Drouot 4-6 December 1877; see Gétreau, Aux origines du musée, 666; Chouquet, Le musée du conservatoire national de musique, 137; description and photos on the Musée de la Musique Web site, http://mediatheque.cite-musique.fr. 224. See 4900, 202; Kalina “The structural development of the bass clarinet,” 80–92. 225. Sachs reported nineteen keys, but this was probably an error, or the instrument was missing either plateau or normal keys; see Sachs, Sammlung alter Musikinstrumente, 302. Sachs also suggests that another unmarked bass clarinet (D-Berlin, 1051) was made by Sax. However, the photo shows an instrument from the 1850s–1860s that does not appear to have been made in the Sax factory. It has a long brass crook and a straight brass bell that curves at an acute angle upward, two open tone holes for L1 and L2, a ring key for L3, a plateau key with a pin hole for R1, and two ring keys for R2 and R3. Originally this bass clarinet (1051) was in the Snoeck collection in Belgium. For a description, see Snoeck, Catalogue de la collection d’instruments de musique anciens ou curieux, 170, no. 901; for a description and photo, see Sachs, Sammlung alter Musikinstrumente, 300–301, pl. 29, no. 1057 [sic; it should be 1051]. 226. A Boehm system bass clarinet attributed to Adolphe Sax and previously owned by the researcher and collector Günther Dullat was sold to the Museum for Musical Instruments of the University of Leipzig (no. 5446). It is stamped with Charles Sax’s stamp used before 1830 and has his signature on the bell with a serial number of “8669.” This suggests a date of about 1850, although there is some question as to the authenticity of this instrument. The appearance and design of the crook and bell, position and mounting of both register keys, and the shape and nickel-silver plating of the keys all suggest a late nineteenth or early twentieth century origin. For a photo, see the book cover of Dullat, Klarinetten and 267, Abb. 169. I thank Eszter Fontana for sending photos.

Table 4.1. Bass Clarinets By Adolphe Sax Inscription

Date

Nominal Pitch

Length (cm)

Bell Shape

Body Material

Location

13 keys, 7 plateau 14 keys, 7 plateau

✶/SAX/A/BRUXELLES/✶ ✶/SAX/A/BRUXELLES/✶

ca. 1840 ca. 1840

B B

132 131.2

Straight Straight

B-Bruxelles, M2601 B-Bruxelles, M175

13 keys, 7 plateau 14 keys, 7 plateau 14 keys, 7 plateau 14 keys, 7 plateau

✶/SAX/A/BRUXELLES/✶ AIS AS/AD.SAX & Cie/PARIS AS/AD.SAX & Cie/PARIS

ca. 1840 ca. 1843 ca. 1843 ca. 1845

C C C B

106 107.8 113 133

Straight Straight Straight Straight

Boxwood African black wood Maple Maple Maple Maple

14 keys, 7 plateau 14 keys, 7 plateau 14 keys, 7 plateau 14 keys, 7 plateau

Unstamped Unstamped Unstamped AS/AD.SAX et cie/PARIS

ca. 1845 ca. 1845 ca. 1867 ca. 1870

C C B B

101.3 114.5 NA 133.2

Straight Straight Curved Curved

No. of Keys

Maple Ebony Brass African black wood

US-MI-Ann Arbor, 637 F-Paris, E.759 C.552 F-Paris, E.1223 C.1337 NL-Den Haag, Ea 606-1933 F-Paris, E.2197 J-Hamamatsu, 164 F-Paris, E.713, C.551 US-MA, Newton Centre, Sigal

Bass, Contra Bass, and Contra Alto Clarinets 299 In 1839, after reading about the L. A. Buffet bass clarinet played by Dacosta at the Paris Exhibition, Sax traveled to Paris, where he demonstrated his bass clarinet to Dacosta and his wife. It is said that he played the bass clarinet solo from Les Huguenots, impressing Dacosta with his ease of execution.227 Dacosta’s wife is reported to have said to Dacosta, “My friend, I am sorry to have to say but that when Sax plays [his instrument], your instrument sounds to me like a kazoo!”228 In 1841, Adolphe and his father, Charles Sax (1790–1865), exhibited nine instruments in the Brussels Exposition: four B clarinets with different key arrangements, bass clarinet, contra bass clarinet, saxophone, and two ﬂutes “made in the Boehm system.”229 The jury praised Sax’s clarinets for his use of a small hole (second register key) near the mouthpiece that enabled the high notes to sound pure, sweet, and mellow. Sax’s key arrangement gave a facility of ﬁngering without demanding additional study by the player. The jury was less happy with Sax’s bass and contra bass clarinets and stated that although the principles of the proportion of the tube established by Charles Sax were used, the bass clarinet did not achieve the quality of his soprano clarinets. However, they admitted that a complete system of clarinets is important.230 Charles Sax received the gold medal, and Adolphe received the silver, along with his competitor Bachmann. According to Kastner, the jury found Adolphe Sax too young to receive the gold medal and instead gave him the silver medal.231 This award and criticism led to Adolphe’s move to Paris to establish his own ﬁrm. In January 1841, Fétis praised Sax’s bass clarinet for its correct placement of tone holes on a large-diameter tube that produced a powerful sound. He also commented on a register key placed on the neck with a pinhole-size opening to enable high notes to speak easily; this instrument’s ease of execution left nothing to be desired.232 In June 1842, Sax visited Paris for a few days and successfully played his bass clarinet and “new ophicleide” (bass saxophone) at the Conservatoire for the 227. Kastner, Manuel générale, 232; Pontécoulant, Organographie, vol. 2, 219–220. In 1846, Sax states that he played his bass clarinet for Savart, Dacosta, and others in 1839; see “Lettre d’Adolphe Sax à M. Wieprecht,” Gazette et revue musicale de Paris 13, no. 36 (13 September 1846), 295; see www.saxame. org/topics/gazette/gazette1846.html. 228. “Mon ami, je suis fâchée de te le dire, mais depuis que Monsieur a joué, ton instrument me fait l’effet d’un militon!” Reported in Le Patriote belge, 23 September 1843, according to Radiguer, “L’Orphéon, la vie et l’oeuvre d’Adophe Sax,” 3733. 229. “. . . construites dan le systeme de Boehm.” Rapports du Jury et documents de L’Exposition de l’industrie belge, 247–250. 230. “. . . a fait des travaux non moins heureux sur la clarinette-basse et la clarinette contre-basse. Appliquant convenablement les principes établis par son père pour la proportion du diamètre du tube, en égard à sa longueur, il a fait de sa clarinette-basse un instrument non moins achevé que sa clarinette soprano . . . la découverte du système complet de la sonorité de la clarinette n’est pas sans importance.” Rapports du jury et documents de L’Exposition de l’industrie belge, 248–249. 231. Kastner, Manuel général de musique militaire, 233, n. 1. 232. Fétis, “Nouvelles clarinettes de M. Sax ﬁls,” 20.

300 From the Clarinet d'Amour to the Contra Bass director Auber and some instructors.233 Having declined offers from London and St. Petersburg, Sax moved to Paris by the end of October 1842 and established a musical instrument factory.234 He quickly earned the support and admiration of many musicians and composers, including Berlioz, Rossini, Halévy, Meyerbeer, and Fétis.235 Sax also established a band of performers from among his factory workers. They played outdoor concerts in front of his shop fairly frequently. As early as October 1843, the Revue et Gazette Musicale announced that two clarinetists of the Académie Royal de Musique would be trained at Sax’s factory on his new bass clarinet.236 The composers Berlioz and Kastner were quite enthusiastic about all of Sax’s instruments, including the bass clarinet. Berlioz published a complimentary article praising Sax’s instruments and subsequently included a section in his 1843 instrumentation treatise describing the bass clarinet, as did Kastner in the 1844 supplement to his instrumentation treatise.237 However, to the establishment, particularly Michele Carafa (1787–1872), professor at the Gymnase Musical, and thirty-four traditional Parisian instrument makers, Sax and his instruments were not welcome.238 By November, the Revue et Gazette Musicale was reporting a conspiracy of orchestra members at the Opéra during their performance of Donizetti’s opera Dom Sébastien, which requires two bass clarinets in one aria of act two and in one section of act four (see chapter 5). Some musicians convinced the conductor François-Antoine Habeneck (1781–1849) that the music was too difﬁcult for Sax’s new instrument; as a result, one of Sax’s bass clarinets was played with an older bass clarinet, lessening the effect of both instruments.239 Kastner suggests that the brilliant reputation of Sax as an instrument maker created envy, jealousy, and resentment.240 It may be that some orchestral players at the Opéra who were friends or relatives of Parisian makers started this conspiracy based

233. “Nouvelles,” Revue et gazette musicale de Paris, 9, no. 24 (12 June 1842), 245; see http://www.saxame .org/topics/gazette/gazette1842.html. 234. “Nouvelles,” Revue et gazette musicale de Paris, 9, no. 44 (October 1842), 431; Haine, Adolphe Sax, 123, 270, n. 440. The offers from St. Petersburg and London are mentioned by Albert Remy, La vie tourmentée d’Adolphe Sax, Brussels, 1939, 29; cited by Hemke, “The early history of the saxophone,” 17. 235. Philip Bate and Wally Horwood, “Sax, Adolphe,” Grove Music Online. 236. “Nouvelles,” Revue et gazette musicale de Paris, 10, no. 40 (1 October 1843), 341; see http://www .saxame.org/topics/gazette/gazette1843.html. 237. Berlioz, “Instrumens de musique. M. Ad. Sax,” Journal des débats, 1; Berlioz, Grand traité d’instrumentation, 458–460; an English trans. by Kochnitzky appears in Adolphe Sax & his saxophone, 11, 13; Kastner, Supplément au Traité général d’instrumentation, 24–26. 238. Whitwell, The 19th century wind band, 76; Waterhouse lists the thirty-four Parisian makers who initiated litigation against Sax, which was initially unsuccessful, NLI, 348. 239. “Nouvelles,” Revue et gazette musicale de Paris, 10, no. 46 (12 November 1843), 388; Radiguer, “L’Orphéon,” 3735; see http://www.saxame.org/topics/gazette/gazette1843.html. Also reported in Revue et gazette des theaters 9 November 1843, according to Radiguer, “L’Orphéon,” 3735. 240. Kastner, Manuel générale, 238.

Bass, Contra Bass, and Contra Alto Clarinets 301 on their jealousy of Sax’s well-made instruments. Among the orchestra members who opposed Sax’s bass clarinet was the experienced clarinetist Claude François Buteux (1797–1870), who played second clarinet in the Opéra orchestra from 1825 and took the ﬁrst position when Dacosta retired in 1842.241 Buteux wrote a letter to the Gazette des Théâtres criticizing Sax’s bass clarinet, to which Sax wrote the following response. M. Buteux, ﬁrst clarinet of the Opéra announces in the letter which you published that he tried my bass clarinet two times and that this instrument has not responded as he had expected. I have but few words in response to M. Buteux. That he ﬁnds my instrument bad is his right, but I must report to him that his opinion is not shared by everyone. Before more than ﬁfty persons, I repeatedly made the comparison of this instrument which he now plays and mine, and found the latter to be very superior to the old one. Since it is not easy now to deny that the instrument had passed a small committee, I propose to M. Buteux, ﬁrst clarinet of the Opéra, to choose a piece for us to play in public, he on his instrument and I on mine. If the comparison between his instrument and mine is not to my advantage, I declare myself beaten. I offer afterward to play a piece on my bass clarinet which I defy M. Buteux, ﬁrst clarinet of the Academie Royal de Musique, to play on his. 6 November 1843 Adolphe Sax242 There is no evidence that Buteux replied to Sax’s letter or competed with him on the bass clarinet. At the beginning of December 1843, the Revue Musicale notes that two of Sax’s bass clarinets were played to splendid effect by Adolphe Sax and Edouard

241. Weston, More clarinet virtuosi of the past, 62. 242. “M. Buteux, première clarinette de l’Opéra, annonce, dans la letter que vous avez publiée, qu’il a essayé à deux repetitions ma clarinette-basse, et que cet instrument n’ayant pas répondu à ce qu’il en attendait, il s’est trouvé oblige d’en commander une autre. Je n’ai que peu de mots à répondre à M. Buteux. Qu’il trouve mon instrument mauvais, c’est son droit; mais je dois lui rappeler que cette opinion, il ne l’a pas eue toujours, car chez mois, et devant plus de cinquante personnes, en faisant lui-même à plusieurs reprises la comparaison de l’instrument qu’il joue aujourd’hui avec le mien, il a trouvé ce dernier de beaucoup supérieur à l’ancien. M. Buteux dit qu’il a essayé deux fois mon instrument à la repetition. C’est une erreur; je ne sais dans quel but il a pu la commettre. Puisqu’il est si facile de nier aujourd’hui ce qui s’est passé en petit comité,j’offre à M. Buteux de faire decider sur notre question le grand juge, le public! Après cela, tout sera dit de part et d’autre. Je propose donc à M. Buteux, première clarinette de l’Opéra, de choisir tel morceau qu’il lui plaira, et lui sur son instrument et moi sur le mien, nous le jouerons en public. Si la comparaison qui pourra être faite entre mon instrument et le sien n’est pas à mon avantage, je me declare battu. J’offre ensuite d’exécuter sur ma clarinette-basse un morceau que je déﬁe M. Buteux, première clarinette de l’Académie royale de Musique, de jouer sur la sienne. 6 novembre 1843. Adolphe Sax”; Comettant, Histoire d’un inventeur, 25–26; trans. Crouch, “The contributions of Adolphe Sax,” 75–76. The French text is partially repeated by Ridiguer, “L’Orphéon,” 3735.

302 From the Clarinet d'Amour to the Contra Bass Duprez in Berlioz’s Symphonie funèbre.243 At the 1844 Paris Exhibition, Sax earned a citation of “pour mémoire” (for commemoration), equivalent to a bronze medal in the jury’s list of awards, for an ordinary (thirteen-key) clarinet and a bass clarinet of the ﬁrst rank or highest quality.244 A process that launched Sax’s business was the reorganization of the military bands of France. At this time, the French army bands did not hold the position of esteem that they held at the beginning of the century. With the introduction of valved brasses, reforms were taking place in military bands, particularly in the 1838 reorganization of infantry and cavalry bands’ instruments by Wilhelm Wieprecht of Prussia.245 According to Comettant, Berlioz criticized the poor quality of trumpets played by French infantry bandsmen. In addition, Sax proposed to replace the variety of instruments presently employed with those of his manufacture to improve the power and quality of sound.246 As a result, in 1845 a commission was appointed by Count de Rumigny to study the conditions of French army bands and to make recommendations to improve them. The commission consisted of six distinguished composers (Spontini, Auber, Halévy, Adolphe Adam, Onslow, and Carafa), representing the musical interests of the bands; two French colonels of regiments with traditional bands of outstanding reputations (Count Gudin and M. Riban); and two scientists (Savart and Seguier). The commission was headed by Count de Rumigny, with Kastner as secretary.247 The commission met on 25 February 1845 and after a lengthy discussion, concentrated on three questions: (1) How many players are strictly necessary for infantry and cavalry bands? (2) Which instruments, either old or new, should be adopted for these bands? (3) How many of each instrument (doubling) are necessary for a desirable sound? Carafa submitted a plan for forty-ﬁve players, including the traditional instruments of the French military band, with the addition of two valved trombones made in Sax’s system. Sax proposed a band of thirty-eight, including his bass clarinet and seventeen saxhorns made in several sizes.248 Subsequently, on 22 April 1845 a competition on a ﬁeld called the Champ de Mars was held between a wind band playing ordinary wind instruments conducted by Carafa and a band organized by Sax, all of whom played Sax instruments. Carafa’s band had forty-ﬁve players (twenty-six woodwinds, ﬁfteen brasses, four percussion); Sax’s band had thirty-eight (nine woodwinds including a bass clarinet in B, 243. “Nouvelles,” Revue et gazette musicale de Paris, 10, no. 49 (3 December 1843), 412; see http://www .saxame.org/topics/gazette/gazette1843.html; Weston, Yesterday’s clarinetists, 65. 244. See Savart, “Instruments de musique,” 1844, vol. 2, 561–562; Pontécoulant, Organographie, vol. 2, 436. 245. See Wolfgang Suppan, “Band (i), military bands,” Grove Music Online. 246. Comettant, Histoire d’un inventeur, 82–83. 247. Comettant, Histoire d’un inventeur, 94; cited by Crouch, “The contributions of Adolphe Sax,” 46–47; see Whitwell, The 19th century wind band, 77. 248. Kastner, Manuel générale, 264–266; see also Whitwell, The 19th century wind band, 77–85.

Bass, Contra Bass, and Contra Alto Clarinets 303 twenty-ﬁve brasses, four percussion). Several works were performed by both bands, and the public preferred Sax’s ensemble over Carafa’s. Three additional brass groups presented fanfares: the band of the Seventy-Fourth Line (twenty-seven players), Carafa’s band (twenty-ﬁve players), and Sax’s band (twenty-three players). Sax’s ensemble was also successful in this challenge.249 As a result, a ministerial decision on 19 August 1845 regarding the instrumentation of military bands was published in Le Moniteur de L’armée in September 1845. Infantry regiment bands were to consist of ﬁfty players using Sax’s instruments, including fourteen “omnitonique” (i.e., playable in any tonality) clarinets in B and two bass clarinets in B with upturned brass bells.250 In his 1845 Manuel général de musique militaire, Kastner describes Sax’s bass clarinet in glowing terms. In covering all of the holes with [plateau and open standing] keys, the inventor of this new system has provided space in the tube for less vibration and has achieved a perfect precision. With the use of a small key to open a hole next to the mouthpiece almost the length of a hair, the high notes are given the same speaking facility as the low. The timbre is magniﬁcent of perfect equality, and its considerable volume is due to the use of a brass bell at the end of the instrument. Those curved bells give each clarinet the ability to be very facile and are particularly appropriate in marching. All advantages are provided by adopting Adolphe Sax’s model; it is this model that is compulsory for all infantry bands.251 In 1845, Adolphe Sax met Wilhelm Wieprecht in response to the latter’s criticism of Sax’s stated priority of his inventions over several instruments designed by Wieprecht in Berlin. Interestingly, Wieprecht compares Sax’s bass clarinet with Streitwolf ’s instrument, and although praising its depth and tone volume, he thought it would be difﬁcult to play when marching. 249. Kastner, Manuel générale, 264–265, 267–268; Comettant, Histoire d’un inventeur, 105–110. Bamberg reports twenty instruments in Sax’s fanfare band; see Bamberg, “Ueber die durch das französische Kriegsministerium,” 417–419. 250. Le Moniteur de l’armée, no. 50 (10 September 1845), 2, quoted by Haine, Adolphe Sax, 104–105, 269; see also Kastner, Manuel générale, 292–293; Comettant, Histoire d’un inventeur, 148. However, there is no further evidence that Sax’s omnitonic clarinets (a costly and difﬁcult instrument to make), were manufactured for infantry regiment bands. 251. “En bouchant tous les trous par des clefs, l’inventeur du nouveau système a pu les espacer sur son tube d’après les lois de la vibration, et il est arrivé ainsi à une justesse parfaite. Au moyen d’une petite clef qui ouvre tout près du bec un trou presque capillaire, les notes aiguës sortent avec autant de failité que les graves. Le timbre est magniﬁque, d’une égalité parfaite et d’un volume considérable, par suite de l’emploi d’un pavillon de cuivre qui termine l’instrument. Ajoutons que la forme recourbée, donnée à cette clarinette, la rend d’un port très-facile et particulièrement propre à la marche. Tous ces avantages ont déterminé l’adoption du modèle d’Ad. Sax, et font que ce modèle est de rigueur pour toute l’infanterie.” Kastner, Manuel général, 376.

304 From the Clarinet d'Amour to the Contra Bass Following that, he showed me the bass clarinet, according to the Sax system. Mr. Sax himself played it with praiseworthy skill and wonderful tone. It has the construction of a B clarinet, one octave lower. The keys on all parts are like those of the Boehm ﬂute. The bore is broader than that of the Streitwolf bass clarinet. Because of this the lower tones have gained in clarity and strength: on the other hand, the high tones have lost much in comparison to those developed by Streitwolf in Göttingen. If Mr. Sax had given this instrument an easily carriable form, such as that of the bassoon or the bathyphone, it would be worthy of recommendation for military music in place of the bassoon. It produces great volume in the deep tones and is much deeper and stronger in tone quality than the bassoon; yet for military music it seems completely unusable to me, because of the pointlessly large bell, which goes to the shinbone. By the third step, the player, even if only slightly touched by the player next to him (which is possible in marching) would be in danger of falling over his instrument.252 In summary, Adolphe Sax greatly improved the bass clarinet with (1) large tone holes with corresponding key heads; (2) wide bore to create a deep and strong tone quality; (3) large ﬁnger holes covered by conveniently placed wide plateau and open standing keys; (4) the placement of the ﬁrst register key on a raised metal platform and the second register key with a small pinhole on a metal platform on the front side of the brass crook; (5) use of a large brass, rounded saddle to secure the long levers of the F/C and E/B keys; (6) redesign of a large-size mouthpiece with a socket having a brass ferrule at its end, requiring a large reed and a two-screw brass ligature; (7) redesign of key heads in a ﬂat and rounded form; and (8) inclusion of a large brass thumb rest with a ring attached to the upper end, designed for a neck strap. These design elements led to a greater resonance of sound, evenness of tone, security in blowing, security in ﬁngering, and accuracy of intonation.

252. “Hierauf legte er mir die Bass-Clarinette nach Sax’ System vor. Herr Sax blies selbst mit einer lobenswerthen Fertigkeit und schönem Ton auf derselben. Sie besißt die Construction einer B-Clarinette um eine Octave tiefer. Das Klappenwerk ist in allen Theilen dem der Böhm’schen Flöte gleich. Die Bohrung ist bedeutend weiter als die der Streitwolf ’schen Baß-Clarinette. Hierdurch hat besonders die Tiefe an Klarheit und Stärke gewonnen, dagegen die Höhe im Vergleich zu der von Streitwolf in Göttingen erfundenen bedeutend verloren. Hätte Herr Sax diesem Instrumente eine bequem tragbare Form gegeben, ungefähr die des Fagotts oder das Bathyphons, so wäre diese Baß-Clarinette statt des Fagotts bei der Militair-Musik sehr empfehlenswerth. Sie besißt Volubilität in der Tiefe und ist hier bedeutend voller und starker im Ton als das Fagott; doch für die Militair-Musik scheint sie mir völlig unbrauchbar, weit der zwecklos große Trichter bis zum Schienbein hinuntergeht; beim dritten Schritte würde der Bläser, nur im mindesten von seinem Nebenmanne berührt (was doch beim Marschiren unausbleiblich ist), in Gefahr kommen, über sein Instrument hinzustürzen.” Kalkbrenner, Wilhelm Wieprecht, 73, 94–95; trans. in Hemke, “The early history of the Saxophone,” 115.

Bass, Contra Bass, and Contra Alto Clarinets 305 In 1846, Sax’s bass clarinets were used in the orchestra of the Société Philharmonique and the Société Royale de la Grande Harmonie, both in Brussels.253 Berlioz published two letters of his musical travels in Bohemia. In the ﬁrst letter, he mentions that Sax’s bass clarinet is being taught at the Prague Conservatory.254 Returning to the Paris Exhibition in 1849, Sax received a gold medal for ten brass instruments and the highest award given for woodwinds, a “Mention pour mémoire” for “ordinary clarinets and a bass clarinet remarkable for their tone quality and accuracy of intonation.”255 Sax was one of eight manufacturers to be awarded the council medal (highest award) at London’s 1851 musical instrument exhibition.256 He presented a family of saxhorns, saxophones, and woodwinds, including three different clarinets, a B bass clarinet, and an E contra alto clarinet made of gilded silver.257 Four years later, at the 1855 Paris Exposition, Sax and Theobald Boehm were both awarded the top prize, the medal of honor.258 Sax presented a collection of wind instruments, undoubtedly similar to those exhibited in 1851.259 The question is why are there so few extant bass clarinets by Adolphe Sax? Their scarcity is most likely due to their high price of 200 francs, documented in a price list of around 1845, higher than any other instrument offered by Sax except a (bass) saxophone, listed at 300 francs.260 Sax’s work as a maker was mainly devoted to building and promoting saxophones and three distinct types of brass instruments: saxhorns, saxotrombas, and saxtubas. He also worked to improve timpani and bells and served as director and sometimes conductor of the Paris Opéra banda from 1847 to 1892.261 These activities left little time to promote his woodwind instruments. Also, Sax was involved in many court proceedings and entered instruments in many international exhibitions. All of these activities no doubt limited his time to produce and sell woodwinds. Sax continued to offer a bass clarinet with a straight bell in his 1850 handbill and 1867 prospectus.262 253. Annuaire dramatique pour 1846, 158; cited in Haine, Adolphe Sax, 49. 254. Berlioz, “Musikalische Reise in Böhmen,” 681. 255. Pontécoulant, Organographie, vol. 2, 465–466. 256. Musical instruments in the 1851 exhibition, 104. 257. Fétis, “Exposition Universelle de Londres, treizième letter,” Revue gazette musicale de Paris 18 no. 48 (1851), 386 quoted by Haine, Adolphe Sax, 146. 258. Fétis, Exposition universelle de Paris, 11. 259. Sax continued to exhibit his wind instruments at the International Exhibition of London in 1862, the Exposition of the Société des Beaux-Arts in 1863, the International Exposition at Bayonne of 1864, the International Exposition at Porto, Portugal in 1866, and the International Exposition at Paris in 1867. At all of these expositions, he won either grand or ﬁrst prizes. See Haine, Adolphe Sax, 152–160. 260. See the “Nouveaux Prix Courant Général aux Instruments en Cuivre et en Bois de la Manufacture d’Adolphe Sax et Co.,” reproduced in Haine, Adolphe Sax, 58. 261. De Keyser, “Adolphe Sax and the Paris Opéra,” 133, 138. 262. See Horwood, Adophe Sax, 78 (1867, undated), 128 (prospectus dated 2nd February 1850), 151 (handbill about 1850); Haine and De Keyser, “Catalogue des instruments Sax au Musée Instrumentale de Bruxelles,” 1867 Prospectus.

306 From the Clarinet d'Amour to the Contra Bass

Skorra In 1838, Carl Eduard Simon Skorra (1807–after 1865) established his woodwind factory in Berlin. He supplied woodwinds to the Royal Opera and applied for an appointment as a court maker, which was subsequently granted. He was later appointed Academische Künstler (academy artist) and marked his instruments with this title (see Skorra’s contra bass clarinet later). Skorra’s bass clarinet (D-Leipzig, 1542, ca. 1840) is stained maple with ivory. It has ﬁve sections: mouthpiece (missing), long brass crook, two ﬁnger hole sections, and a straight wooden bell. It has thirteen keys with square key heads and two plateau keys attached to square key heads for L3 and R1.263

Darche Darche or Darché, a Paris woodwind and brass maker, was active from 1830 to 1865. In 1845, he was signatory of a letter to the War Ministry protesting the work of Adolphe Sax. In 1846, his ﬁrm was called Darche-Colin, and he manufactured only percussion instruments and ship’s sirens.264 Darche made a copy of Sax’s bass clarinet about 1845. A Darche bass clarinet (S-Stockholm, M111, ca. 1845) is made of wood with brass ferrules. It is in ﬁve sections: mouthpiece, brass crook, left- and right-hand sections, and straight brass bell. There are fourteen keys and Sax’s shape of seven wide plateau keys; it makes use of pillar mounting instead of Sax’s large, rounded brass saddle for F/C and E/B keys, and it is lacking the A-B trill key. The highest register key is placed on the outside of the crook.265 This instrument is marked “Darché, Breveté fournisseur des Théâtres à Paris.”266

Johann Tobias Uhlmann Johann Tobias Uhlmann (1776–1838) founded his woodwind-making company in 1811 in Vienna. 1n 1833, he was joined by his sons Jacob and Leopold, who continued the company until 1848.267 A Sax-inspired straight bass clarinet (GB-Edinburgh, 4818, Ex Shackleton, ca. 1845) has brown stained wood, possibly maple, and nickel silver crook, ferrules, and keys. There are thirteen pillar and post mounted keys for S, A-B, A, G, f/c, E/B, C/G, B/F, an alternate B/F used with R1, A/E, F/C,

263. Kinsky, Kleiner Katalog, 173; for a description and photo, see Kalina, “The structural development of the bass clarinet,” 144, 148, ﬁg. 63, 149. 264. NLI, 80–81. 265. For a description and photo, see, Kalina, “The structural development of the bass clarinet,” 129, 132, ﬁg. 51. 266. Svanberg, Musikhistorisk Museets i Stockholm, 11. 267. Hopfner, Wiener Musikinstrumentenmacher 1766–1900, 519–520.

Bass, Contra Bass, and Contra Alto Clarinets 307 F/C, and E/B. There are plateau keys for L3, R1, and R3 and a ring key for R2. The instrument is stamped “I.T. UHLMANN/WIEN” on the upper section, covered by a wide metal sleeve and a stamp of “(ﬂower)/W.CARD/MAKER/LONDON.” Thus, it is possible that William Card (1788–1861), who was mainly a dealer, contributed to the construction of this instrument.268

Dupré Pierre Paul Ghislain Joseph Dupré (1790–1862) of Tournai, self-taught as a woodwind maker, was active from 1820 to the 1850s. His earliest success was attained with walking-stick ﬂutes at trade exhibitions, and during the 1820s he invented a keyed trumpet in wood and a kind of wooden ophicleide called a Tuba-Dupré.269 An unmarked B bass clarinet (B-Bruxelles, M2602, ca. 1850) of boxwood with brass ferrules attributed by Snoeck to Dupré is clearly a copy of Sax’s bass clarinet.270 It has ﬁve sections: mouthpiece (dark wood), brass crook, left- and right-hand boxwood sections, and straight brass bell. There are thirteen keys, including a second register key positioned on the front of the crook, and seven wide plateau keys. Perhaps to avoid Sax’s patent protection there are some differences in the design of the keys: in the placement of the A touch and keyhead, the placement of the f/c key for L1, the placement of the E/B key, and use of a pillar mounting rather than a rounded brass saddle for the F/C and E/B keys.271

Buffet-Crampon In 1836, Jean-Louis Buffet established his woodwind ﬁrm in Paris. By 1844 he adopted a hyphenated name using his wife’s last name, Crampon, in order to distinguish his company from that headed by Louis-Auguste Buffet, his uncle and rival. In 1850, Buffet-Crampon opened a second workshop with his brother Louis Buffet and F. Tournier in Mantes. In 1855, Louis was replaced by Goumas, and in 1859 when Tournier left, the ﬁrm Buffet-Crampon & Cie was formed.272 This company ﬂourished to become an important and large producer of woodwinds during the nineteenth century and a dominant company through the twentieth century. A clarinet-shaped bass clarinet (D-Nürnberg, MIR 478, ca. 1850) by Buffet-Crampon is constructed of boxwood in four sections: mouthpiece, brass crook, body, and large, upright brass bell. There are twelve keys mounted on rods and axels: two

268. Cf. the photo and description in Shackleton Collection, 729. 269. NLI, 98. 270. Snoeck, Catalogue de la collection d’instruments de musique ﬂamands et néerlandais, 43, no. 291; Mahillon, Catalogue descriptif, vol. 4, 357, no. 2602; Tilmans, “Catalogue des instruments Dupré,” 9. 271. I thank Ignace de Keyser for photos of this bass clarinet. 272. See NLI, 49–50.

308 From the Clarinet d'Amour to the Contra Bass speaker keys for LT (the second speaker has a small key head positioned on the dorsal side of the neck), A, G, f/c, E/B, C/G, B/F, A/E, F/C, F/C, and E/B.273 In addition, there are seven plateau keys for T1, L1, L2, L3, R1, R2, and R3, including a passive coupling system betweet L1 and L2 and R2 and R3. The plateau keys for R1 and R5 provide resonance keys and an excellent venting system.274 The bore is quite wide at 32 mm. The inﬂuence of Sax’s design is evident in the use of large plateau keys, lack of an A-B trill key, brass crook, and upward-pointing brass bell. The stamp is “(lyre)/BUFFET/Crampon/A PARIS (within an oval)/BC (monogram).”275 A second Buffet-Crampon bass clarinet (DK-København, 498, ca. 1850) is identical to the Nuremberg instrument in its keywork and large brass bell but has a long, S-shaped brass crook with both register key heads mounted on it.276 A third Buffet-Crampon bass clarinet (US-MI-Ann Arbor, 638, ca. 1859) is constructed of stained maple in four sections: mouthpiece, brass crook, body, and upright brass bell. It is similar to the Nuremberg example without resonance keys but with some differences in the shape of the touches for C/G, A/E, and F/C and in the position of the touches and key heads for F/C and E/B.277 It can be dated to 1859 or afterwards because the maker’s stamp reﬂects the change in ownership that year: “(lyre)/BUFFET/Crampon & Cie/A PARIS (within an oval)/BC (monogram).”278 In Paris, Louis-Auguste Buffet included a Boehm system bass clarinet at the 1855 exhibition that was favorably received and given a ﬁrst-class medal.279 It is not certain when Buffet-Crampon ﬁrst offered a Boehm system bass clarinet, but it was probably during the late 1850s or early 1860s after L. A. Buffet’s success at the 1855 exhibition. It appears that from this time on, Boehm system bass clarinets slowly became more popular among professionals in Paris than Sax’s fourteen key bass clarinet.

Anonymous Wiens reports an anonymous German-made instrument (D-Goch) as a basse tube, suggesting an appearance similar to a bass clarinet presumed to be by Gilles Lot.280 273. The author has not counted the six plateau keys as separate keys; Van der Meer counted the plateau keys for a total of nineteen keys, “The typology,” 85. 274. See Van der Meer, “The typology,” 83, 85; for a photo, see 84; Bär, Verzeichnis, Band 6, 241–247. 275. Bär, Verzeichnis, Band 6, 245. 276. Photos in Claudius, Carl Claudius’ Samling af gamle Musikinstrumenter, 297; Kalina, “The structural development of the bass clarinet,” 128, ﬁg. 48. 277. See Borders, European and American wind and percussion instruments, 45; photo in Kalina, “The structural development of the bass clarinet,” 130, ﬁg. 49. I thank Christopher Dempsey for sending photos. 278. NLI, 49. A thirteen-key Buffet Crampon bass has an A-B key (F-Nice, C131, ca. 1850). 279. Pontécoulant, Organographie, vol. 2, 538. 280. Wiens, “Eine ‘Basse-tube,’ ” 124–125.

Bass, Contra Bass, and Contra Alto Clarinets 309 However, the instrument in Goch was made about 1860 or later. Its straight wooden body is stained black and has brass ferrules. There are six sections: small mouthpiece, curved wooden barrel, two ﬁnger holes sections, stock, and straight bell (missing). There are twelve keys with ﬂat, round key heads: S, A, G, f/c, E/B (missing), C/G (missing, the tone hole was ﬁlled), B/F, A/E, F/C, F/C, E/B, and E (for L4); and three open standing keys are for L3, R2, and R3. The upper section of the right hand joint and the ﬁnger hole for R1 has been cut off.281 The instrument is unusual for its curved barrel (more commonly found on alto clarinets and basset horns), rather clumsy-looking open standing keys covering three ﬁnger holes, and a low E covering a tone hole in the bell. Without the bell (sketched in Wiens’s article), its total length, estimated by a ruler in one of the photos, is about 100 cm, probably meant to be in C. There is a ring on the dorsal side for a strap. This instrument appears to be either experimental or made by an amateur. Straight Shape with Butt Joint During the 1840s and 1850s, some makers combined the popular straight-shaped bass clarinet of Buffet and Sax with a butt joint. These instruments were made because of their smaller size and portability. However, they could not compete with larger more powerful instruments made later in the century.

Buffet, Louis-Auguste A straight-shaped bass clarinet (ca. 1850) with a butt joint by L. A. Buffet from the De Lery collection sold at a Hotel Drouot auction in 1910. It combines a straight tube with a short butt joint and a forward-pointing brass bell. A curved brass neck with mouthpiece is inserted into the top of the butt joint. The butt joint includes the mechanism and keys for the right hand: two rings for R1 and R2, a B/F mechanism, and a plateau key for R3; its lowest note is E.282 Another unmarked example (F-Paris-K) dated 1847 is quite similar to the Buffet example. It includes thirteen keys, four plateau keys, and two rings.283 281. I thank Thomas Reil for obtaining the photos of this instrument from the Heimatmuseum in Goch; the accession number is not known. A sketch of the instrument appears in Wiens, “Eine ‘Bassetube,’” 125. 282. Lery, Catalogue des anciens instruments, pl. 1, no. 114; Kalina “The structural development of the bass clarinet,” 64, ﬁg. 29. 283. For a description and photo see Kampmann, Catalogue, 65, 121. Some later examples of bass clarinets with butt joints are: photos of one by Georg Ottensteiner dated 1869; by Douglas and Son, Glasgow (ca. 1870, GB-Edinburgh, 96); one offered by the dealer, Otto Liebmann of Klingenthal in about 1890; and an example by Schediva of Odessa (GB-Edinburgh, 4819, 1900–1918). See Dullat, Klarinetten, 93–95; Myers, Historic musical instruments in the Edinburgh University collection, 103, description in Fricke, Historic musical instruments in the Edinburgh University collection, 118; Hoeprich, The Clarinet, 268; Shackleton Collection, 737.

310 From the Clarinet d'Amour to the Contra Bass Mid-Nineteenth-Century Makers

Glier Carl Friedrich Glier (1802–1876) was active in Klingenthal as a brass instrument maker and dealer beginning in 1824.284 He exhibited a bass clarinet at the 1840 Saxon Exhibition. According to the description in the exhibition report, it possessed a marvelous low register, but its shape is not described.285 Unfortunately, the instrument is not extant but may have been made in a bassoon or ophicleide shape used by contemporary makers. This maker is probably the same Glier who was active in Untersachsenberg, Germany, during the mid-nineteenth century and was probably related to Johann Wilhelm Rudolph Glier (1793–1873) of Klingenthal.286 In Germany by about 1845, bass clarinets pitched in A were being manufactured, but it is uncertain who was the earliest to construct them.287 They were ﬁrst required by Wagner in Lohengrin (1848). In fact, in an early-twentieth-century book, Daubeny called this bass clarinet “Wagner bass in A,” derived from Wagner’s outstanding and well-known use of the instrument.288 In 1854, Richard Porteous includes the earliest description of a bass clarinet in A as: “A Bass Clarionet. This is an instrument commonly used in Germany, and stands [sounds] an octave lower than the A clarionet.” Porteous also gives a compass of e to c4, suggesting that he knew French-made clarinets, rather than bassoonshaped German or Italian instruments with a lowest note of C or BB.289

Felchlin Josef Karl (Charles) Anton Felchlin worked with his father, Caspar Felchlin, in Bern and Schwyz, Switzerland from the 1820s. In 1836, he established his woodwindmaking ﬁrm in Bern, producing ﬂutes, clarinets, basset horns, and bassoons.290

284. Weller, Der Blasinstrumentenbau, 187–188. 285. Bericht über die Austellung, 88. 286. See NLI, 137. 287. Candidates for the maker of the earliest A bass clarinet are Stengel from Bayreuth, Gebrüder Alexander in Mainz, and Beck in Weimar. Nechwalsky in Vienna was offering bass clarinets in A, B or C in an addition to his bass clarinet patent dated 3 October 1853. Examples of extant bass clarinets in A include a seventeen-key example by Karl Stecher of Vienna (A-Wien, N.E. 345, ca. 1890) with a brass bell pointing forward and a nineteen-key example by C. W. Moritz (D-Berlin, 4438, ca. 1900) with a straight wooden bell. See Schlosser, Die Sammlung alter Musikinstrumente, 126 and Tafel LIV; Dullat, Klarinetten, 93, 182, Abb. 114; Restle and Fricke, Faszination Klarinette, 106. 288. Daubeny, Orchestral wind instruments, 59. In 1873 and 1874, Nicholas Rimsky-Korsakov wrote in his important and inﬂuential orchestration treatise that bass clarinets in A and B were played in the orchestra; see Rimsky-Korsakov, Principles of orchestration, 17. 289. Porteous, The composer’s musical atlas. Later in the century, Kietzer (1891) provided a ﬁngering chart for a straight-body German system fourteen-key bass clarinets in A, B, or C with a compass of E to a4 in his Clarinetten-Schule. 290. NLI, 113.

Bass, Contra Bass, and Contra Alto Clarinets 311 At the London Exhibition of 1851, Felchlin exhibited a bass clarinet “of improved construction, made of boxwood, inlaid with ivory, having seventeen brass keys, the nib [mouthpiece] of grenadille wood the binding plated.”291 It is possible that his bass clarinet was made in a bassoon form, but no example has been found.

Nechwalsky Anton Nechwalsky worked as a woodwind maker in Vienna from 1836 to 1868. He obtained an Austrian patent (22 July 1853) that speciﬁes two designs for a bass clarinet. The ﬁrst is similar in concept to Sax’s straight bass clarinet with ﬁve sections: mouthpiece, large curved crook, left- and right-hand joints, and upturned bell placed closed to the body. It has seventeen keys, including a water key (a key used for emptying excess saliva). The text of the patent states that the instrument is in B and the drawing indicates keys for low D, C, C, and BB mounted on the back and front of the brass bell. An addition to the patent on 3 October 1853 states that Nechwalsky makes these instruments in A, B, and C.292 A seventeen key B bass clarinet (US-DC-Washington-S, 65.0613, ca. 1853) of Nechwalsky’s ﬁrst design is made of stained maple with brass ferrules and closely resembles the patent drawing. According to Kalina, the instrument has saddle mounted nickel-silver keys with the two lowest notes of E/B and D positioned for RT.293 The upturned bell model on the bass clarinet became more common in France, England, and Austria after the midnineteenth century. Nechwalsky’s second design is described later in the ophicleide shaped section.

Stengel Johann Simon Stengel (1803–1885) of Bayreuth apprenticed to his father, Johann Samuel Stengel (1771–1826), and became a journeyman in 1821. In 1827, the AMZ presented a testimonial to his excellence as a woodwind maker. By the 1860s, Stengel’s workshop was designated a factory with a workforce of ﬁve or six, exporting to Italy, Russia, and Egypt.294 Stengel made several bass clarinets in bassoon form and by the 1880s a straight model similar to Sax’s design but with a wooden bell.295 291. Ofﬁcial descriptive and illustrated catalogue, vol. 3, 1272, no. 80. M. Schuster (Markneukirchen) also exhibited a bass clarinet; see Musical instruments in the 1851 exhibition, 65, 70. 292. The patent drawings from the Technische Universität in Vienna are reproduced and the text transcribed in Dullat, Klarinetten, 92–93, 145, Abb. 49; see also NLI, 279. 293. For a photo, see Dullat, Klarinetten, 92, Abb. 48; for a photo of three different views, see Kalina, “The structural develoment of the bass clarinet,” 159, 161–162. 294. NLI, 386; see Dullat’s review of this important workshop, Klarinetten, 222–226. 295. For a description and photos of a straight Stengel twelve-key bass clarinet (D-Halle, NS-404, ca. 1880) with four plateau keys and three rings, see Heyde, Katalog zu den Sammlungen, 232–233. For a straight Stengel ﬁfteen-key bass clarinet (GB-Edinburgh, 4932, ca. 1880) with four plateau keys and three rings, see Shackleton Collection, 736.

312

From the Clarinet d'Amour to the Contra Bass

A Stengel bassoon-shaped example (B-Bruxelles, 943, ca. 1855) in C is wood stained black with brass ferrules. It has six sections: mouthpiece (dark wood), large brass crook, wing joint, butt, long joint, and brass bell pointing upward at a slight angle. It has ﬁfteen keys: two S (LT), A, G (crossing over A), E/B, C/G, B/F, A/E, F/C, F/C, E/B, D(RT), and C, BB, and BB for LT. The touches of the last three are placed adjacent to each other so they may be depressed together. There are open ﬁnger holes for the left ﬁngers, an open ﬁnger hole for R1, two plateau keys for R2 and R3, and a water key with a key head at the bottom right side of the U-bend in the butt joint.296 A very similar Stengel bassoon-shaped bass clarinet (I-Firenze, 161, ca. 1855) has ﬁfteen keys, two plateau keys for R2, and R3, and a water key with a key head at the bottom right side of the U-bend in the butt joint.297 An example (D-Nürnberg, MIR 479, 1860–1866) in C is boxwood stained black with nickel silver ferrules. It has seven sections: mouthpiece (hardwood), barrel, knee joint, wing joint, butt, long joint, and nickel silver bell pointing upward at a slight angle. There are eighteen keys, including two register keys, both keyheads placed on the front side of a knee joint below the barrel, and A-B, f/c, and B/F keys. There are ﬁnger holes for L1, L2, R1, and R2, and open standing keys for L3 and R3. For the right thumb there is an alternate key for F/C and one for D. The left thumb has the extension keys for C, BB, and BB in a similar arrangement to the earlier examples. The mechanism includes three resonance keyheads close to the main keyheads which open to correct intonation for E/B, B/F, and D.298 Fischer suggests that the use of two register keys reﬂects the inﬂuence of Sax’s 1838 bass clarinet.299

Roth Jean Chrétien Roth was successor to the Bühner and Keller ﬁrm in Strasbourg. He worked from 1844 to 1881. He exhibited a bass clarinet without holes (san trous)— that is, with plateau keys—at the 1855 Paris Exhibition. Unfortunately, this instrument has not been found, and nothing more is known of it.300 296. For a description see Mahillon, Catalogue descriptif, vol. 2, 223–224; description and photo in Kalina, “The structural development of the bass clarinet,” 137–138. 297. Technical drawings with measurements are given by Gai, Gli strumenti musicali della corte Medicea e il museo del conservatorio, 223–225; photo in Antichi strumenti: dalla raccolta dei Medici e dei Lorena alla formazione del Museo del Conservatorio di Firenze, 114; description in Kalina, “The structural development of the bass clarinet,” 137. 298. Bär, Verzeichnis, Band 6, 249, 251, see especially the schematic key drawing, 254; Van der Meer, “The typology and history of the bass clarinet,” 72, 75; photos, 74, ﬁgs. 4a–4b. 299. Rita Fischer, “Die Holzblasinstrumentenmacher Stengel in Bayreuth (1805–1902). Ein Beitrag zum deutschen Holzblasinstrumentenbau des 19. Jahrhunderts.” Archiv für Geschichte von Oberfranken 64 (1984): 341–427, cited by Van der Meer, “The typology and history of the bass clarinet,” 72. 300. See Jonák, Bericht über die Allgemeine Agricultur- und Industrie-Ausstellung, vol. 3, 43; NLI, 336.

Bass, Contra Bass, and Contra Alto Clarinets 313

Seidel The Mainz maker Josef Franz Seidel (1806–1872) established his woodwind and brass manufactory in 1846, and it continued production until 1869. He was appointed a court maker at Hesse-Darmstadt and also made alto clarinets and basset horns.301 A B bassoon-shaped bass clarinet (D-Leipzig, 1541, ca. 1855) with eighteen keys is constructed in six sections: mouthpiece, brass crook, wing joint, butt, long joint, and brass bell (missing). Finger holes L1, L2, L3, R1, and R2 are open; one key for R3 and F/C are connected by a rod through the body closing two keyheads on the dorsal side. E, D, and C are closed by RT; C, BB, and BB are closed by by LT. Some of the connecting levers, touches, and brass bell are missing.302 Seidel’s bass clarinet is very similar to Streitwolf ’s and the next bass clarinet by Beck.

Beck Wilhelm Christian Beck (1820–1866) began making brass instruments in Creuzberg about 1850 and moved to Weimar about 1853. At the 1854 Munich Exhibition, he exhibited a number of brass instruments and in 1857 was appointed court maker to the Grand Duke of Saxony in Weimar. Here he made both brass instruments and woodwinds to supply the grand ducal regiment band.303 Beck made a B bassoonshaped bass clarinet (D-Leipzig, 1540, ca. 1855) similar to the Seidel bass clarinet, constructed in six sections, with seventeen keys (D-Leipzig, 1540, ca. 1855). Finger holes L1, L2, L3, R1, and R2 are open; the open standing key for R3 is operated by a lever. E, D, and C are closed by RT; C, BB, and BB are closed by by LT. It is stamped “W. Beck in Weimar” and engraved on the bell garland “Grossherz. Sächs. Instrumenten-Macher 94. L.A.”304 A plaque on the instrument is marked “94th Infantry Regiment, Grand Duke’s 1st Battalion, Saxony.”305

Berthold Georg Jakob Berthold (1824–1906) of Speyer was an apprentice to Johann Simon Stengel of Bayreuth from 1843 to 1846; he subsequently worked in Paris, Munich, and Vienna before establishing his ﬁrm in 1849. There are three bassoon-shaped bass clarinets known. 301. NLI, 369. 302. Kinsky, Kleiner Katalog, 173; for a photo, see Kalina, “The structural development of the bass clarinet,” 139, 142, ﬁg. 58. 303. NLI, 25; Katalog der allgemeinen deutschen Industrie-Austtelung, 210, no. 6287. 304. Wit, Katalog des Musikhistorischen Museums, 132. 305. Quoted by Herbert Heyde in Kalina, “The structural development of the bass clarinet,” 144. For a description, see Kinsky, Kleiner Katalog, 173; for a description and photo, see Kalina, “The structural development of the bass clarinet,” 139, 143, ﬁg. 59, 144.

314 From the Clarinet d'Amour to the Contra Bass The ﬁrst is a B bassoon shape bass clarinet (D-München-DM, 14103, ca. 1860) of maple with brass ferrules. It has six sections: mouthpiece, brass crook, left-hand section (wing joint), butt, right-hand section (bass joint), and a brass bell pointing outward toward the audience. The left-hand section includes a plateau key for the thumb and large open ﬁnger holes, the ﬁrst two holes bored upward and the third bored downward. The right-hand section has three plateau keys covering the ﬁnger holes. There are seventeen pillar-mounted brass keys: two S, A, G (crossing over A), f/c, f/c, E/B, C/G, B/F, A/E, F/C, F/C, E/B, E, D, C, and C. There are plateau keys for R1, R2, and R3, and small rollers on the touches of the F/C and E/B keys.306 A second B bass clarinet by Berthold (D-Göttingen-U, 532) is made of African black wood with brass ferrules. It appears to be very similar to the example in Munich, with some differences in the placement of the f/c and E/B keys and the lack of rollers on the touches of the F/C and E/B keys.307 A third bass clarinet (D-Michaelstein, SM 162) appears similar to these two with seventeen keys and three plateau keys.308 Ophicleide Shape Ophicleide-shaped bass clarinets have wooden or brass bodies with a mouthpiece, brass crook, two body sections connected at the lower end by a U-shaped brass section, and upright brass bell. The U-shaped section is striking in appearance and provides an obvious characteristic for identiﬁcation. The position of the mouthpiece is directly across, or lower than, the top of the bell. Instruments by Widemann, Buffet, and Martin Frères have wooden bodies with plateau keys on the left tube for the left hand and plateau and open standing keys on the right tube for the right hand. Instruments by Kruspe and Losschmidt have brass bodies and all the plateau keys on the left-hand tube for the ﬁngers of both hands. These are the major construction differences between this shape and bassoon-shaped bass clarinets. Ophicleide-shaped bass clarinets were initially made beginning in the 1840s and carry mechanisms similar to those found on contemporary bassoon-shaped bass clarinets.

Widemann Widemann (ﬂ. 1836–1850) was a clarinet maker in Paris. His ophicleide-shaped B bass clarinet (D-Bochum, SGK 47) is made of rosewood with brass ferrules and 306. See Seifers, Die Blasinstrumente im Deutschen Museum, 88, and the photo on 89. A very similar design to this bass clarinet was made by Johann Mollenhauer in Fulda about 1870; for a photo of a privately owned Mollenhauer bass clarinet, see Dullat, Klarinetten, 200, Abb. 129; for a dated announcement, 28 February 1870, of the same clarinet in an engraving, see 201, Abb. 130. The author studied the Berhold bass clarinet in 2005. 307. See the description and photo in Kalina, “The structural development of the bass clarinet,” 146, ﬁg. 61; Brenner, Erlesene Musikinstrumente, 22–23. 308. See the photo on their Web site, http://www.kloster-michaelstein.de/ﬁndex.htm.

Bass, Contra Bass, and Contra Alto Clarinets 315 keys. It has six sections: mouthpiece, brass crook, left-hand section, brass U-bend, right-hand section, and upward-pointing brass bell. There are thirteen brass pillarmounted keys and seven plateau keys. Only the large plateau key for R2 covers the ﬁnger hole directly; the other six plateau keys open or close key heads that are connected by long pillar-and-rod mountings to large key heads on the back and front of the left and right tubes.309 To provide security when ﬁngering, the plateau keys are dished or depressed, a design previously used by Adolphe Sax on the plateau keys of his straight-shaped bass clarinet. Widemann’s ingenious mechanism has the three lowest keyheads for E/B, D, and C placed on upper sections of the right-hand joint, connected to touches by long levers. There are thirteen keys for: two S (LT), A, G, E/B (L3), C/G (L3, third touch), B/F (R1), B/F (R3), A/E (R4), F/C (R4), E/B (R4), D (L1 ﬁrst touch), and C (L1 second touch). The crook is built to accept a mouthpiece with a socket, probably copied from Sax’s bass clarinet. On the lower part of the crook, there is an open rectangular base for insertion of a metal music lyre to use when marching. This example is stamped “1847” on the lower back.310 It is difﬁcult to establish a priority for the introduction of this bass clarinet design; however, Widemann was probably the ﬁrst to produce and sell ophicleideshaped bass clarinets with wooden bodies evidently intended for military and civilian bands. Soullier, in his 1855 musical dictionary, describes his bass clarinet as the “Système Widmann” and compares it with a straight-body thirteen- or fourteenkey instrument called “Clarinette a bec recourbé (Système Sax).” He also provides a fairly accurate engraving of Widemann’s ophicleide-shaped bass clarinet while incorrectly describing eleven keys.311 Carse attributes an unmarked bass clarinet (GB-London-H, 14.5.47/301, ca. 1850) very similar to the Bochum instrument to Widemann.312

L. A. Buffet An ophicleide-shaped B bass clarinet (US-MI-Ann Arbor, 635, ca. 1850) by Louis Auguste Buffet is stained maple with brass ferrules and keys. The similarity between Widemann’s bass clarinet and Buffet’s is remarkable; the only differences are in the 309. Ahrens and Klinke did not distinguish between plateau keys and the keys of the clarinet mechanism; see Musikinstrumentensammlung Hans und Hede Grumbt, 57–58; photo on 58. This instrument was studied by me in 2005. 310. Another almost identical example (D-Berlin, 2902) by Widemann was destroyed during World War II; for a description and photo, see Sachs, Sammlung alter Muskinstrumente, 300, pl. 29. This bass clarinet was previously owned by Césare Snoeck of Ghent, Belgium, and was exhibited in London at the Royal Military Exhibition; see Snoeck, Catalogue de la collection d’instruments de musique anciens ou curieux, 170–171; Day, A descriptive catalog, 124. 311. Soullier, Nouveau dictionnaire, 65. 312. Carse, The Adam Carse collection, 51; a photo is in Ridley, Wind instruments of European art music, pl. 12, no. 58; Kalina, “The structural development of the bass clarinet,” 133, 135, ﬁg. 53.

316

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length and placement of a few key touches and the placement of a G keyhead on the left hand joint of the Buffet bass clarinet. However, since there is a key touch for G on the side of the left hand joint it seems likely that a g1 can be played, probably by using the lower part of the index ﬁnger. It has six sections: mouthpiece, brass crook, left-hand section, brass U-bend, right-hand section, and brass bell. There are twelve pillar-mounted keys with long rods and seven plateau keys, including two register keys and one plateau key for the left thumb on the back side.313 The plateau keys include a depression to help in securely ﬁngering the instrument. The two lowest keyheads for D and C are placed on the upper section of the right-hand joint connected to L4 touches by long levers. There is a large brass ring on the back of the left-hand section and a smaller loop on the back of the right-hand section for a strap. Brass guards are placed above the two lowest key heads for added protection. (web photos The instrument is stamped “A. BUFFET/JNE/PARIS/BRÉVETÉ”314 22–23). Soullier (1855) mentions in his article on the ophicleide that Auguste Buffet makes an instrument, a bass clarinet with a clarinet mouthpiece that is known as a bathyphone.315 His engraving of Buffet’s bass clarinet is not as accurate as the engraving of Widemann’s instrument, but it is sufﬁciently close to identify it with this Buffet bassoon-shaped bass clarinet.

Martin Frères The ﬁrm of Martin Frères (Martin Brothers) was established in La Couture about 1840 by the brothers Jean-Baptiste Martin (1817–1877), Claude Eugène Martin (1819– 1874), and Félix Martin (1821–1896).316 They also made ophicleide-shaped bass clarinets similar to those by L. A. Buffet. The example (F-Paris, E.1154, ca. 1850) is maple with brass ferrules and keys. It is made in six sections like the previous examples, but the brass crook is positioned upward at a slight angle, there is a silver-plated brass mouthpiece by Trièbert, and the bell, a plateau key, and a key head are missing. There are twelve keys with missing levers and seven plateau keys, including a long second register key with its key head mounted in the brass ferrule. Differences in construction are minor. The key design on the front of instrument is practically identical to the Buffet instrument, three key heads are placed on the back of the 313. For a description and photo, see Borders, European and American wind and percussion instruments, 44. I thank Christopher Dempsey for sending photos of this instrument. For a photo of an unstamped example (F-Estissac) attributed to L. A. Buffet, see Dullat, Klarinetten, 85, Abb. 44; for a description and photo, see Larigot 39 (June 2007), 31. 314. Borders, European and American wind and percussion instruments, 44; NLI, 50. 315. “Il existe un heureux perfectionnement de l’ophicléide dans un nouvel instrument connu sous le nom de batyphone. On en trouve un beau modèle chez M. Auguste Buffet, facteur d’instruments à Paris.” See, Soullier, Nouveau dictionnaire, 212. 316. NLI, 253.

Bass, Contra Bass, and Contra Alto Clarinets 317 left-hand section rather than the front, and one key head is placed on the back rather than the front of the U-bend. Like the example by Buffet, this instrument includes a large ring on the back of the right-hand joint and a small ring on the top of this joint for a strap. There is also the base of a screw-in music lyre attached to the lower end of the crook, used for marching.317

Bimboni Clarinetist, teacher, and inventor Giovanni Bimboni (1813–1893) of Florence designed an ophicleide-shaped bass clarinet about 1849 called a bimbonclaro. Giovanni’s brother Giovacchino Bimboni (1810–1895) is known for the invention of a contra bass ophicleide (or vertical trombone) with seven rotary valves called the bimbonifono. Since their father, Gaetano (ﬂ. 1820), was a woodwind maker, it is possible that Giovanni worked with Giovacchino to make this bass clarinet.318 Tosoroni provides a description of this instrument in his 1850 instrument treatise. This instrument is of extraordinary interest. It replaces the old clarinet with a new form and perfection, and it is taken care of by the esteemed professor of clarinet and maker of instruments Mr. Giovanni Bimboni of Florence. He has completed, as you will see, in one [instrument] a large extension [of notes]. Its voice is truly a singing voice, loud in the lowest notes, and sweet in the highest. It is pitched in B and sounds an octave lower than a clarinet of this pitch. One reads [the music] in the treble clef but it is sometimes written in the tenor clef. The sound is good throughout its compass particularly for this clarinet.319 An anonymous example is attributed to the Bimboni brothers and identiﬁed as a bimbonclaro (D-Nürnberg, MIR 482, ca. 1850). This instrument is brass and sheet iron varnished black. It is made of four sections: mouthpiece (ebonite, stamped Heckel), brass crook, body in twelve soldered pieces including two metal tubes joined at the bottom by a U-shaped brass section, and a large brass bell pointing forward, the top of which is level with the mouthpiece. There are sixteen keys, ﬁve open standing keys with ﬂat, round touches connected by rods and pillars, and one ring 317. Description and photo in Kalina, “The structural development of the bass clarinet,” 133, 136, ﬁg. 54, 137; Musée de la Musique, http://mediatheque.cite-musique.fr. 318. See NLI, 33; cf. Onerati and Carreras, “I Bimboni, costruttori di strumenti a ﬁato,” 44–46. 319. “Questo strumento è di un interesse straordinario; Esso rimpiazza l’antico Clarone, ma con nuova forma e perfezionamento, e ciò a cura dell’ Esimio Professore di Clarinetto e Fabbricante di strumenti SIG. GIOVANNI BIMBONI di Firenze. Egli lo ha reso, come si vede, di una più grande estensione. La sua voce è veramente umana nel canto, forte nel grave, e dolce nell’ acuto. Esso è tagliato in Sib. La sua intonazione è di un ottava più bassa del Clarinetto in questo tono. Legge in chiave di Violino, e riesce scritto in chiave di Tenore. Suona bene in tutti i toni e relativi appartenenti a questo Clarinetto.” Tosoroni, Trattato pratico, 27.

318 From the Clarinet d'Amour to the Contra Bass for R2 that ingeniously reproduces the usual ﬁngering of a thirteen-key clarinet. The left hand keys are all arranged on the left hand tube even though the key heads are all placed on the right hand tube (except for F/C and E/B). The right hand keys have a similar mechanism with the keyheads on the right hand tube.320 There are also brass rollers ﬁtted between the A/E and F/C keys, as found on clarinets of the time. The extension keys below E/B are E and D for the right thumb and C for the left thumb on the ascending part of the right hand tube. Bimboni’s bass clarinet is in B and has a narrow bore of 21 mm.321 Tosoroni mentions that the Italian composer Luigi Maria Viviani wrote an obbligato for the bimbonclaro in his ballet Il Fausto (1849) that was extraordinarily successful in a performance in Florence (see chapter 5).322

Joseph Uhlmann Joseph Uhlmann (1807–1859) acquired citzen’s rights in Vienna in 1846 and was active as a maker from 1847 to 1859. His ophicleide-shaped bass clarinet (D-München, 43337, ca. 1854) is probably in B of black-lacquered boxwood with nickel silver ferrules. It has six sections: mouthpiece (missing), brass crook (missing), two ﬁnger hole sections, wooden U-bend (now cracked), and large, forward-pointing brass bell. There are nineteen nickel silver keys: two S, A, G, f/c, E/B (two), C/ G, B/F, A/E (two), F/C (two), F/C, E/B, E, D, C, and C. Plateau keys are used for LT, L3, R1, and R3.323 It resembles a saxophone because of its large brass bell and large wooden U-bend. This instrument was probably exhibited at the 1854 Munich Exhibition.324 The levers for the four lowest keys are positioned together on the dorsal side of the right-hand joint, like a basset horn, and the round touches are arranged in two groups of two and are overlapping. The maker’s mark is engraved on the bell “(double-headed crowned eagle)/Jos. Uhlmann/Blas Instrumenten/Fabrikant/in Wien/Mariahilf Hauptstrasse/No. 13.”

320. Onerati and Carreras, “I Bimboni, costruttori di strumenti a ﬁato,” 46. 321. For a description and photos, see Bär, Verzeichnis, Band 6, 225–233; Van der Meer, “The typology and history of the bass clarinet,” 78, 79, ﬁgs. 5a and 5b, 80. 322. Tosoroni, Trattato pratico, 27. 323. Cf. the description by Seifers, Die Blasinstrumente im Deutschen Museum, 90. This instrument was studied by me in 2005. The title page of a Preis-Courant (ca. 1860) of the Ulhmann ﬁrm shows right and left side views of this instrument, a newly invented and improved bass clarinet in B (Neu erfundener vollkomener Clarinett-Bass in B). A four octave compass of C to c4 is given in notes and the twenty-three key instrument is offered in a brass body with brass keys and nickel silver ferrules for 160 ﬂorins or a boxwood black lacquered body with nickel silver keys and nickel silver ferrules for 200 ﬂorins; see Hoeprich, The Clarinet, 281, ex. 11.12. 324. Schafhäutl wrote a section devoted to the musical instruments at the Munich 1854 Exhibition and mentions Uhlmann’s twenty-three-key bass clarinet, which he called a “bass basset horn” in “Die Musikinstrumente,” 169–170.

Bass, Contra Bass, and Contra Alto Clarinets 319 On a large brass brace toward the U-bend is engraved “Jos Uhlmann brgl. Instrumenten Fabrik/IN WIEN”; both marks are in cursive writing.

Losschmidt The maker Franz Losschmidt (or Lausschmidt, ﬂ. 1852–1867) of Olmütz built an ophicleide-shaped bass clarinet completely in brass, calling it a clariofon in 1852 and offered it in brass, gold, silver, or packfong (nickel silver).325 In 1855, Losschmidt exhibited his bass clarinet in Paris, and Fétis was impressed, mentioning that it descends a third lower than the improved bass clarinets by Sax.326 There are ﬁve extant examples: (D-Nürnberg, MIR 481, ca. 1852) seventeen key, plus six plateau; (US-NY-New York, 89.4.2459, ca. 1855) seventeen key, plus six plateau; (D-München-DM, 20506, ca. 1860) ﬁfteen key, plus six plateau; (GB-Edinburgh, 5703, ca. 1860) ﬁfteen key, plus six plateau; and one attributed (A-Linz, Mu 82, 1860s) nineteen key, plus six plateau. The earliest of these instruments is the example in Nuremberg made of nickel silver with brass ferrules. It has four sections: mouthpiece (dark wood) with a nickel silver socket, brass crook, body in six soldered sections including a U-shape section, and conical bell slightly curved outward, secured to the body with a bayonet-shaped catch. Unlike Bimboni’s instrument, all of the open standing and plateau keys are placed on the right rather than the left section from the player’s viewpoint. Only the F/C and E/B touches, levers, and key heads are on the left section. The position of the mouthpiece is next to the lower end of the bell. There are seventeen keys (two keyheads are missing), including two speaker keys; E/B (now missing) is for R1 instead of the usual L3; there are no rollers between F/C and A/E; and there are four open extension keys on the rear of the ascending part of the tube, E and D for RT, and C (missing the key head) and C for LT. The instrument is in B with a wide 28-mm bore. It is stamped on the body “F. LOSSCHMIDT IN OLMÜTZ.”327 The New York bass clarinet is practically identical to the Nuremberg example. The position of its keys appears the same, although the shape of the touches is different; there are two thin rollers on the A/E and F/C touches, and it has an upward-pointing bell.328 The Munich example has a body of nickel silver in four sections: small, clarinetsize wooden mouthpiece, crook, body including a U-bend, and straight, conical bell. 325. Klein, “Erﬁndung,” 116. I thank John Roberts and Manuel Ervirti of the Music Library, University of California, Berkeley, for sending a photograph of this advertisement. Losschmidt did not exhibit instruments at the 1854 Munich Exhibition; see Katalog der allgemeinen deutschen; cf. NLI, 241. 326. Losschmidt’s bass clarinet was given an honorable mention at the 1855 Paris Exhibition; see Fétis, Exposition universelle de Paris, 10, 12. 327. For a description and photos, see Bär, Verzeichnis, Band 6, 234–240; Van der Meer, “The typology and history of the bass clarinet,” 80–81, ﬁgs. 6a–6b. 328. I thank J. Kenneth Moore for a photo of this instrument.

320 From the Clarinet d'Amour to the Contra Bass It includes eighteen nickel silver keys: two speaker keys (the upper speaker has a key head that wraps around to the front side), A, G, f/c, E/B (R1 and L3), C/ G, B/F, B/F, A/E, F/C, F/C, E/B, E, D, C, and C. Duplicate thumb keys are provided, lifting the keyheads for E/B and B/F, and a second F/C touch and lever for L4. There are dished or depressed plateau keys for all ﬁnger holes, two small rollers between the touches for F/C and A/E, three rollers between the two speaker keys and the high B on the dorsal side, and one roller on the D key (RT) next to a downward-curving touch for E. There is a nickel silver thumb rest located on the dorsal side, as well as one on the left side to hold the instrument with L1. The instrument is engraved on the left tube on the front of the body “FRANZ LOSSCHMIDT/k k ausschl priv. Instrumenten Fabrickant/in Olmütz/205.”329 The Edinburgh bass clarinet is very similar to the Munich example, although it is made in brass, has a silver-plated mouthpiece with a socket, and is missing its bell. It includes eighteen keys and six dished or depressed plateau keys, including two speaker keys. It has the six small rollers of the Munich example and adds one more on the touch of the E key next to the D touch for RT. There is a thumb rest on the dorsal side and a round tube on the left side used to support the instrument with L1. The instrument is engraved on the left tube on the front of the body “FRANZ LOSSCHMIDT/k k ausschl priv. Instrumenten Fabrickant/IN OLMÜTZ.”330 A fourth unstamped bass clarinet in Linz is attributed to Losschmidt by Young. It is brass with German silver keys in four sections: mouthpiece (with a socket), crook, body including U-bend, and bell. However, the body is made in a hexagonal cross section except for the upper part of the bell, U-bend, and crook. It has a key layout similar to the Nuremberg example, with nineteen keys and six plateau keys.331

Kruspe Franz Carl Kruspe (1808–1885) trained in Göttingen with Streitwolf and initially established a woodwind-making ﬁrm in Mühlhausen in the province of Thüringen. In 1836, Kruspe moved to Erfurt, where he was appointed court maker to Prince Günther of Sondershauen. Both of Kruspe’s sons, Friedrich Wilhelm (1838–1911) and Eduard (1831–1919), also became well-known makers of woodwinds and brasses.332 Kruspe built an ophicleide-shaped bass clarinet (D-Berlin, 88, ca. 1855) in brass with nickel silver ferrules. It has four sections: mouthpiece (black wood), curved brass crook, body including U-bend, and crushed, upright-pointing bell engraved

329. A description is in Seifers, Die Blasinstrumente im Deutschen Museum, 90. This instrument was studied by me in 2005. 330. I thank Arnold Myers for photos of this instrument. This instrument was studied by me in 2007. 331. For a description and photo, see Young, Die Holzblasinstrumente, 174–175. 332. NLI, 217.

Bass, Contra Bass, and Contra Alto Clarinets 321 with a German silver garland. It has a narrow bore of 18.5 mm. Eighteen keys were reported by Sachs, but the instrument suffered damage during World War II, making conﬁrmation impossible. The keyheads are rounded and slightly domed, and open standing and plateau keys are placed on the left and right tubes, attached by a rod and pillar mechanism to the front and side of the tubes. The six plateau keys have dished touches and are connected by long brass rods in the same manner as the Wieprecht and Skorra bathyphon or contra bass clarinet, described later. Sachs called this instrument a bathyphon.333

Nechwalsky Anton Nechwalsky (1804–1868) was active as a wind instrument maker in Vienna from 1836 to 1868.334 His Austrian patent (22 July 1853) includes a drawing of a second bass clarinet made in an ophicleide form with a metal body and ﬁfteen keys to low C (the ﬁrst drawing was of a straight-shaped bass clarinet with a upward pointing brass bell). The drawing shows an instrument with ﬁfteen labeled keys, with a lowest note of C.335 Nechwalsky was listed in the 1854 and 1856 Handels- und Gewerbe-Adressenbuch des Österreichischen Monarchie as having a new B bass clarinet with a four-octave range from the low B on the bassoon, and that it can be played as an ordinary clarinet.336 A brass ophicleide-shaped bass B clarinet (A-Wien-GM, 144) by Nechwalsky with sixteen keys, known as a klariphon, is 130 cm long.337

Walsch Franz Walsch, a clarinet maker of Prossnitz (now Proste˘jov, Czech Republic), made an ophicleide-shaped bass clarinet (A-Wien-GM, 143) about 1855.338 It is similar in shape to Nechwalsky’s instrument but smaller at 117 cm, probably made in C, with twenty-three keys, and likely including six open standing keys.339 333. Sachs, Sammlung alter Musikinstrumente, 299. The author studied this instrument in 2005. The Kruspe ﬁrm made at least one bassoon-shaped bass clarinet. It was previously in the Stearns Collection (US-Ann Arbor, 636, ca. 1860) but is now missing. This instrument consists of a black wood mouthpiece, crook, four rosewood sections, short butt joint, left hand section, and very long brass bell. It has eighteen keys and six plateau keys and appears to descend to low C, although Borders states its lowest note is E. See, Borders, European and American wind and percussion instruments, 45. I thank Christopher Dempsey for a photo and information. 334. Hopfner, Wiener Musikinstrumentenmacher, 348. 335. The patent drawings are reproduced and the text transcribed in Dullat, Klarinetten, 92–93, Abb. 49; see also NLI, 279. 336. Nagy, “Zum Fagottbau in Wien,” 47. 337. Mandyczewski, Geschichte der K. K. Gesellschaft der Musikfreunde in Wien, 168. 338. NLI, 420. 339. Mandyczewski, Geschichte der K. K. Gesellschaft der musikfreunde in Wien, 168.

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Lausmann Johann Wenzel Lausmann was active in Linz as a woodwind and brass maker from about 1855 to 1879 or 1880. He made a variety of wind instruments including at least one brass, ophicleide-shaped C bass clarinet (ca. 1860, D-Uhingen). It has a different design than that used by Losschmidt including three open tone holes for L1, L2, and R1 with raised ridges for the ﬁngers, a ring key for R2, and plateau keys for L3 and R3. The touches for the four extension keys below E/B key are arranged like a basset horn, one above the other in interlocking fashion. There are sixteen keys for S, A-B, A, G, f/c, E/B, C/G, B/F, A/E, F/C, F/C, E/B; for RT: E, D, C, and C and a second lever for RT closing the E/B key head.340 Chronological Summary of Bass Clarinets by Maker or Design The earliest bass clarinets, considered prototypes, were made during the mid-1750s. They are followed by the Mayrhofer’s curved bass clarinet about 1765, an unmarked three-key bass clarinet (1780–1800) with a plank-shaped excrescence for the ﬁnger holes, an unmarked six-key bass clarinet (1790–1810) with a plank-shaped excrescence for the ﬁnger holes, and the bassoon-shaped instruments by Heinrich and August Grenser from 1793 and 1795. These are the extant bass clarinets from the eighteenth century. A great variety of bass clarinets were made during the early nineteenth century, including: 1802 bassoon-shaped (?) Schollbasso by Franz Scholl 1807 straight-shaped bass clarinet by Desfontenelles 1808 bassoon-shaped instrument by Dumas 1810 (ca.) bassoon-shaped instrument by George Catlin 1812 bassoon-shaped instrument by François Sautermeister 1820 (ca.) serpent-shaped instrument by Nicola Papalini 1828 bassoon-shaped instrument by Johann Heinrich Gottlieb Streitwolf 1832 bassoon-shaped instrument by Rupert Plößl 1833 bassoon-shaped instrument by George F. Wood 1833 bassoon-shaped clarinet by Catterino Catterini 340. I thank Thomas Reil for sending photos and information. For a description of this instrument on exhibit at the University of Edinburgh, see Dibley and Myers, The Historic Clarinet, no. 111; for a photo see Follan, “The Historic Clarinet,” 22.

Bass, Contra Bass, and Contra Alto Clarinets 323 1834 straight-shaped instrument by Louis Auguste Buffet 1835 bassoon-shaped instrument by Anton Amer 1838 bassoon-shaped instrument by Pietro Fornari 1838 straight-shaped instrument by Adolphe Sax 1840 bassoon-shape instrument by Christian Friedrich Glier 1840 (ca.) bassoon-shaped bass clarinet by Paolo Maino 1840 (ca.) straight-shaped instrument by Eduard Skorra 1845 (ca.) straight-shaped instrument by Darche 1845 (ca.) straight-shaped instrument by Johann Tobias Uhlmann 1846 bassoon-shaped instrument by Louis Müller 1847 ophicleide-shaped instrument by Widemann 1849 (ca.) ophicleide-shaped instrument by Giovanni Bimboni 1850 (ca.) straight-shaped instrument attributed to Pierre Paul Ghislain Joseph Dupré 1850 (ca.) ophicleide-shaped instrument by Louis Auguste Buffet 1850 (ca.) ophicleide-shaped instrument by Martin Frères 1850 (ca.) straight with butt joint by Louis Auguste Buffet 1850 (ca.) straight-shaped instrument by Buffet-Crampon 1852 ophicleide-shaped instrument by Franz Losschmidt 1853 straight- and ophicleide-shaped instruments by Anton Nechwalsky 1854 straight with butt joint by Josef Ignaz Widmann 1854 (ca.) ophicleide-shaped instrument by Joseph Uhlmann 1855 bass clarinet with plateau keys by Jean Chrétien Roth 1855 (ca.) ophicleide-shaped instrument by Franz Carl Kruspe 1855 (ca.) ophicleide-shaped instrument by Franz Walsch 1859 (ca.) straight-shaped instrument by Buffet-Crampon & Cie 1860 (ca.) bassoon-shaped instrument by Wilhelm Christian Beck 1860 (ca.) bassoon-shaped instrument by Josef Franz Seidel 1860 (ca.) bassoon-shaped instrument by Georg Jakob Berthold 1860 (ca.) bassoon-shaped instrument by Johann Simon Stengel 1860 (ca.) bassoon-shaped instrument by Giacinto Riva 1860 (ca.) ophicleide-shaped instrument by Johann Wenzel Lausmann

324 From the Clarinet d'Amour to the Contra Bass In summary, the enormous variety of bass clarinet designs and modiﬁcations from the late eighteenth century up to 1860 is remarkable. Each of these inventors, makers, and performers was attempting to make the most successful and playable instrument. During the 1820s, Streitwolf of Göttingen made a playable and successful bassoon-shaped bass clarinet with a lowest note of C. During the 1830s, a bassoon-shaped bass clarinet with a lowest note of BB by Catterini of Padova was successfully played in various Italian cities, Barcelona, and Lisbon. However, the most successful and inﬂuential makers were based in Paris. From the mid-1830s, Louis-Auguste Buffet’s straight bass clarinet with a lowest note of E was favored by Paris professionals until the 1840s, when Adolphe Sax introduced his own patented design. Buffet’s and Sax’s straight-shaped bass clarinets with an upturned bell clearly resemble modern bass clarinets in use today. Bassoon- and ophicleide-shaped bass clarinets continued to be offered during the 1840s through the 1860s by French, German, Austrian, and Italian makers. These bass clarinet forms were favored for use in marching bands, and composers, players, and makers recognized the advantage of having an extended range as low as BB. The compact straight bass clarinet with a butt joint was also offered from the 1840s. Wagner introduced the bass clarinet pitched in A in his operas during the mid-1840s; eventually, there was less interest in writing for this instrument, and by the mid-twentieth century, it was discontinued by manufacturers. A Boehm system bass clarinet was ﬁrst made by L. A. Buffet during the 1850s and was slowly accepted by players. By the 1860s, a growing number of German and Austrian manufacturers were making straight-shaped bass clarinets with compasses to E or C. When French makers adopted the low C compass by the late nineteenth century on Boehm and Albert system bass clarinets, the modern bass clarinet was created. Contra Bass and Contra Alto Clarinets The idea of the contra bass clarinet may have been suggested by the development of a double or contra bassoon during the early eighteenth century.341 To assist in designating the different contra bass instruments, the following division is used in this study. Instruments in C or B are referred to as contra bass clarinets, a large instrument designed to play one octave lower than a bass clarinet (two octaves lower than a soprano clarinet); instruments in F and E are referred to as contra alto clarinets, which are one octave lower than an alto clarinet and two octaves lower than soprano clarinets in E or F. They differ from the bass clarinet by the lowness of the tones, difference in the timbre, longer length of the air column, and larger diameter of the bore. The simi341. Makers include Andreas Eichentopf of Nordhausen (1714), Thomas Stanesby (i) of London (1727), Joannes Maria Anciuti of Milan (1732), and Thomas Stanesby (ii) of London (1739). See William Waterhouse, “Bassoon, 9. The double bassoon,” Grove Music Online.

Bass, Contra Bass, and Contra Alto Clarinets 325 larities to bass clarinets include the number of keys and the shape of the body. Their low compass and deep tones are their greatest assets, primarily for use in bands but also in orchestral and chamber groups. Several makers worked to build them from the early nineteenth century, but none was entirely successful, and they should be considered experimental instruments. Contra alto and contra bass clarinets are in use today primarily in bands and college wind ensembles and serve as important bass woodwind instruments. The next section discusses the terminology applied to these instruments and continues with makers listed chronologically. Terminology The earliest name applied to the contra bass clarinet is contre-basse guerrière (contra martial bass), by Dumas of Paris in 1808.342 Johann Streitwolf of Göttingen invented a contra bass clarinet in 1830 that he called the Kontrabass-Klarinette.343 In 1839, Wilhelm Wieprecht and the Berlin maker Eduard Skorra built a bassoonshaped contra bass clarinet in C, which they called a batyphon.344 Kastner (1844) mentions Adolphe Sax’s clarinette bourdon or contra bass clarinet in B.345 In 1855, Louis Müller of Lyon received a French patent (no. 22,516) for a contra bass clarinet in bassoon form that he called a Müllerphone ou Contrebasse à anche.346 A standard name of contra bass clarinet was applied to a contra bass in B only after its successful development in 1890 by the Fontaine-Besson company of Paris and London. Makers

Dumas The ﬁrst contra bass clarinet was developed in 1808 by the clarinetist, goldsmith, and inventor Dumas, who lived in Paris during the early nineteenth century. An 1808 article concerning Dumas’s instrument is not detailed, mentioning only that it was made in C or B and intended for military bands.347 He called his instrument the contre-basse guerrière (contra martial bass) and introduced it on 30 March 1810 to a Paris Conservatory committee for its evaluation. 342. “Nouvelle instrument à vent,” 379. 343. Reported by A. Wendt, Berliner allgemeine musikalische Zeitung 7, no. 21 (1830), 168; quoted by Kalker, Die Geschichte der Klarinette, 177–178 and Dullat, Klarinetten, 84–85. 344. Wieprecht describes his instrument as a bathyphon in a description with his colored drawing of 22 March 1839, preserved in the Zentrales Staatsarchiv Berlin, Rep. 120, Techn. Dep. Schriften W 166, 1-6 (Wieprecht-30.04.1839; Reg. Nr. 5689). See Dullat, Klarinetten, 97–98, n. 151; Schmidt, “Ueber die chromatische Bass-Tuba und das neu erfundene Holz-Bass-Blas-Instrument, genannt Bathyphon.” 345. Kastner, Supplément au Traité générale d’instrumentation, 25. 346. See Pierre, Les facteurs d’instruments de musique, 345; Dullat, Klarinetten, 98–99, who reproduces a sketch from the French patent. 347. “Nouvelle instrument à vent,” 379.

326

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The committee states that Dumas’s contra bass clarinet differs from his bass clarinet only in its sounding pitches, length (the contra bass is two meters long), diameter of the bore, and number of keys.348 This contra bass has the same compass as the bass clarinet but an octave lower.349 The committee mentions the size of the reed or mouthpiece as being important in the design of the instrument and says the timbre is the same as the bass clarinet after which it is designed. Dumas’s contra bass was made with a part that turns upon itself, similar to that of the bassoon;350 thus, it is a bassoon-shaped instrument. The committee ends its comments favorably: “We believe that the contra bass guerriere of Mr. Dumas introduced into the military band completes the harmony and will produce a very beautiful effect.”351 A later Institut report of 11 July 1818 notes that Dumas intended this instrument to replace the Russian bassoon, a wooden bass instrument in bassoon form played with a cup-shaped metal mouthpiece.352 An unusual mention of Dumas’s instruments is found in a footnote in an 1821 French patent (no. 1,849). The Paris maker Jean Hilaire Asté, also known as Halary, designed the clavitube (keyed bugle), quintclave (alto ophicleide), ophicleide, and clarion métallique (metal clarinet).353 Halary states that the ophicleide and clarinet in his patent were presented to the academy in 1811 by Dumas and notes the use of a metal mouthpiece on one of them. In fact, Dumas may have made his contra bass guèrriere entirely of metal. Unfortunately, Dumas’s contra bass clarinet has not survived. Except for the committee reports and a magazine article, there is no other documentation concerning Dumas’s instrument.

Streitwolf Johann Heinrich Gottlieb Streitwolf of Göttingen devised the earliest playable F contra alto clarinet in September 1829. It was described in a journal article of the time. 348. “Ces instruments sont du genre de la clarinette. . . . Ils en different seulement par la gravité des sons, la longueur et le diameter du tuyau, ainsi que par le nombre des touches relatives au doigter,” Rapport fait par MM. Gossec Grétry, Méhul, 420. 349. “La basse guerriere, avec la meme étendue, est à l’octave basse de la clarinette, et la contre-basse à la double octave.” Rapport fait par MM. Gossec, Grétry, Méhul, 420. 350. “Leur timbre est identiques avec celui de la clarinette dont il dérivent. L’auteur a dissimulé une partie de cette longueur en contournant sinueusement le canal supérieur, ainsi que dans le basson.” Rapport fait par MM. Gossec, Grétry, Méhul, 420. 351. “Nous pensons que la basse et contre-basse guerrieres de M. Dumas, introduites dan les orchestras militaries, en compléteront l’harmonie et y produiront un très-bon effet,” Rapport fait par MM. Gossec, Grétry, Méhul, 420. 352. “Procès verbaux et rapports de l’année 1818,” 11 July 1818. I thank Jean Jeltsch for a transcription of this report. 353. Jean-Hilaire Asté dit Halary, “Brevet d’invention et de perfectionnement de dix ans” (No. 1849, 24 March 1821), 200, n. 1. In his patent, Halary cited the two articles concerning Dumas’s basse and contre-basse guerrière in the Archives des découvertes for 1808 and 1811. Halary’s patent, pages 197–202 with ﬁngering charts, is reproduced by Eliason in “Brass instrument key and valve mechanisms made in America before 1875,” 205–212.

Bass, Contra Bass, and Contra Alto Clarinets 327 The great success of the bass clarinet by its inventor Streitwolf was followed by an attempt to make an instrument even lower. An instrument was brought out in September of the previous year with a compass of 2 1/4 octaves from FF to b [written CC to f] in strength, fullness, and light movement of tones, surpassing in range all known bass wind instruments. It has the same form and ﬁngering as the bass clarinet. The relationship of the tone is similar to the basset horn but an octave lower. The price is 60 Reichsthalers in boxwood and 55 Reichsthalers in maple.354 In 1837, Fétis describes a contra alto clarinet in E that must have been Streitwolf ’s instrument. It has the form of a bassoon with a clarinet bell placed above. There is a large crook placed as on the bassoon on which one places a clarinet mouthpiece. The holes resemble those on the latter instrument and the keys are placed in the same manner. These instruments descend to [written] BB.355 From this description, we learn that Streitwolf ’s contra alto was built in a bassoon form similar to his bass clarinets. Streitwolf describes the contra alto clarinet as an octave lower than the basset horn, having notes below E for E, D, and C. The low F sounds B and the lowest C sounds FF; its usable compass is two and a half octaves from FF to b.356 During the 1830s, Streitwolf ’s instrument was reported in one French journal and translated into English.357 The price was given by Fétis in Paris as 300 francs in boxwood or 250 francs in maple. Streitwolf subsequently offered this instrument in E. Kastner described a contra alto in E invented by Streitwolf in 1829. 354. “Das gute Gelingen der Bassklarinette veranlasste nun der Erﬁnder (Streitwolf) zu den Versuche, dieses Instrument noch tiefer zu machen, es gelang ihm im September des vorigen Jahres, ein Instrument hervorzubringen, welches in einem Umfang von 2 Octaven und einer Quart (von Kontra-F bis Klein b) an Kraft, Fülle und leichter bewegung der Töne, alle bis jetzt bekannte Bass-Instrumente in der Gattung der Blas-Instrumente bei Weitem übertrifft. . . . In Ansehung der Form und Applikatur weicht es von der Bass-Klarinette wenig ab. . . . Das Verhältnis der Töne ist ganz so, wie beim Bassetthorn, aber einer Octave tiefe. . . . Der Preis der Kontrabass-Klarinette ist, in Buchsbaum gearbeitet, 60 Rthlr., in Ahornholz 55 Rthlr. . . . ” A. Wendt, Berliner allgemeine musikalische Zeitung 7, no. 21 (1830), 168; quoted by Kalker, Die Geschichte der Klarinette, 177–178. 355. “. . . il a la forme du basson, avec le pavillon de la clarinette placé au dessus. Il a un gros bocal placé comme celui du basson et auquel on ajuste un bec de clarinette. La perce est semblable à celle de ce dernier instrument, et les clefs sont placées de la même manière. Quelques uns de ces instrumens ne descendent qu’au si.” Fétis, Manuel des compositeurs, 64. 356. “Die Bass-Clarinette wird auch als Contrabass Clarinette in einer noch 5 Töne tiefern Stimmung gemacht, wo sie dann in allem Verhaltnissen eine Octave eiger steht aus das Bassetthorn, auch wie diesen unter dem tiefen E noch Es, D und C. hat. Das tiefe F ist dann der Stimmung nach Contra B, und die tiefste Ton, C, ist Contra F. Der brauchbare Umfang ist 2 1/2 Octave von Contra F bis klein b.” Streitwolf, “Verzeichniss.” 357. See Fétis, “Nouvelle invention d’une clarinette-basse,” 330–331; “On two newly-invented clarinets,” 38.

328

From the Clarinet d'Amour to the Contra Bass The bass clarinet was invented by Streitwolf in Göttingen in 1828 and is an octave lower than the ordinary clarinet. In 1829, this excellent artist invented a clarinet even lower, the contra alto clarinet which he spoke of in the Berliner allgemeine musikalische Zeitung (1830) as surpassing in force and volume all the bass instruments. It was immediately introduced in the Kassel orchestra.358

Sachs describes a nineteen-key contra alto clarinet in E by Streitwolf (D-Berlin, 87), but the instrument was destroyed during World War II.359 No other contra alto clarinets by Streitwolf survive.

Brod In 1833, Issac Dacosta was planning to play a contra bass clarinet soon to be made by the oboe and English horn maker, player, and composer Henri Brod (1799–1839).360 Brod is known to have made improved baritone oboes in C an octave lower than the oboe by constructing them with a boot joint and a long brass crook. He made at least one straight ten-key bass oboe.361 It is not known if Brod even ﬁnished designing a contra bass clarinet, but it seems that he would probably have adopted a bassoonshape. There is no extant instrument.

Wieprecht and Skorra Wilhelm Friedrich Wieprecht (1802–1872) of Berlin was an inventor, trombonist, and bandmaster by 1828. In 1839, he collaborated with the Berlin court maker Eduard Skorra (1807–ca. 1865) to build the ﬁrst playable contra bass clarinet. On 30 April 1839, a patent was issued to Wieprecht and Skorra for a C contra bass clarinet called a batyphon, made in bassoon form.362 The makers intended this instrument to be playable as a contra bass wind instrument for use in military or civilian wind 358. “La CLARINETTE BASSE fut inventée par Streitwolf à Goettingue, en 1828, elle était une octave plus bas que la clarinette ordinaire; en 1829, le même artiste inventa une clarinette encore plus grave, la CLARINETTE CONTREBASSE, qui au dire de la GAZETTE MUSICALE de Berlin (1830) surpassait en force et en ampleur tous les autres instruments de Basse; on l’introduisit immédiatement dans l’orchestre de Cassel.” See Kastner, Supplément au Traité générale d’instrumentation, 24. 359. See Sachs, Sammlung alter Musikinstrumente, 300. Young lists this instrument as a bass clarinet in B in 4900, 233. Sachs also notes that an anonymous contra alto bass clarinet in E in the Berlin Museum (also destroyed during World War II) is similar to Streitwolf ’s in Sammlung alter Musikinstrumente, 301. 360. Fétis, “Instrumens nouveaux. Clarinette-Basse,” 122. 361. See Burgess and Haynes, The oboe, 135; NLI, 45–46; Young, The look of music, 192; 4900, 38, Y1; Catalog. Hamamatsu Museum, 27. A bass oboe (J-Hamamatsu, A-0226R) by Brod is in the Hamamatsu Museum, previously in the Rosenbaum collection. 362. The name was probably derived from the Greek words bathýs (low) and phonein (sound); see G. M. (Giovanni Mayr), “Glicibarifono,” Nuovo dizionario universale tecnologico, vol. 26 (1840), 66.

Bass, Contra Bass, and Contra Alto Clarinets 329 bands. The patent (22 March 1839) includes a colored drawing and shows the front and dorsal sides of the instrument.363 It is described in 1840. The wood is made of maple; the crook and bell made of brass or nickel silver. Its bore is from the mouthpiece up to the bell very wide, 1 1/2 inches [38 mm] in diameter. Its length is 6 1/2 feet [198 cm] in two parts with a circular knee joint so that it retains a height of three feet. The ﬁnger holes are covered with metal plates arranged so that the ﬁngering is not very different from a clarinet. Its ease of performance is as perfect as basset horns and bassoons. The instrument is played on a mouthpiece with a vibrating reed as used on the clarinet. Its keys and ﬁnger touches are placed in small saddles and ﬁxed to rods where their length is ﬁxed to move the keys in rapid passages (surely very useful!). The weight of the instrument is 5 1/2 pounds [2.49 kilograms].364 The only extant example (D-Berlin, 2904; ﬁgure 4.9) of Wieprecht and Skorra’s contra bass clarinet is a heavy, bassoon-shaped instrument in C, built in brown-stained maple with brass ferrules. It is in four sections: large mouthpiece with a socket, brass crook, body of two parallel bores joined below within a butt joint, and large brass ﬂared bell. Although it was designed with nineteen keys, some of which are attached to long rods, there are eighteen keys on the instrument today. The back side has two key touches on the left tube for the left thumb, speaker key stamped “19,” and thumb open standing key stamped “1.” A third key beneath the thumb key has been removed, and the tone hole plugged with lighter wood.365 On the back side

363. Reproduced by Dullat, Klarinetten, 268, Abb. 172. 364. “Das Rohr ist von Ahornholz, das S und Schallstück von Messing- oder Neusilberblech. Die Bohrung des Instruments ist vom Mundstück an bis nahe dem Schallstücke gleich weit und hat 1 1/2 Zoll im Durchmesser.—Die Länge des Instruments hat 6 1/2 Fuss und ist in zwei Theile mit einem zirkelrunden Knie gebogen, so dass dasselbe in der Ausführung eine Höhe von drei Fuss behält. Die Löcher werden alle mit Klappen gedeckt, welche so gelegt sind, dass die Applikatur nicht sehr von der einer Klarinette abweicht u.s.w. Die Volubilität bei Auführung von Passagen ist so vollkommen, wie beim Bassethorn oder Fagott u.s.w. Der Ton wird durch eine, auf dem Mundstück liegende, vibrirende Zunge, wie bei der Klarinette hervorgebracht. Die Klappen und Drucklöffel sind auf in kleinen Kuglen sich drehenden Stangen befestigt, wodurch eine regelmässige Lage derselben bewirkt ist, und bei schnellem Spiel das Klappern vermieden wird. (Gewiss sehr wesentlich!) Das Gewicht des Instruments ist 5 1/2 Pfund u.s.w.” Schmidt, “Ueber die chromatische Bass-Tuba und das neu erfundene Holz-Bass-BlasInstrument, genannt Bathyphon,” 1042. This description appears to be partially based on Wieprecht’s description with his colored drawing of 22 March 1839, preserved in the Zentrales Staatsarchiv Berlin, Rep. 120, Techn. Dep. Schriften W 166, 1-6 (Wieprecht-30.04.1839; Reg. Nr. 5689). See Dullat, Klarinetten, 97–98, n. 151. 365. The removal of this key occurred after 1893, because engravings of the front and back of this bathyphon were given by Mahillon, along with a description of the ﬁngering in his catalog of the Brussels collection. To facilitate his discussion of ﬁngering, Mahillon also provides sequential numbers for the key touches that do not appear on this instrument. See Mahillon, Catalogue descriptif, vol. 1, 216–220. I thank Heike Fricke for allowing me to study this instrument in 2005.

330 From the Clarinet d'Amour to the Contra Bass

Figure 4.9. Wilhelm Friedrich Wieprecht and Eduard Skorra, 18-key C batyphon or contra bass clarinet (ca. 1840, D-Berlin, 2904).

of the right tube, there are three touches for the right thumb stamped, from top to bottom, “2,” “4,” and “3.” The front side has seven key touches on the left tube for the left-hand ﬁngers stamped, from top to bottom, “17,” “14,” “13,” “12,” “11,” “10,” and “9.” On the right tube, there are ﬁve key touches stamped, from top to bottom, “8,” “7,” number obscured, “4,” and number obscured. The twelve brass keys are for S, A, G, f/c, E/A, C/G, B/F, A/E, B/F F/C, F/C, and E/B. All the ﬁngers and both thumbs have plateau keys for L1, L2, L3, R1, R2, and R3, but unlike other bass clarinets in bassoon form, it does not have an extension below E.366 366. See also Sachs, Sammlung alter Musikinstrumente, 301; Van der Meer, “The typology and history of the bass clarinet,” 76–77. For a photo, see Dullat, Klarinetten, 96, Abb. 53; Van der Meer, Musikinstrumente, 216.

Bass, Contra Bass, and Contra Alto Clarinets 331 On the back side, there are two rings on each tube to use with a strap. There is also a large hook to support the instrument while playing, using the side of the index ﬁnger of the left hand. This instrument is engraved on the German silver ferrule of the right tube “W. Wieprecht & E. Skorra/Patentirte Erﬁnder” (W. Wieprecht & E. Skorra, Patented Inventor). Also engraved on the large conical German silver bell, in a garland, is “Eduard Skorra/Königl. Hof-Instrumentenmacher/in Berlin/ Academischer Künstler” (Eduard Skorra, court instrument maker in Berlin, Academic Artist). This engraving was probably added, because Skorra is listed as an academic artist in Berlin’s published Adreßbuch after 1855.367 Comparison with the patent drawing indicates that alterations were made to this instrument at a later time, probably to improve playing quality. For example, an entire touch, pillar mounting, and key head were removed from the dorsal side, the key head ﬁlled with wood, and the section where the pillar mounting was placed ﬁlled in and stained dark brown. Also, the form and position of some touches differ slightly from the patent. A second batyphon (ca. 1840) in Breslau (present-day Wrocław, Poland, PL-Wrocław, 120) was destroyed during World War II. It included nineteen keys and was missing its mouthpiece. The inscription on the bell was the same as the Berlin example and on the ferrule of the right tube was added “Nr. 10” and a stamp of “11 J[nfanterie] R[egiment] 1841.”368 It seems possible, though unlikely, that there were ten batyphons made by Skorra. This inscription is evidence for this batyphon’s use in the band of the Eleventh Infantry Berlin band in 1841. At the 1844 Berlin Exposition, the batyphon was exhibited, where its compass was given as EE (contra E) to g1, priced at 130 Reichsthaler. This instrument was recommended by Berlioz in Belgium and France and was in use in several regimental bands of the Prussian army.369 Additional evidence indicating that batyphon mouthpieces were also made of brass appears in a letter written by Wieprecht to Louis Schneider (1805–1878) about 1845. Here Wieprecht states that the batyphon has a large wooden or brass mouthpiece appropriate for its large bore size.370 In 1848, Kastner listed Wieprecht’s instrumentation for two infantry bands both of which included two batyphons.371 In an 1854 Austrian periodical, Wieprecht presents the instrumentation of the Prussian military band according to his system in association with the royal Austrian and royal Russian military bands. Here he includes various nominal pitches of clarinets and four batyphons, which he identiﬁes with “Harmoniebässe” or contra bassoons, bass tubas or bombardons, and bass

367. Haase, “Der Berliner Blasinstrumentenbau,” 58. 368. See Epstein and Scheyer, Führer und Katalog zur Sammlung alter Musikinstrumente, 53. 369. Amtlicher Bericht, vol. 3, 213. Skorra’s clarinets and a ﬂute were also exhibited. 370. “Das Mundstück ist in verhältnißmässiger Größe wie das der Clarinetten. Dasselbe ist bereits in Holz und Messing gearbeitet und es ist auch schon versucht worden. . . .”; see Kalkbrenner, Wilhelm Wieprecht, 95. The dating of this letter is based on another 1845 letter as quoted by Rode, “Zur Geschichte der k. prussischen Infanterie- und Jäger-Musik,” 162–163. 371. Kastner, Manuel général de musique militaire, 211–212.

332

From the Clarinet d'Amour to the Contra Bass

horns.372 Skorra exhibited a batyphon at the 1854 Munich Exposition and again as a contra-bass clarionet at the 1862 London Exhibition.373 Skorra did not even receive an honorable mention for his instrument in London.374 When the Berlin batyphon was exhibited at the 1890 London Royal Military Exhibition, the catalog included an English translation from a manuscript description that highlights its tone quality and capabilities. “The quality of its tone was somewhat like that of the lower notes on the manual of an organ, pleasant and full, but not sufﬁciently powerful to take the place of the contra-bass in a military band; and further, it could be played with facility only in its nearly related keys.” “The easiest keys for this instrument were G and F major, and the farther one goes from these keys, the more difﬁcult it became.”375 Evidently, a musician who played the instrument found the arrangement of keys limited the tonalities for easy playing to only G and F major. Even though the batyphon was played for a short time in Prussian army bands, composers did not write for the instrument in operas and orchestral works. Kroll speculates that the reasons were that the low register was too dull and the higher notes could be produced more easily and with a better quality on the bass clarinets of the time. He also suggests that the very large size of the mouthpiece hindered acceptance by players.376

Sax Adolphe Sax began work on an E contra alto clarinet and a B contra bass clarinet in 1839. By 1840, according to Fétis, Sax had successfully made these instruments.377 Both instruments are mentioned by Jobard in his 1842 catalog of the 1839 Paris Exposition as an E contra alto and a B clarinette bourdon (contra bass) made of brass an octave below the B bass clarinet. Jobard also stated what the journals of the day reported, namely, that it was the most powerful bass that existed and exhibited a round, full, and vibrant tone. Apparently confusing the Saxophone with this contra alto clarinet, he ended a footnote describing this instrument with “the Saxophone is a Niagara of sound.”378 A contra bass clarinet is not listed in the ofﬁcial jury report 372. Wieprecht, “Instrumental-Besetzung preuss. Militärmusik nach Wieprecht’s System,” 28. 373. Katalog der allgemeinen deutschen, 165; NLI, 375; International exhibition 1862. Ofﬁcial catalogue, 250, no. 1470. 374. International exhibition 1862. Medals and honourable mentions. 375. See Day, A descriptive catalogue of the musical instruments, 124–125. This bathyphon was previously owned by Adolphe Sax and Césare Snoeck and exhibited in 1890 at the Royal Military Exhibition. Snoeck, Catalogue de la collection d’instruments de musique anciens ou curieux, 171, no. 904. 376. Kroll, The clarinet, 117. 377. Fétis, “Nouvelles clarinettes de M. Sax ﬁls,” 20. 378. “M. Sax ﬁls vient d’inventer une clarinette contre-basse en cuivre; après le tonnerre, c’est bien la plus puissante basse qui existe; ses sons ronds, pleins, vibrants, remplissent entièrement l’oreille et

Bass, Contra Bass, and Contra Alto Clarinets 333 for the 1839 exposition; it appears to have been left off the list.379 Savart also makes an identiﬁcation mistake in the ofﬁcial jury report for the 1844 exposition. He mentions that Sax’s contra bass clarinet was given the name saxophone, and it is remarkable for its exact intonation and beauty of tone. He also says that it will ﬁnd a place in orchestras to produce a new effect.380 Comettant mentions this mistake in the report, attributing it to Sax’s lack of explanation concerning his contra bass clarinet.381 Hemke also found that Sax himself used this erroneous identiﬁcation to combat his adversaries’ claim of prior disclosure when the saxophone patent was granted in 1846.382 The jury report for the 1841 Brussels Exhibition mentions Sax’s bass clarinet and contra alto clarinets. The bass clarinet is slightly critized for not achieving the quality of his soprano clarinet, and the contra alto is not discussed.383 In 1844, Kastner reports that Sax was constructing contra alto clarinets in F and E with written ranges of e to g3. He also speciﬁcally mentions a B clarinette bourdon or contra bass with a written range, in treble clef, of e to g3.384 Later, Kastner includes an engraving of an E contra alto clarinet in his 1848 Manuel générale. The instrument is built in an ophicleide shape with a doubly curved crook and mouthpiece, a one-piece body joined at the bottom by a brass U-joint, and a large bell pointing toward the audience, similar to the bell of the bimbonclaro (ﬁgure 4.10).385 The front side of the instrument is engraved and shows large plateau keys and large key heads similar to Sax’s bass clarinet. A second register key positioned high on the crook is visible but the number and position of keys is not entirely clear. According to Altenburg, the instrument is said to have a wooden body,386 reminding the reader of the bass clarinets by Widemann and L. A. Buffet. On 30 June 1851, Sax applied for a French patent (no. 11,981) concerning a metal bassoon and an E metal contra alto clarinet.387 The patent was approved on 11

satisferont l’appetit musical le plus glouton; ce n’est plus un ﬁlet, au ruisseau, c’est un ﬂeuve d’harmonie qui coule à pleins bords. Le saxophone est le Niagara du son.” Jobard, Industrie français: Rapports sur l’exposition de 1839, vol. 2, 154 and n. 1. Haine thought that this contra bass clarinet was exhibited in 1839 but was uncertain if it was a saxophone; Adolphe Sax, 52–53. 379. See Savart, “Instruments de musique,” 1839. 380. “Ces artistes sont en outre les inventeurs d’une clarinette contre-bass, à laquelle ils ont donné le nom de saxophone, et qui s’est fait remarquer par la justesse et la beauté des sons. Cet instrument pourrait trouver place dans nos orchestras et y produire des effets nouveaux.” Savart, “Instruments de musique,” 1844, vol. 2, 562. The clarinette contrebasse is also mentioned in the 1844 article “Exposition des produits de l’industrie,” L’illustration, journal universel, 297. See also, Pontécoulant, Organographie, vol. 2, 436; Pontécoulant, “Expositions de l’industrie,” 182. 381. Comettant, Histoire d’un inventeur, 68–72. 382. Hemke, “The early history of the saxophone,” 168. 383. Rapports du jury et documents de l’exposition de l’industrie Belge en 1841, 219. 384. Kastner, Supplément au Traité générale d’instrumentation, 25. According to Day, a contra bass clarinet was made by Sax in 1843; see Day, A descriptive catalogue of the musical instruments, 125. 385. Kastner, Manuel générale, pl. XXVI, no. 7. 386. Altenburg, “Adolphe Sax,” 1020. 387. Pontécoulant, Organographie, vol. 2, 506; Haine, Adolphe Sax, 196–197.

334 From the Clarinet d'Amour to the Contra Bass

Figure 4.10. Adolphe Sax, E contra alto clarinet in Kastner, Manuel général de musique militaire (1848), pl. XXVI, no. 7.

September 1851 and consists of three pages of explanation and a detailed drawing of the bassoon with measurements of the placement of tone holes and diameters.388 The text regarding the contra bass clarinet reads: Contra bass clarinet. Until now, in what we call the harmonie [wind band], we are missing an instrument that takes the place of the double bass in the symphony orchestra. To this end I have made a contrabass clarinet in E descending to the same note (G) as the normal string double bass. In order to have the twelfths in tune using the same keys as a bass clarinet, I made the tube wider at the mouthpiece end of the instrument than it is at the other parts, narrowing it ever so slightly, up to the hole for the G and D, covered by the third key counting up from the bell. There the tube is 30 millimeters in diameter. It is there also where the ﬂare of the bell begins. I bent the instrument so that it would be shorter and so that it would be less cumbersome, without greatly affecting the sound. Nevertheless, it is possible to give it other shapes if one does not keep to the current dimensions of the instrument; its total length from the end of the mouthpiece to the end of the bell is 388. “Mèmoire descriptif à l’ appui de nouvelles dispositions applicables aux instrumens de musique à vent.” No. 11981. I thank Robert Adelson for obtaining this patent and sending it to me.

Bass, Contra Bass, and Contra Alto Clarinets 335 twice that of the alto clarinet in E. The instrument is in brass and is made with sheet of [size number] ten. The diameter of the tube of the bocal where one puts the mouthpiece (a) is 33.5 millimeters. In the middle of the bend at the bottom of the instrument is where one ﬁnds the key for G and for D (b), the diameter is 30 millimeters. The instrument is shown at 1/8 scale.389 All the holes are a bit smaller than the width of the tube, where it is drilled. One can slightly modify the width or the proportions of these instruments according to the desire of the musicians who might want more or less sound. The placement of the holes can also be changed by making them wider if one makes them further from the mouthpiece and by making them smaller as one gets closer to the mouthpiece. One can, by varying the length of the keys, give this instrument the keywork that one desires. These last observations are equally applicable to the bassoon. Paris, 28 June 1851. Adolphe Sax.390 During the same year at the London Exhibition, Sax exhibited a contra alto clarinet in E made of gilded silver.391 Sax received a medal of honor at the 1855 Paris Exposition, along with three other exhibitors.392 Fétis was particularly impressed with Sax’s contra alto clarinet, describing the sound as powerful, equal, and sweet at the same time. He states that it completes the clarinet family in a most fortunate manner for use by composers.393 Andries (1856) writes that the written compass of Sax’s contra 389. The sketch of the contra bass clarinet is missing from the patent. 390. “Clarinette Contre basse. Jusqu’à présent il a manqué dans ce que l’on appèle l’harmonie un instrument remplaçant la Contrebasse de la Symphonie. Pour l’obtenir j’ai fait une clarinette contrebasse en mi bémol descendant à la même note (sol) que les contrabasses ordinaires à cordes. Pour arriver à avoir les douzièmes justes en employant les mêmes clefs que dans ma Clarinette basse, j’ai donné au tube plus de largeur à l’endroit du bec de l’instrument que dans les autres parties, en le resserrant insensiblement jusqu’au point où se trouve placé le trou de Sol et de ré, couvert par la troisème Clef à partir du Pavillon. Là le tube a trente millimètres le diamètre. C’est là aussi que commence l’évasement pour le Pavillon. J’ai recourbé l’instrument de manière qu’il ait le moins de longueur, et qu’il soit le moins gênant possible, sans nuire beaucoup à la sonorité. Cependant il est possible de lui donner d’autres contours, lorsqu’on ne tient pas aux dimensions apparentes de l’instrument; Sa longueur totale à partir de l’extrêmité du bec jusqu’à celle du pavillon est du double de la clarinette alto en mi bémol. L’instrument est en Cuivre et fait avec une planche de dix. Le diamètre du tube du bocal où se place le bec (a) est de trente trois millimètres et demi. Au milieu de la Culasse qui se trouve au bas de l’instrument et où est la clef de sol et de ré (b) le diamètre est de trente millimètres. L’instrument est représenté au huitième. Tous les trous sont un peu plus petits que la largeur du tube à l’endroit où il est percé. On peut modiﬁer légèrement les largeurs ou proportions de ces instrument selon l’intention de l’artiste qui désire plus ou moins de son. Le placement des trous peut egalement se modiﬁer en les faisant plus larges si on les éloigne de l’embouchure et en les faisant plus petits si on les rapproche. On peut en faisant varier la longueur des clés, donner à cet instrument le doigté que l’on voudra. Ces dernières observations sont ègalement applicables au basson. Paris la 28 Juin 1851.” I thank Dominique Bouquet-Moir, Robert Adelson, and Carol Pixton for help in translation. 391. Fétis, “Exposition universelle de Londres, treizième lettre,” Revue gazette musicale de Paris 18, no. 48 (1851): 386; quoted by Haine, Adolphe Sax, 146. 392. See Pontécoulant, Organographie, vol. 2, 537. 393. Fétis, Exposition universelle de Paris, en 1855, 10–11.

336 From the Clarinet d'Amour to the Contra Bass bass clarinet in B was e to c4,394 although he may have been confused as to the nominal pitch of the instrument. At the 1862 London Exposition, Sax exhibited six clarinets, including a contra alto clarinet in F or E with a sweet tone that was pleasant to hear.395 A contra alto clarinet in E is illustrated in Sax’s 1867 prospectus as instrument no. 41. It shows an engraving of a straight-shape instrument with a large upturned bell, brass crook and mouthpiece, resembling a bass saxophone. The number and placement of keys is not clear in the illustration (ﬁgure 4.11).396 A report in the 1865 Revue et Gazette Musicale also mentions: “They also appreciated the soft sounds of his contrabass clarinet.”397 Rendall rightly states that few of these instruments could have been made, and only one example was included in Sax’s collection sold in 1877.398 The Amtliche Bericht der Deutschen Kommission for the 1867 exhibition reported favorably on Sax’s clarinets and bass clarinets and mentioned a contra bass as a curiosity having a truly unfathomable depth of tone.399 After this exposition, the contra bass clarinet is not found at later exhibitions.

Kruspe Franz Karl Kruspe (1808–1885), a woodwind maker from Erfurt, constructed a batyphon for Wieprecht about the middle of the century. He copied the shape and ﬁngering layout of the earlier instrument. A B batyphon (D-Berlin, 591) by Kruspe in an ophicleide shape was built about 1850 with a bore of 35 mm.400 It has a large mouthpiece, German silver crook, left tube of maple, U-bend, right tube of maple, and upward-pointing German silver bell. There are eighteen keys with the layout of Wieprecht and Skorra’s instrument, but the touch pieces on the front side of Kruspe’s instrument are of different sizes, including two plateau keys and slight depressions on the touches that are easier to control than Skorra’s touches.401 The compass is two and a half octaves from EE to a. According to Friedrich Wilhelm Kruspe (1838–1911),

394. Andries, Aperçu théorique, 26, 37. 395. Pontécoulant, Douze jours à Londres (Paris, 1862), 241; Exposition universelle de Londres 1862. Travaux de la commission française (Paris, 1863), 214; cited by Haine, Adolphe Sax, 154, 275. 396. Haine and De Keyser, “Catalogue des instruments Sax,” Prospectus, 1867; Horwood, Adolphe Sax, 78. 397. Revue et Gazette Musicale, 5 March 1865, 80; trans. and quoted by Hemke, “The early history of the saxophone,” 184. 398. Rendall states that no contra bass clarinets were sold from Sax’s collection but a “ClarinetteContre-Basse-Sax” is listed in the Catalogue du musée instrumental de M. Adolphe Sax 4, no. 52, and could have been sold; cf. Rendall, The clarinet, 150. 399. “. . . als Kuriosum eine Kontrabaß-klarinette, deren Tiefe wahrhaft unergründlich war.” See Altenburg, “Adolphe Sax,” 1020. 400. Altenburg, “F. Besson’s Kontrabaß-Klarinette,” 595–596. 401. For a photo of the front sides of the Skorra and Kruspe contra bass clarinets, see Dullat, Fast Vergessene Blasinstrumente, 17; for a photo of the front side of the Kruspe contra bass, see Dullat, Klarinetten, 197, Abb. 126; Restle and Fricke, Faszination Klarinette, 86, Abb. 41.

Bass, Contra Bass, and Contra Alto Clarinets 337

Figure 4.11. Adolphe Sax, contra alto clarinet in Sax, prospectus (1867), reproduced in Haine and De Keyser, “Catalogue des instruments Sax.”

son of the maker, the lowest tones were dull, and the midrange weak.402 This instrument does not appear to have been any more successful than Wieprecht and Skorra’s, because in 1858 Rode described the batyphon as a “stillborn child,” and when it was used in the Prussian military band, it must have been unique.403 Except for this instrument by Kruspe, other examples of batyphons by this ﬁrm are not known.

Müller, Louis Louis Müller of Lyon received French patent (no. 22,516) on 20 April 1855 for a contra bass clarinet in bassoon form that he called a Müllerphone ou Contrebasse à 402. Altenburg, “F. Besson’s Kontrabass-Klarinette,” 596. 403. “Den das Bathyphon war ein todtgebornes Kind und wird, wenn vielleicht eines dieser Instrumente bei einem Musikcorps vorzuﬁnden ist, als Unicum betrachtet werden müssen.” Rode, “Zur Geschichte der k. preussischen Infanterie- und Jäger-Musik,” no. 16, 162.

338 From the Clarinet d'Amour to the Contra Bass anche.404 Similar to Kruspe’s batyphon, it has a large brass mouthpiece, long doubly curved brass crook, left-hand joint of wood, large butt or right-hand joint, long joint, and upward-pointing brass bell. It has seventeen keys and appears to have an extension below E/B of E, D, C, C, BB, and BB. Tone holes for L1 and L2 were open, L3 is an open standing key, R1 is open, and R2 and R3 are plateau keys.405 The detailed drawing of the patent suggests that at least one instrument was made, but it is not known if this instrument was ever played in a wind band. An example is not extant. Summary of Contra Bass and Contra Alto Bass Clarinet History The seven contra alto and contra bass clarinet designs discussed here were experimental, and all the instruments, except perhaps Brod’s, were meant for use with military or civilian wind bands. They are all bassoon shaped, except for Kruspe’s ophicleide-shaped instrument and appeared as follows: Dumas (1808), Streitwolf (1829), Brod (1833), Wieprecht and Skorra (1839), Sax (1840), Kruspe (ca. 1850), and Louis Müller (1855). The most successful instruments, according to reports of their use by band musicians, were the C batyphon by Wieprecht and Skorra and the E contra alto clarinet by Sax.406 A usable B contra bass clarinet was developed only in 1890 by the Fontaine Besson ﬁrm of Paris.407 The modern Boehm system and Oehler system E contra alto clarinet and B contra bass clarinet began to be used during the 1950s in a number of works written for wind bands.

404. Pontècoulant mistakenly called Müller’s instrument a bassoon; see Organographie, vol. 2, 507. 405. See Pierre, Les facteurs d’instruments de musique, 345; Cf. Dullat, Klarinetten, 98–99, who reproduces a sketch from the French patent; Dullat, Fast vergessene, 66–67, for a larger reproduction of the patent. 406. Alessandro Maldura in Milan developed a contrabass clarinet in E which was exhibited at the 1881 Milan Exhibition. A straight shaped example of maple or boxwood with nickel silver crook, bell, and fourteen keys is in New York (US-NY-New York, 89.4.2819). See NLI, 251. The Evette & Schaefer company in Paris developed a metal contrabass clarinet in E in 1889 (patented in 1895) where it was exhibited with a family of clarinets at the 1889 Paris Exhibition. Pierre, Les facteurs d’instruments de musique, 312–313; NLI, 110. 407. The Besson ﬁrm took out French patent no. 207,422 in 1890, followed by British (no. 16,357, 1890) and German patents (no. 64,576, 1891). The instrument was made in wood or metal with a mouthpiece joined to a straight tube to a U-bend, going upward to another U-bend, a straight main body, followed by a large U-bend connected to a large bell. It had from thirteen to twenty-seven keys, including open standing and plateau keys. Three thirteen-key examples by Besson & Co., London, are in New York (US-NY-New York, 89.4.2639), London (GB-London-H, 2004.1165), and Oxford (GB-Oxford, 497). See “Die neue Contrabaß-Clarinette,” 170; NLI, 29–30; Dullat, Klarinetten, 99; Carse, The Adam Carse collection, 51; La Rue, The Bate collection of musical instruments, 26; The Boosey & Hawkes Museum Collection: Table of Concordances, http://www.galpinsociety.org/gdbhm.html; see also, Strauchen and Myers, “A manufacturer’s museum: The collection of Boosey & Hawkes,” 147–164.

5

Bass Clarinet, Contra Bass, and Contra Alto Music

T

he musical history of the bass clarinet begins with its use in bands to reinforce the bass line by playing clarinet parts an octave lower or to double the bassoon parts. Its immediate and obvious usefulness is its loud tone and ﬂexibility of dynamics in the low register, which was easier to produce than with the bassoon. Playable eighteenth-century bass clarinets such as those made by the Grensers contributed an important harmonic element to the music of the day. As more reﬁned designs of bass clarinets became available and were played by skilled performers during the 1830s, several composers placed the instrument under the spotlight by writing demanding solos in opera arias, stage pieces, and orchestral works and as an accompanying or obbligato instrument in vocal arias. By the 1850s, the bass clarinet was recognized as an essential woodwind and adopted in opera orchestras in most major cities. Later in the nineteenth century, the majority of symphony orchestras required a musician who was a capable bass clarinetist. Manuscript or published music using the bass clarinet has not survived from the late eighteenth and early nineteenth centuries. The earliest surviving music dates from Saverio Mercadante’s 1834 opera, Emma d’Antiochia, which premiered in Venice. In the act two ﬁnale, Mercadante features a difﬁcult and lengthy virtuoso bass clarinet solo. Less than two years later, Giacomo Meyerbeer’s highly successful and important opera Les Huguenots premiered in Paris. In act ﬁve, Meyerbeer highlighted the bass clarinet as a solo and obbligato instrument and inspired a number of later composers to write signiﬁcant bass clarinet solos in their operas. It is not an exaggeration to state that this solo in Les Huguenots was a pivotal event for the history of the bass clarinet. During the same year, Sigismund von Neukomm’s air “Make haste, O God” was premiered in London, with a lengthy and difﬁcult bass clarinet obbligato. Two reports about bass clarinetists in the Allgemeine musikalische Zeitung (AMZ) from 1815 and 1830 begin this chapter. They mention performances on bass and contra bass clarinets, but no music survives. 339

340 From the Clarinet d'Amour to the Contra Bass This chapter discusses musicians, notation, and the music for the bass clarinet, organized by composer in chronological sequence. Opera and stage works using the bass clarinet are summarized in table 5.1. Band music is explored, followed by music for the contra bass and contra alto clarinets. Clarinetists

Ahl Carse states that the earliest named performer on the bass clarinet is the clarinetist Ahl the younger, who joined the Mannheim orchestra about 1809.1 AMZ records that during performances at Mannheim’s winter concerts of January and February 1815, Ahl the younger, who “performs on the clarinet and bass clarinet,” is called the “darling of the public.”2 Unfortunately, the speciﬁc works that Ahl performed are not mentioned in this brief report. Many performers were also composers at this time, and Ahl is recorded as a composer of works for wind instruments.3 Because very few bass clarinets were available throughout Germany, we may speculate that Ahl probably played a bassoon-shaped bass clarinet, similar to those made by the Grensers (see chapter 4). Like so many composers and musicians of this time, little is currently known of his performances or compositions.

Deichert AMZ provides a more fully documented performance of a subscription series concert in Kassel on 14 January 1830. The composer, violinist, and clarinetist Wilhelm Deichert performed an “Adagio mit Variationen” and a “Volkslied für Bass- und Contrabass-Klarinette,” with Johann Conrad Bänder (ca. 1790–1859) playing the contra bass clarinet. A concert reviewer was not impressed with the music or the new instruments and simply lamented the loss of the beautiful lute, theorbo, viola d’amore, and viola da gamba.4 Unfortunately, these works have not been found. Considering that J. H. G. Streitwolf in Göttingen began advertising his bassoonshaped bass clarinets in 1828, it is possible that Deichert obtained a Streitwolf instrument since Göttingen is not far from Kassel (less than ﬁfty km). Deichert may also have composed both these works.5 1. Carse, The orchestra from Beethoven to Berlioz, 153. 2. “Hr. Ahl, der jüngere, bewährte sich auf der Klarinette und Bassklarinette als den Liebling des Publicums.” “Nachrichten” (1815), 331. 3. Two sextets for two clarinets, two horns, and two bassoons by Ahl, titled Pieces d’Harmonie, were published in Offenbach by André before 1844. See Revea and Orsten, “Clarinet music from 1700 to 1870,” A-1. 4. “Chronik des Opern,” 188–189. 5. See also Aber, “A history of the bass clarinet as an orchestral and solo instrument,” 72–75; Weston, More clarinet virtuosi of the past, 34, 82.

Bass Clarinet, Contra Bass, and Contra Alto Music 341

Hebestreit The clarinetist Hebestreit was a protégé of Jacobi, a town musician in Göttingen. He played second clarinet in Jacobi’s orchestra, appearing as a soloist in 1828.6 In an 1829 article concerning Streitwolf ’s bass clarinet, Heinroth reported that the outstanding clarinetist from Göttingen, Mr. Hebestreit, would perform on the new bass clarinet during his next musical tour.7 Unfortunately, there are no details available for his concert. Streitwolf stated in his Beschreibung der von mir neu erfundenen BassClarinette (1828) that his instrument excels both as a bass and as a solo instrument. It is equivalent to the cello in compass and, with two clarinets and a basset horn, completes the instrumentation to play string quartets transcribed for these instruments.8 It is certainly possible that Hebestreit performed solos and in quartets on his bass clarinet with two clarinets and a basset horn. Notation During the period covered by this book, bass clarinets were written in the nominal pitches of C, B, or A. The parts were notated with three clefs at the discretion of the composer: the bass clef, the tenor clef an octave higher than sounding, and the treble clef an octave higher than sounding. Composers used the tenor clef to indicate the part was to be played on a B bass clarinet, as many composers used this clef to indicate a B soprano clarinet.9 They also used tenor and treble clefs to avoid writing ledger lines for high notes above the staff. The bass clef is used by Mercadante, Verdi, Wagner, Liszt, and Viviani; the tenor clef by Mercadante, Donizetti, and Verdi; and the treble clef by Mercadante, Meyerbeer, Neukomm, Berlioz, Wagner, Liszt, Smetana, Limnander de Nieuwenhove, and David. Composers Composers who wrote for the bass clarinet from 1830s through the 1850s include some of the most signiﬁcant nineteenth-century opera and symphonic composers: Mercadante, Meyerbeer, Berlioz, Donizetti, Verdi, Wagner, Liszt, and Smetana. Others that have fallen into obscurity today were known and celebrated during their lifetimes: Neukomm, Balfe, Viviani, Limnander de Nieuwenhove, and David. 6. Weston, Clarinet virtuosi of the past, 124. 7. Heinroth, “Neue Erﬁndungen,” 204. 8. See chapter 4. The same idea was presented by A. Wendt in his 1830 article. “. . . und übertrifft als Bass- und als Soloinstrument selbst den Fagott; es könnte sogar neben dem Fagott fast als Kontra-Fagott dienen. Gegen die B-Klarinette und das Bassetthorn oder die Alt-Klarinette ist es gerade das, was das Violincell gegen die Violine und die Viola ist, und macht nun das Klarinetten-Quartett vollständig. . . .” A. Wendt, “Anzeige über die neu erfundene Bass-Klarinette und Kontrabass-Klarinette” in Berliner allgemeine musikalische Zeitung no. 21 (22 May 1830), 167 as cited by Dullat, Klarinetten, 83–84. 9. See Rice, The clarinet in the classical period, 98–106.

342 From the Clarinet d'Amour to the Contra Bass

Mercadante Saverio Mercadante (1795–1870) was an important opera composer who studied at the Naples Conservatory and began composing in 1819. He scored his ﬁrst big success two years later with his seventh opera, Elisa e Claudio.10 Catterino Catterini was a clarinetist and inventor who devised a bass clarinet that he called a polifono in 1833 (the next year, he called it a glicibarifono).11 He must have been known to Mercadante, who wrote a lengthy solo for bass clarinet in act two of his opera Emma d’Antiochia, premiered at the Teatro La Fenice in Venice on 8 March 1834. This is the earliest surviving music for the bass clarinet. Because of the illness of the important soprano Giuditta Pasta, the performance at the premiere was shortened, but by the third performance, Pasta was well, and the opera received a highly favorable reception. This opera was a success and was repeated in Venice eight times in March.12 It was performed frequently in Italy, Lisbon, and Barcelona through the mid-1840s;13 revived in Venice during December 1839 and January 1840;14 and last performed in Malta in 1861.15 It was revived in 2003 for a concert performance in London and recorded in 2004 by the London Philharmonic.16 The bass clarinet or glicibarifono in C appears in a lengthy solo in act two, a ﬁrst act scene, the ﬁrst act ﬁnale, and two choruses in act three.17 Two of the newspapers in Venice were quite complimentary of Catterino’s playing of his new instrument in the opera. For example, L’Apatista states: Sig. Catterini Catterino played for the ﬁrst time in the Teatro della Fenice the Glicibarifono, an instrument of his invention which earned him the prize from our Royal Institute. The power, the sweetness in the high notes, and the 10. Michael Rose, “Mercadante, Saverio,” New Grove Online. 11. The polifono is described in the Giornale di belle Arti e Tecnologia 1 (1833), 292, quoted by Kalker, Die Geschichte der Klarinetten, 123. This article is cited and the polifono is described in “Nachrichten,” AMZ 36, no. 34, 571. 12. March 9, 13, 15, 16, 18, 19, 20, and 22; see Girardi and Rossi, Il Teatro La Fenice, 121; Della Seta, “Dal Glicibarifono al clarinetto basso,” 1119. 13. In Milan (La Scala, 1835), Naples (San Carlo, 1835), Trieste (Grande, 1835), Genoa, (Carlo Felice, 1836), Padua (Nuovo, 1837), Lisbon (São Carlos, 1837), Barcelona (Principal, 1838), Florence (Alﬁeri, 1839), Lisbon (San Carlos, 1839), Venice (La Fenice, 1839), Macerata (Condomini, 1840), Assisi (Metastasio, 1840), Modena (Comunale, 1840), Novaro (Nuovo, 1841), Piacenza (Municipale, 1841), Ancona (Muse, 1841), Chieti (San Ferdinando, 1843), Pesaro (Del Sole, 1844), Treviso (Onigo, 1846), and Trento (Sociale, 1847). 14. Performed at La Fenice December 26, 27, 28, 29, 31, 1839; January 1, 2, 5, 6, 16, 19, 22, 23, 1840. Girardi and Rossi, Il Teatro La Fenice, 145. 15. See Kaufman, “Emma d’Antiochia Performance History,” 46, 48. 16. The recording is on Opera Rara, ORC 26. See the review by Limansky, “Emma d’Antiochia. Saverio Mercadante,” 353–399, and http://www.divalegacy.com. 17. Mercadante, “Emma d’Antiochia,” act one, fols. 167v–171v; act two, 1r–5v; act three, 58r–62v.

Bass Clarinet, Contra Bass, and Contra Alto Music 343 modulations which can be obtained with this instrument merit for its inventor the most distinguished compliments.18 The next day the Gazzetta privilegiata di Venezia also reports the use of this new instrument. In the new music [i.e., opera] there was heard for the ﬁrst time a new instrument the Glicibaritono [sic] which approximates to the sound of the clarinet and to that of the bassoon as well, that is to say it has the notes of both the one and the other. Its inventor and player is sig. Caterini Caterino who received much applause both for his invention and for the mastery with which he played it. . . .19 The second act solo includes the written name contro clarinetto at the beginning of the score for Catterino’s glicibarifono (bass clarinet). It has a very demanding part for a C bass clarinet, featuring a compass sounding an octave lower from c (written in bass clef) to g3 (in treble clef), with frequent changes of clef in the score from bass to tenor to treble. The beginning in one manuscript of this bass clarinet solo, reproduced on the back of the CD cover, indicates that Mercadante changed his mind about the use of clefs for the contro clarinetto. Over a treble clef he wrote a bass clef on the ﬁrst page of act two.20 Mercadante’s music includes a level of difﬁculty that does not commonly appear for the bass clarinet until the early twentieth century. This F major bravura introduction to the last numbers preceding the act two ﬁnale boldly features the bass clarinet with two one-octave leaps in half notes from c1 to c to low C, notated in the bass clef. This is followed by an arpeggio and coloratura runs to b2 changing to tenor and then back to bass clef. The second entrance is an octave leap from a1 to a, in bass clef, followed by a sixlet arpeggio to a2 and sixlet ﬁguration to e3, making use of the treble clef. The third entrance begins with two one-octave leaps from g2 to g1, to g, followed by triplet thirty-second notes to g2 and a scale to f 3, ending with a cadence on e1. After a ﬂourish of thirty-second notes, a slow melody is featured in the clarino register embellished with sixteenth and thirty-second notes and grace notes (ﬁgure 5.1). This melody ends with thirty-second-note arpeggios to g3, runs, a three-octave leap from c3 to c, and trills before a cadence. Chromatic 18. “Il sig. Catterini Catterino suonò per la prima volta nel Teatro della Fenice il Glicibarifono istrumento di sua invenzione che gli meritò il premio del nostro I.R. Istituo. La forza, la dolcezza negli acuti, e le modulazioni che ottener si possono con questo istromento meritano i più distini elogi all’inventore.” L’Apatista, giornale di teatri e varietà 1, no. 10 (10 March 1834). I thank Jeremy Commons for this quotation and translation. 19. “. . . Con la nuova musica fu udito per la prima volta un nuovo strumento il Glicibaritono [sic] che tien nella voce del clarinetto e insieme del fagotto vale a dire che ha le note dell’uno e dell’altro. N’è inventore e suonatore il sig. Caterini Caterino che n’ebbe molti applause così per l’invenzione come pel magistero con cui adoperolla. . . .” Gazzetta privilegiata di Venezia Anno 1834, no. 58 (11 March 1834). I thank Jeremy Commons for this quotation and translation. Cf. Della Seta, “Dal Glicibarifono al clarinetto basso,” 1119. 20. This score is in the Archivio Storico-Musicale of the Teatro La Fenice in Venice. See Emma d’Antiochia, CD-ROM, and Michael Rose, “Mercadante, Saverio,” Grove Music Online. According to Della Seta, the autograph score is in the Archivio Storico Ricordi in Milan.

344

From the Clarinet d'Amour to the Contra Bass

Figure 5.1. Saverio Mercadante, Act two, Emma d’Antiochia, 1834, Naples, Italy, Conservatorio di Musica San Pietro a Majella, Biblioteca, MS., 29.6.9–10.

pitches are not written in the lowest register of c to e in the bass clef. Truly, this part is a spectacular solo for a virtuoso player of the bass clarinet.21 An extant certiﬁcate sent to Catterini from G. Berti, president of the Teatro La Fenice in 1845, states that Catterini played the bass clarinet solo in Emma d’Antiochia on 6 April 1835.22 On 15 June 1835, Catterini played a “Variazioni obbligate al glicibarifono” at a beneﬁt concert for the Pia Istituzione of the orchestra.23

21. The entire solo is transcribed for contro clarinetto (bass clarinet) with a piano reduction of the score by Della Seta, “Dal Glicibarifono al clarinetto basso,” 1120–1122. 22. Della Seta, “Dal Glicibarifono al clarinetto basso,” 1118. 23. Della Seta, “Dal Glicibarifono al clarinetto basso,” 1116.

Bass Clarinet, Contra Bass, and Contra Alto Music 345

Figure 5.1. Continued.

Unfortunately, the speciﬁc music that he played is not identiﬁed. Subsequently, on the ﬁrst part of a concert on 12 February 1838 at the Teatro Communale in Modena, Catterini played two Glicibarifono solos: a Variazioni con l’Eco on themes by Bellini and an Aria from Donizetti’s opera Anna Bolena.24 In Venice, a clarino basso (bass clarinet) was listed as an instrument played in the orchestra of the Teatro La Fenice from 1837–1838 through the 1846–1847 season.25 It is not certain if the bass clarinet was used for each season, but a clarino basso is mentioned in the libretto to Mercadante’s Le due illustri rivali performed on 10 March 1838;26 a bass clarinet part has not been found. The next use of the bass clarinet by Mercadante is in his opera La solitaria delle Asturie, ﬁrst performed 24. Aviso (notice), Modena, ASCMO, atti D.S., F.6; the author thanks Adriano Amore; cf. Gandini, Cronistoria dei teatri di Modena, vol. 1, 363–364. 25. See Girardi and Rossi, Il Teatro La Fenice, 135, 139, 141, 145, 150, 154, 157, 160, 167, 170, 172, 175, 179, 181; Della Seta, “Dal Glicibarifono al clarinetto basso,” 1123. Pietro Fornari, the inventor of a clarin basso in 1839, is known to have played at the Teatro La Fenice from 1836 to about 1856; see Amore, La scuola clarinettistica italiana, 36. 26. Della Seta, “Dal Glicibarifono al clarinetto basso,” 1125; Giardi and Rossi, Il Teatro La Fenice, 143–144.

346 From the Clarinet d'Amour to the Contra Bass

Figure 5.1. Continued.

on 12 March 1840 at the Teatro La Fenice.27 In the introduction to act one, a slow melody, written mostly in the clarino register, is played on stage by a solo bass clarinet with harp accompaniment.28 This opera was not particularly popular, but later performances of La solitaria occurred on March 21, 22, and 24.29

Meyerbeer One of the most important writers of French opera was the German composer Giacomo Meyerbeer (Jakob Liebmann Meyer, 1791–1864). In Paris, his earliest success was Robert le diable (1831), followed by Les Huguenots in 1836.30 27. Girardi and Rossi, Il Teatro La Fenice, 145, 147. The autograph is in the Archivio Storico Ricordi in Milan, and a copy is in the Archivio Storico of the Teatro La Fenice in Venice. See Della Seta, “Dal Glicibarifono al clarinetto basso,” 1128. 28. See the transcription of the ﬁrst eighteen measures by Della Seta, “Dal Glicibarifono al clarinetto basso,” 1129. 29. Girardi and Rossi, Il Teatro La Fenice, 145, 147. 30. Steven Huebner, “Meyerbeer, Giacomo,” Grove Music Online.

Bass Clarinet, Contra Bass, and Contra Alto Music 347

Figure 5.1. Continued.

After Louis Auguste Buffet completed his bass clarinet in 1833 and clarinetists of the Opéra orchestra, such as the principal clarinetist Franco Dacosta, adopted it, a number of bass clarinet solos appeared in many operas initially performed in Paris. It may have been Dacosta’s demonstrations of his instrument that brought Buffet’s newly designed bass clarinet to the attention of Meyerbeer. Whenever he ﬁrst learned of this versatile bass clarinet, Meyerbeer began composing Les Huguenots (The Huguenots) on 23 October 1832 and had drafted much of the work up to the summer of 1834. The death of Meyerbeer’s brother Michael in March 1833, the subsequent illness of his wife, and numerous other family matters prevented completion of the score until 1836.31 Meyerbeer was evidently impressed with Buffet’s bass clarinet because he wrote three sections for a B instrument, including a challenging solo, in this opera, ﬁrst performed on 29 February 1836. The solo appears in act ﬁve, where Marcel unites Raoul and Valentine in marriage to the accompaniment of a solo bass clarinet.

31. Huebner, “Huguenots, Les,” Grove Music Online; Huebner, “Meyerbeer, Giacomo,” Grove Music Online.

348 From the Clarinet d'Amour to the Contra Bass

Figure 5.1. Continued.

The composer’s notes in his diary suggest that the bass clarinet was not used at the premiere in favor of a soprano clarinet.32 Perhaps this was due to Dacosta’s temporary lack of conﬁdence in performing the difﬁcult solo, but subsequently he performed it on the bass clarinet at one of many performances later in 1836.33 For example, in an 1836 opera review, Berlioz mentions the bass clarinet as a new instrument, and he no doubt heard it played at one of the early performances during 1836.34 Fétis wrote on 6 March in Revue Musicale: “The accent of the instrument completes and reinforces the feelings expressed by the characters. The religious inspiration of Marcel and the resignation of Raoul and Valentine are admirably expressed in this piece, which the

32. See The diaries of Giacomo Meyerbeer, vol. 1, 502, n. 17. 33. In 1836, there were eleven performances of Les Huguenots at the Opéra in March (2, 4, 7, 9, 11, 14, 18, 21, 23, 25, 28), seven in April (4, 11, 13, 17, 22, 25, 29), and three in early May (1, 4, 6). See Tamvaco, Les cancans de l’Opéra, vol. 2, 604–610, 612, 614, 616–618, 620. 34. Berlioz in Revue et gazette musicale de Paris (6 May 1836); see the trans. of the review as “The ﬁrst performance of Meyerbeer’s Les Huguenots,” in Cohen, “Berlioz on the Opéra,” 148.

Bass Clarinet, Contra Bass, and Contra Alto Music 349

Figure 5.1. Continued.

addition of the bass clarinet so admirably completes.”35 Les Huguenots was an enormous success, celebrating its hundredth performance on 22 July 1839. In the introduction to no. 15, a trio entitled “Interrogatoire” of act ﬁve, a B bass clarinet is played alone for twenty-ﬁve bars accompanying three singers: Marcel, Raoul, and Valentine. Although this introduction, marked “Molto maestoso” (metronome marking of 63), is quite short with only eleven measures, Meyerbeer boldly writes an arpeggio from e, the lowest note of Buffet’s bass clarinet, to its highest practical note of g3 (ﬁgure 5.2). Because this instrument was not well known, Meyerbeer describes it in the score as written like an ordinary clarinet in the treble clef but sounding an octave lower.36 His contrasts in dynamics of forte (f) followed by pianissimo (pp) in the chalumeau register are very effective. Subsequently, there are brief interjections of the bass clarinet with three singers that add to the drama.37 Finally, the bass clarinet returns 35. See the trans. given by Kelly, First nights at the opera, 191. 36. “Bien que la clarinette basse s’écrive comme la clarinette ordinaire elle rend les sons une octave plus bas.” Meyerbeer, Les Huguenots, vol. 2, 847. 37. Meyerbeer, Les Huguenots, vol. 2, 847–849.

350 From the Clarinet d'Amour to the Contra Bass

Figure 5.1. Continued.

with one clarinet in the third part of the trio entitled “Vision,” playing triplets in the chalumeau register.38 The ﬁrst short, but effective solo is erroneously listed in all reference works and textbooks as the earliest use of the bass clarinet in the orchestra.39 Almost a year after the premiere, according to his diary entry for 15 February 1837, Meyerbeer requested a bass clarinet, probably the one owned by the Opéra orchestra, ostensibly to play it. This diary fragment reads: “The bass clarinet from Brodt and instructions on how to play it.”40 Presumably, Meyerbeer was curious to 38. Meyerbeer, Les Huguenots, vol. 2, 857–872. 39. Berlioz was the earliest to quote the ﬁrst twenty-two bars of the Trio from Les Huguenots in score form in his famous 1843 instrumentation treatise. He rewrote bar ﬁve so that the highest note is a g2 rather than a g3, possibly just to simplify a difﬁcult passage. See Berlioz, Traité d’instrumentation, 148. The same simpliﬁed version of this passage is quoted by Gevaert in the ﬁrst edition of his 1863 instrumentation treatise. Gevaert includes the original version in his later instrumentation treatise; see Gevaert, Traité général, 60; Nouveau traité, 182–183. Marx includes the original version of this solo in his inﬂuential 1847 treatise, Die Lehre von der musikalischen Komposition, vol. 4, 522–523. 40. See The diaries of Giacomo Meyerbeer, vol. 1, 108, 487. Brodt was a stage machinist at the Paris Opéra during the 1830s. Berlioz mentions that the Opéra orchestra owned a bass clarinet that Meyerbeer

Bass Clarinet, Contra Bass, and Contra Alto Music 351

Figure 5.1. Continued.

see the instrument or study it ﬁrsthand. He may also have asked Dacosta or another clarinetist to play the instrument to better understand its capabilities.41 Paris was the leading center for opera in Europe at this time, and the great success of Les Huguenots did not escape the notice of theater managers in Germany. The opera was quickly translated into German as Die Anglikaner und die Puritaner, and its premiere at the Munich Court Opera took place on 22 May 1838. The court musician and well-known clarinetist Carl Baermann (1810–1885) had only two weeks to learn the bass clarinet part on a straight-shaped thirteen-key bass

had introduced to the public; see Berlioz, “De l’instrumentation” La revue et gazette musicale de Paris (19 December 1841) reprinted in Berlioz, De l’instrumentation, 61; see also Bloom’s “list of readings” in Berlioz, Grande traité d’instrumentation, 541. 41. Berlioz states in his memoirs that he learned the art of instrumentation by studying the scores of Beethoven, Weber, and Spontini, “a scientiﬁc study of conventional forms of scoring and also of unusual forms and combinations; this and the company of virtuoso players of various instruments and the experiments I induced them to make, plus a dash of instinct, did the rest.” See The memoirs of Hector Berlioz, 47–48.

352 From the Clarinet d'Amour to the Contra Bass

Figure 5.1. Continued.

clarinet by L. A. Buffet of Paris.42 The instrument he played (D-München-BNM, 117) does have some concessions to German taste in the design and placement of some keys and the use of a straight brass bell (see chapter 4). Arrangements of various operatic arias for instruments were performed during the nineteenth century throughout Europe as a result of this opera’s popularity. A concert in Dublin, Ireland, by the conductor of popular programs Louis Jullien (1812–1860) included orchestral works and several solos played by the ﬁnest English instrumentalists.43 The clarinetist John Henry Maycock (1817–1907) was a much admired player of the bass clarinet and basset horn.44 In 1849, he played in a trio on themes from Les Huguenots arranged for bass clarinet, oboe, and ophicleide, 42. Wackernagel, Holzblasinstrumente, 306. 43. For information on Jullien, see Keith Horner, “Jullien, Louis,” Grove Music Online; Carse, The life of Jullien. 44. In 1849, the critic of the Manchester Guardian called Maycock “decidedly the best corno-bassetto (or bass clarionet) performer we have heard, even with a lively recollection of Willman.” See “Jullien’s concerts,” 13.

Bass Clarinet, Contra Bass, and Contra Alto Music 353

Figure 5.2. Giacomo Meyerbeer, Trio, “Interrogatoire,” act 5, Les Huguenots (Paris, 1836; New York: Garland, 1980), 847.

with Apollon Barret and Jean Prospère Guivier. The critic from The Evening Packet exclaimed this trio “is one of the gems of this picturesque work, displaying dramatic effect throughout unequalled.”45 45. “Jullien in Dublin,” The Musical World, 29.

354 From the Clarinet d'Amour to the Contra Bass Meyerbeer used the bass clarinet again in his next opera, Ein Feldlager in Schlesien (A Camp in Silesia), premiered in Berlin at the Court Opera on 7 December 1844.46 The Berlin opera house had burned the year before, and Meyerbeer’s opera was the inaugural work for the new theater. In 1847, this opera, entitled Vielka, was performed in Vienna with Jenny Lind as the leading soprano with some modiﬁcations to the score.47 In Ein Feldlager, Meyerbeer writes for B bass clarinet in four sections. In act one, no. 4, the duetto “Auf, auf in Kleinner Zeit” includes a C clarinet and a B bass clarinet. The following recitative includes B bass clarinet, along with clarinets in C, B, and A. The part is simple and supportive of the other wind instruments with a small compass of e to g1.48 In act two, the aria “Gott! Gott! dir Danken,” the bass clarinet is given Alberti-bass passages in the chalumeau register with a compass of e to e2 accompanying three voices.49 In the third act, the bass clarinet is given a short part, e to b1, alternating thirty-second-note sixlets between one of three B soprano clarinets. At the end of the number the bass clarinet doubles a melody on the English horn.50 Meyerbeer limits the bass clarinet parts to accompanying passages without any hint of virtuoso passages. A favorable review of the opera in the AMZ speciﬁcally mentions the beautiful effect of the instrumentation of this number with English horn, bass clarinet, and harp.51 In a short appendix (Anhang) to the opera, a bass clarinet doubles an English horn melody.52 At the Paris Opéra on 16 April 1849, Meyerbeer’s popular opera Le Prophète (The Prophet) was premiered. Although it was begun in 1836 after Les Huguenots, Meyerbeer did not complete the work until the late 1840s because of difﬁculties in hiring appropriate singers.53 A B bass clarinet is speciﬁed in four sections. In act three, no. 19, a Hymne Triumphal, the second clarinetist plays bass clarinet in only seven measures, e to c1, doubling the ﬁrst clarinet in rapid sixteenth notes.54 In the Marche du Sacre of act four, no. 23, the bass clarinet doubles an eight-bar

46. Although Meyerbeer uses a number of sections from “Ein Feldlager in Schlesien” in his L’Étoile du Nord (The North Star, 1854), the bass clarinet was not used in the published edition of the latter opera. 47. Steven Huebner, “Feldlager in Schlesien, Ein,” Grove Music Online. 48. Meyerbeer, “Ein Feldlager,” act one, fols. 178–185. The next recitative and ensemble (fol. 205) lists a “clarinetto in Sol” (G clarinet) in the score, but apparently Meyerbeer changed his mind about using this instrument since no music is written. 49. Meyerbeer, “Ein Feldlager,” act two, fols. 469–472. 50. Meyerbeer, “Ein Feldlager,” act three, fols. 83–107. 51. J. P. S., “Ueber die neue Festoper,” 862. 52. Meyerbeer, “Ein Feldlager,” Anhang. 53. Steven Huebner, “Prophète, Le,” Grove Music Online. 54. Meyerbeer, Le Prophète, vol. 1, 486–487. In the supplement to the printed opera, Meyerbeer suggests using a soprano clarinet when a bass clarinet is not available. Meyerbeer, Le Prophète, vol. 2, supplément (no. 1), 1. Gevaert quotes twelve bars of this passage in A new treatise, 183.

Bass Clarinet, Contra Bass, and Contra Alto Music 355 E trumpet melody, b to d2.55 Later in the opera, in the Couplets et Morceau D’Ensemble, Meyerbeer gives the bass clarinet sixlets, f to d2, in harmony with the ﬁrst clarinet.56 The last solo of act four, L’exorcisme, includes a short solo, and in the andante section, an extended solo in sixteenth notes, a to g2, accompanying a tenor for ﬁfteen measures.57 Edouard Duprez, a member of the Opéra orchestra from 1839 to 1855, is noted as playing the bass clarinet part at the premiere of Le Prophète.58 Duprez played a bass clarinet made by Sax,59 and Meyerbeer speciﬁes a large off-stage band of twentysix brasses, including twenty Saxhorns made in the Sax factory, in the Marche du Sacre of act four.60 In addition, Meyerbeer believed Adolphe Sax’s bass clarinet was superior to the instrument by Buffet, previously used by Dacosta. This is demonstrated in a letter that he wrote to Sax dated 24 April 1849, explaining that the monologue he had written for the saxophone in Le Prophète had to be suppressed because of the staging. He then offered, “As for your bass clarinet, the role which I have given it to play through the score, tells you well enough how I have used it and the value which I attach to it.”61 At least from the mid-1840s, we may assume that the clarinetists at the Opéra and other Paris orchestras were playing bass clarinets by Sax or L. A. Buffet.62 In the 1859 opera Dinorah, originally called Le Pardon de Ploërmel (The Pilgrimage of Ploërmel), Meyerbeer uses a B bass clarinet in eight sections and the supplement, sometimes of very short duration, with the largest compass of e to e2 occurring in act three, no. 2.63 In a similar manner as printed in the previous published Meyerbeer

55. Meyerbeer, Le Prophète, vol. 2, 564–565. Again, for theaters not having bass clarinets, in the supplement to the score, Meyerbeer wrote replacement parts for two soprano B clarinets and two bassoons. See Meyerbeer, Le Prophète, vol. 2, supplément (no. 1), 1. 56. Meyerbeer, Le Prophète, vol. 2, 598–599. The supplement in the score provides a rewritten part for second clarinet, viola, and ﬁrst bassoon when lacking the bass clarinet. See Meyerbeer, Le Prophète, vol. 2, supplément (no.1), 1. 57. Meyerbeer, Le Prophète, vol. 2, 627, 629–630. The supplement in the score includes a rewritten part for clarinet and bassoon for the ﬁrst section and suggests that the ﬁrst bassoon play the sixteenth notes as a solo. See Meyerbeer, Le Prophète, vol. 2, supplément (no. 1), 2. 58. Weston, Yesterday’s clarinettists, 65, 235. 59. Duprez’s Sax bass clarinet is preserved at the Musée de la Musique (F-Paris, E.1223 C.1137). 60. See the listing of instruments given by Meyerbeer in Le Prophète, vol. 2, 556. 61. “Quant à votre clarinette basse, le rôle que je lui ai fait jouer dans tout le cours de la partition vous dit assez le cas que j’en fais et le prix que j’y attache.” Comettant, Histoire d’un inventeur, 328–329; also included by Pontécoulant as an undated letter in Organographie, vol. 2, 288. 62. Adolphe Hugo is known to have played clarinet and bass clarinet in the highly prestigious orchestra of the Société des Concerts du Conservatoire in 1845, and he was principal clarinet from 1831 in the Opéra Comique orchestra. See Holoman, The société des concerts du conservatoire, 31; Weston, More clarinet virtuosi of the past, 133. 63. See Meyerbeer, Le Pardon de Ploermel, 19–23, 36–71, 192–194, 319–321, 388–393, 405–407, 411–424, 503–544.

356 From the Clarinet d'Amour to the Contra Bass operas, a note on the ﬁrst page suggests that if the theater is not able to obtain a bass clarinet, it could be replaced by a third bassoon.64 There is a brief solo of three and a half measures from f to e2 for bass clarinet alone, written in a slow tempo marked “Marcia religiosa” and a metronome mark of 69.65 Dacosta is reported to have played an L. A. Buffet bass clarinet in this opera.66

Neukomm Sigismund Ritter von Neukomm (1778–1858) was an Austrian composer, pianist, and scholar. He is important as a transitional ﬁgure between Classicism and Romanticism. Neukomm initially studied with Michael Haydn in Salzburg and Joseph Haydn in Vienna and in 1804 left for St. Petersburg, where he became Kapellmeister at the German Theater. After returning to Vienna, he lived in Paris for several years, where he made the acquaintance of many leading musicians. In 1816, the Duke of Luxembourg took him to Rio de Janeiro, where he taught at the court of John VI of Portugal and made the music of Haydn and Mozart known in South America. Leaving Rio de Janeiro on 15 April 1821, he arrived back in Paris on 23 October and there enjoyed the patronage of Talleyrand, the Princess of Vaudemont, and the Duke of Orléans, later King Louis Philippe. In 1826, Neukomm traveled throughout Italy and in April 1829, settled in England as his second home.67 Here, he wrote many sacred works, arias, and songs in English. Coincidentally, Neukomm completed a concert aria entitled “Make haste, O God, to deliver me, Psalm 70, 1.2.4.5. for a Counter-Tenor-Lady’s-voice with the Bass-Clarionet concertant” on 29 February 1836, the same night as the ﬁrst performance of Meyerbeer’s Les Huguenots.68 The bass clarinet was probably played by the famous English clarinetist Thomas Lindsey Willman (1784–1840), since on 8 April 1836, Willman played a bass clarone (bass clarinet) at a dinner of the Royal Society of Musicians. Although the work that Willman played was not mentioned in The Musical World, it is assumed to have been Neukomm’s aria “Make haste, O God.” On this occasion, his instrument was described in some detail: “Bass Clarone. This newly invented instrument . . . partakes of the corno-bassetto, the clarinet, and the 64. “Les theaters qui ne pourraient pas se procurer une clarinette basse pourrant la remplacer par un 3me. basson.” Meyerbeer, Le Pardon de Ploermel, 1. 65. Meyerbeer, Le Pardon de Ploermel, 534. 66. See Altenburg, “Adolphe Sax,” 1020. Meyerbeer also used a B bass clarinet in his last opera L’Africaine (The African Maid) orchestrated in 1863 and published in 1865, edited by F. J. Fétis and others. For a discussion of all changes to the text, stage directions, and autograph score, see Roberts, “The genesis of Meyerbeer’s ‘L’Africaine,’” 207–223. 67. Rudolph Angermüller, “Neukomm, Sigismund Ritter von,” Grove Music Online. 68. The date is written on the last page of the manuscript score, Neukomm, “Make haste, O God, to deliver me,” fol. 30. The text of Neukomm’s aria is based on Psalm 70, lines 1, 2, 4, and 5. In Neukomm’s manuscript “Verzeichniss meiner Arbeiten in chronologischer Ordnung,” completed on 1 February 1832, he calls the obbligato instrument a “Bass-Clarone.” See the reproduction of the “Verzeichnis” in Angermüller, Sigismund Neukomm, 118.

Bass Clarinet, Contra Bass, and Contra Alto Music 357 bass-horn; the compass is from C below, to D in alt [alto register], or perhaps higher; it is blown into by a reed, like that on a clarinet; the tone is remarkably sonorous, and the lower notes resemble those which are called ‘diapason’ on an organ.”69 A week later, Willman performed the same work with the contralto singer Mrs.A. Shaw at the Hannover Square Rooms for his beneﬁt and for Mrs. K. Robson. The Musical World states: “Mr. Willman introduced upon the present occasion his new instrument, the bass-clarone, upon which he accompanied Mrs. Shaw in an air written expressly for it by the Chevalier Neukomm, entitled ‘Make haste, O God.’ The upper tones of the instrument partake somewhat of the character of the bassoon: it is the lower ones that are like the deep notes of the clarionett.”70 At another beneﬁt concert at Willis’s Room, Willman again accompanied Mrs. Shaw on the bass clarinet in Neukomm’s “Make haste, O God.”71 Later at the Manchester Music Festival in September, Mrs. Shaw and Willman once again performed Neukomm’s aria. The Musical World reports that “Mrs. Shaw gave much satisfaction, as did her excellent accompanyist Willman, on the basso-clarone.”72 In this aria, Neukomm wrote for an orchestra of two violins, viola, cello, and double bass. The bass clarinet solo part is in C, written in treble clef and marked Bass-Clarionett. A walking tempo (marked Andante) begins the aria with a lyrical passage on g2, descending in a forceful manner (marked marcato) to low c with a metronomic indication of 96. This part is technically on the level of Mozart’s basset clarinet obbligato to “Parto, parto” from La Clemenza di Tito with a written compass of c to d3 (although the page with the only d3 is crossed out in Neukomm’s manuscript). It includes scales and arpeggios in sixteenths, sixteenth sextuplets, and thirty-second notes, as well as turns and trills. The dynamic range is from p to f with the occasional sforzato, staccato, and marcato designations (ﬁgure 5.3).73 The reader may wonder who made Willman’s bass clarinet. George F. Wood, a London woodwind maker, is known to have ﬁnished a bassoon-shaped bass clarinet in 1833 with a compass extending to C (see chapter 4). It seems possible that Willman played this instrument for these concerts, although an 1831 article in The Harmonicon describes the bass clarinet made by the Göttingen maker Streitwolf, so it is possible that Willman was able to procure a Streitwolf bass clarinet. Nothing more is heard about Willman and Neukomm’s “Make haste, O God,” although 69. “Miscellaneous,” 47. Kitson, editor of the modern index to The Musical World, mistakenly describes the bass clarinet as a new instrument invented by Willman; see The Musical World: 1836–1865, no. 27. 70. “Concerts,” The Musical World, 59. Hogarth in the same issue of The Musical World mentions “the newly-invented clarone, or bass-clarinet.” See Hogarth, “Instrumental music,” 72. 71. “Concerts—Mrs. A. Shaw’s concert,” 174. 72. “Manchester musical festival,” 7. 73. Neukomm, “Make haste, O God, to deliver me.” Also see Aber, “A history of the bass clarinet,” 96–100. On 21 December 1839, a concert of historic Belgian music included an élégie for voice and bass clarinet by Benoît Fauconnier, the bass clarinet played by Adolphe Sax. See François-Joseph Fétis et la vie musicale de sons temps, 53 item 85.

Figure 5.3. Sigismund Ritter von Neukomm, “Make haste, O God, to deliver me, Psalm 70, 1.2.4.5. for a Counter-Tenor-Lady’s-voice with the Bass-Clarionet concertant” (1836).

Bass Clarinet, Contra Bass, and Contra Alto Music 359

Figure 5.3. Continued.

Rendall states that Willman occasionally played the bass clarinet in obbligati, omitting names of music and dates of performance. Weston provides a repertoire list for various performers including Willman, who she notes as playing only Neukomm’s air on bass clarinet.74

Berlioz Hector Berlioz (1803–1869) was a leading French composer, critic, and conductor during the nineteenth-century. His works represent important contributions to 74. Rendall, “A short account of the clarinet in England,” 80; More clarinet virtuosi of the past, 270–273, 356; Yesterday’s clarinettists, 181–184, 285. An excellent summary of Willman’s very busy professional career is in Ward, “Thomas Lindsay Willman,” 37–41; see also Weston, Clarinet virtuosi of the past, 101–113.

360 From the Clarinet d'Amour to the Contra Bass Romantic music, particularly in his skillful orchestration using a wide variety of instruments alone and in various combinations. Although some recognized his works as original, his genius was only fully recognized in the twentieth century.75 The earliest work including the bass clarinet by Berlioz is in the sextuor, no. 21 of the opera Benvenuto Cellini (1838), composed between 1834 and 1837. A B bass clarinet is cautiously written in both the Paris and Weimar (1852) versions with a compass of f to b2. The bass clarinet is placed above the other clarinet part, suggesting that the ﬁrst clarinetist should play the bass clarinet part. Throughout three sections, it doubles the wind parts; shares a prominent part with the bass soloist, a clarinet, and bassoons; and is marked solo in a passage doubled by four bassoons, three trombones, and an ophicleide.76 In 1842, Berlioz used two B bass clarinets in his three-movement Grande Symphonie Funèbre et Triomphale.77 This work is scored for a military band and an optional chorus. The instrumentation includes ﬁve E clarinets, ﬁfteen ﬁrst B clarinets, twelve second B clarinets, and two B bass clarinets. The compass of both bass clarinet parts is from e to a2. In one section of the Marche Funèbre movement, Berlioz pairs two unison bass clarinets with the two unison bassoons, and a contra bassoon in a slow, but technically demanding part (ﬁgure 5.4).78 Later in the same movement, the bass clarinet is given the melody, doubled by two alto and tenor trombones. The bass clarinet parts feature several short passages that often double the bassoons. During the ﬁrst performance in December 1843, Sax and Edouard Duprez played the bass clarinet parts on bass clarinets made by Sax.79 In the Oraison Funèbre movement, Berlioz wrote a solo part for a tenor trombone in F, but in case the player is not capable of playing the part, he suggests the use of a bass clarinet in C or a piston-valve French horn in G. In the manuscript, an autograph footnote has this additional sentence crossed out: “In such a case the bass clarinet is to be preferred to the horn or the alto trombone.” The compass of the alternate bass clarinet part of the Oraison Funèbre is e to b2.80 Later versions and performances from 1844 to 1851 include large string sections, four bass clarinets in 1844, but no bass clarinets in the versions of 1845 and 1851.81 Berlioz wrote to his friend Franz Liszt on 29 August 1851, in part to discuss the use of several wind instruments. He mentions: “I have also written for the bass clarinet in the Septuor (Benvenuto Cellini) and in l’ouverture (Grande Symphonie Funèbre 75. Hugh MacDonald, “Berlioz, Hector,” Grove Music Online. 76. Berlioz, Benvenuto Cellini, 853–892, 894–895, 921–925. The modern edition is a conﬂation of the Paris (1838) and Weimar (1852) scores. 77. The three movements are Marche Funèbre (3–38), Oraison Funèbre (39–51), and Apothéose (52–90); see, Berlioz, Grande Symphonie Funébre et Triomphale. 78. Berlioz, Grande Symphonie Funébre et Triomphale, 22–23. In the Paris Conservatory manuscript score (MS. 1.164), the bass clarinets are placed below the B ophicleide and above the bassoons. 79. Weston, Yesterday’s clarinettists, 65. 80. Berlioz, Grande Symphonie Funèbre et Triomphale, XI, 108. 81. Berlioz, Grande Symphonie Funèbre et Triomphale, 109.

Bass Clarinet, Contra Bass, and Contra Alto Music 361

Figure 5.4. Hector Berlioz, “Marche Funèbre” movement, Grande Symphonie Funèbre et Triomphale (Kassel: Bärenreiter, 1990).

et Triomphale). If one is not able to use it then one can quickly write out the part for the ordinary clarinet in B”82 The second version of the Chant Sacré, completed in November 1843, contains two bass clarinets played on instruments made by Adophe Sax, instruments that Berlioz praised highly in his Traité.83 Undoubtedly, in order to help the sales of this work, the 82. “J’ai mis aussi une clarinette Basse dans le Septuor et dans l’ouverture. Si l’on ne peut en avoir une il vaut mieux presque partout faire jouer sa partie par une clarinette ordinaire in B.” Berlioz, Correspondance générale, vol. IV, 83–84. 83. Berlioz favorably describes Sax’s twenty-two key-bass clarinet, indicating a compass of e to g3. He devotes a section entitled Perfectionnements des clarinettes (Improvements in the clarinets) to describing the technical and musical advantages of Sax’s bass clarinet. Berlioz, Grande traité, 220–221.

362

From the Clarinet d'Amour to the Contra Bass

Figure 5.4. Continued.

Richault edition of the Chant Sacré (1844) has optional bass clarinet parts marked “ad libitum,” and as an alternative, Berlioz suggests two “ordinary clarinets.” The bass clarinet parts simply ﬁll in the harmony and are limited to compasses of f to g2 and f to c2.84 A third version of the Chant Sacré (now lost) was a transcription of voice parts for six instruments made by Adolphe Sax. It was performed in February 1844 at the Salle Herz with Berlioz conducting and, according to Holoman, was scored for clarinet (played by Leperd), bass clarinet (Duprez), saxophone (Sax), E valve trumpet (Dufresne), E valve bugle (Arban), and B valve bugle (Dauvernay) with orchestral accompaniment.85 84. Berlioz, Choral Works with Orchestra (I), XI–XII, 267–279. See also Holoman, Catalogue of the works of Hector Berlioz, 82. 85. “Clarinette soprano, clarinette basse, saxophone, petite trompette dixième à cylindres en mi aigu, petit bugle aigu à cylindres en mi, grand bugle à cylindres.” See Holoman, Catalogue of the works of Hector Berlioz, 83; Comettant, Histoire d’un inventeur, 51.

Bass Clarinet, Contra Bass, and Contra Alto Music 363

Figure 5.4. Continued.

La Damnation de Faust was composed in 1846 and published in 1854. Berlioz includes a B bass clarinet with a compass of e to g2.86 The bass clarinet is written in ﬁve sections in the third act. This score indicates the beginning of hiring a third clarinetist to play a bass clarinet and at times a third clarinet part, as is commonly done in orchestras today. Berlioz’s Te Deum was composed during 1848–1849, ﬁrst performed 30 April 1855, and published in 1855. He uses two B bass clarinets with a compass of e to a1 and b to f2. A B bass clarinet solo is played by the second clarinetist in movement ﬁve, “Te ergo quæsumus,” and movement six, “Judex crederis.”87 86. Berlioz, La damnation de Faust, vol. 8, 273–281, 282–311, 313–325, 401–418, 419–437; La damnation de Faust, supplément, 459. 87. See Berlioz, Te Deum, IX, 89–100, 119–122.

364 From the Clarinet d'Amour to the Contra Bass

Donizetti Gaetano Donizetti (1797–1848) was a highly successful opera composer. He was a dominant ﬁgure in Italian opera, equally successful in comic and serious genres, and an important precursor of Verdi.88 Della Seta found a piano score of Donizetti’s opera Maria di Rudenz (1838) in which the introduction to the second act is similar to the opening of Mercadante’s act two of Emma d’Antiochia, where the glicibarifono (bass clarinet) is played. A simple melody is presented with a piano or harp accompaniment, as in Emma d’Antiochia, brieﬂy interrupted by two short, diatonic cadenzas. A melody is decorated with two cadenzas, one with a chromatic scale, the last as an arpeggio from d1 to a4. The solo part is not identiﬁed, but there are two eighth-note Ds notated in the bass clef, suggesting that it may have been a bass clarinet.89 A bass clarinet was available at the Teatro La Fenice in Venice where the opera was performed on January 30, 31, and February 2, 1838.90 Since a complete score has not been found, we can only speculate that this part was probably meant for a bass clarinet. Donizetti wrote for bass clarinet in Dom Sébastien, roi de Portugal performed at the Paris Opéra on 13 November 1843. He wrote parts in tenor clef for two B bass clarinets, by which he was making use of an earlier Italian tradition of using the tenor clef for operas and instrumental works to indicate a part transposed for a B clarinet.91 In the published score, these parts are designated “Bassettes en Si”;92 Mary Ann Smart, editor of the Ricordi edition of the Donizetti operas, determined that the clefs were meant to indicate the parts were to be played on bass clarinets in B.93 Donizetti writes effectively for two B bass clarinets and two B clarinets in act two, no. 4, the Pas de deux section. When their parts are written in tenor clef, the bass clarinetists play the written notes as if they were playing transposed B parts notated in treble clefs. After an introduction, the bass clarinets are skillfully used in a ﬁfteenbar section with two soprano clarinets featured for their timbre with the bassoons, horns, and harp. In the following faster allegretto section, the bass clarinets remain in an accompanying manner without any exposed sections. The ﬁrst bass clarinet is 88. Mary Ann Smart, “Donizetti, Gaetano,” Grove Music Online. 89. Della Seta, “Dal Glicibarifono al clarinetto basso,” 1125–1127. 90. Girardi and Rossi, Il Teatro La Fenice, 135. 91. Tenor clefs were used by many Italian composers since the 1760s to indicate a transposition for B clarinets. See Rice, The clarinet in the classical period, 98–106. 92. Donizetti, Dom Sébastien, vol. 1, 176–203. 93. The term Bassette led Ashbrook to incorrectly identify the parts as written for the basset horn; see Ashbrook, Donizetti and his operas, 519. Earlier, Daubeny had mistakenly thought tenor clef signs in the clarinet parts were used to indicate basset horns in Bellini’s Il Pirata (1827) and Donizetti’s La Favorite (1840). See Daubeny, Orchestral wind instruments ancient and modern, 31.

Bass Clarinet, Contra Bass, and Contra Alto Music 365 limited to a compass of e to a2, second from e to e2 (ﬁgure 5.5).94 In “Choeur et Final,” act four, no. 9, the two bass clarinets are written in tenor clef but only in separate parts found in Paris’s Bibliothèque de l’opéra. In the Ricordi edition score, two bass clarinet parts are generally limited to a maximum compass of g to g2.95

Figure 5.5. Gaetano Donizetti, Dom Sébastien, Roi de Portugal, act 2, no. 4 (Milan: Ricordi, 2003). 94. Donizetti, Dom Sébastien, roi de Portugal, vol. 2, 237–292; cf. Coggiola, “The use of the bass clarinet in the French opera orchestra in the ﬁrst half of the nineteenth century” 160. The critical commentary in the Ricordi edition mentions the use of tenor clefs for the bass clarinets only in the edition by Bureau Central de Musique of 1844; Donizetti, Dom Sébastien, roi de Portugal, vol. 2, 927, 944. 95. Donizetti, Dom Sébastien, roi de Portugal, vol. 2, 656–661, 664–670, 675–677, 702–703, 706–712, 719–755, 922, 954. The glicibarifono was later played by Pasquale Riva and Vincenzo Lodini in two operas by Donizetti performed in Persiceto in 1846: Marino Faliero and Belisario; and an added part to the Sinfonia of Pacini’s Falegname di Livonia (originally composed in 1820). See Valentini, “L’orchestra a San Giovanni in Persiceto,” 287–288, n. 72, 302, Tabella 5.

366

From the Clarinet d'Amour to the Contra Bass

Verdi Giuseppe Verdi (1813–1901) is recognized as the greatest Italian musical dramatist.96 One year after Donizetti had speciﬁed two bass clarinets in Dom Sébastien, Verdi wrote a B bass clarinet part (labeled Clarino Basso) in Ernani (1844) with a compass of C to a2 in the tenor clef, using the bass clef for a short passage that descends to C.97 Verdi requires an instrument in Ernani that had an extension of the lower range below e to C, similar to Catterini’s bass clarinet.98 The opera was premiered at the Teatro La Fenice in Venice on 9 March 1844. It was a success and repeated several times in March.99 In 1844, a bass clarinet was registered in the payroll at La Fenice in Venice but not in the general regulations of the theater. This is understandable, since so few operas required the instrument. However, in later performances of Ernani at other theaters, a horn or oboe often replaced a missing bass clarinet.100 Della Seta suggests that the clarinetist and maker Pietro Fornari performed the bass clarinet part in Ernani, perhaps on his own improved bass clarinet (see chapter 4).101 Verdi intended to use two bass clarinets in the ﬁrst version of Macbeth (1847) in an orchestra under the stage during a procession of eight kings, but they are missing from the autograph.102 In a subsequent letter, he speciﬁes one B bass clarinet in the second Paris version of Macbeth (1865).103 Ballet music was requested for this version to be played in Paris, and Verdi adroitly wrote a bass clarinet part in the second ballet of act three, no. 10, but only in nineteen measures, doubling the ﬁrst bassoon and solo cello.104 In many of the earliest Italian opera scores, principal or ﬁrst clarinetists usually performed bass clarinet parts required in opera scores. From 1854 in the orchestra

96. Roger Parker, “Verdi, Giuseppe,” Grove Music Online. 97. Verdi, Ernani, nos. 10 and 14, 317–324. The bass clarinet solo part of no. 10 was originally written for trumpet; see Verdi, Ernani, xxviii. 98. Dullat plausibly suggests that Verdi may have had in mind the compass of the bassoon-shaped bass clarinet designed by Catterini for Ernani; see Dullat, Klarinetten, 78. 99. March 10, 11, 13, 14, 16, 17, 21, 23, and 24; see Girardi and Rossi, Il Teatro La Fenice, 167, 169. 100. Verdi, Ernani, xxviii. Bass clarinets with a compass extended to C were beginning to become known throughout Italy during the 1840s; even so, the name clarone continued to be used by some writers to designate the clarinetto dolce or clarinet d’amour. See Vissian, Dizionario, 78. 101. See Della Seta, “Dal Glicibarifono al clarinetto basso,” 1130, n. 38. 102. See Verdi’s letter to Salvatore Cammarano dated 23 November 1848 in Rosen and Porter, Verdi’s Macbeth: A sourcebook, 67; Conati, “Aspects of the production of Macbeth,” 236, n. 23. 103. See Verdi’s letter to Escudier dated 23 January 1865 in Rosen and Porter, Verdi’s Macbeth: A sourcebook, 90; Conati, “Aspects of the production of Macbeth,” 236, n. 23. 104. Verdi, Macbeth, 381–394. This edition includes both the 1847 edition and the holograph sections of the additions of the 1865 version. Verdi uses the bass clarinet in several later operas: La forza del destino (1862), Aida (1871), Simon Boccanegra (second version, 1881), Otello (1887), and Falstaff (1893). See Verdi handbuch, 347, 419, 438, 461, 474, 486.

Bass Clarinet, Contra Bass, and Contra Alto Music 367 of the Teatro alla Scala in Milan, there were four clarinetists,105 one of which could have specialized in playing the bass clarinet. In addition, in 1853, the ﬁrst clarinetist of the Apollo Theater in Rome also could double on the bass clarinet or basset horn (corno bassetto). An orchestral list mistakenly identiﬁes the English horn (corno inglese) as an instrument doubled by the clarinetist.106

Balfe The Irish composer Michael William Balfe (1808–1870) was the most successful composer of English operas during the nineteenth century.107 Balfe’s opera The Daughter of St. Mark was premiered on 27 November 1844 at Drury Lane Theatre in London, exactly one year after the premiere of his greatest success, The Bohemian Girl.108 Although the audience at the ﬁrst performance was enthusiastic, this opera had a short run at Drury Lane. The Times critic comments on the use of the basset horn in the overture. The opera differs so far from many of Mr. Balfe’s, that he has more relied on it as a complete work, and less trusted to the effect of isolated melodies. His overture lacks design, and is remarkable for little else than a solo on the corno bassetto [basset horn], but he has paid remarkable attention to his concerted pieces, and to the dramatic treatment of his scenes.109 However, the clarinetist John Maycock, who played the basset horn solo in The Bohemian Girl, speciﬁcally states in 1886 that Balfe wrote a bass clarinet solo for him in The Daughter of St. Mark. Balfe wrote especially for me the beautiful introduction to “The heart bow’d down,” in his opera of “The Bohemian Girl,” for corno di bassetto, and also a solo for the bass clarinet in “The Daughter of St. Mark,” both of which, however, are now rarely played on the original instruments, the ordinary clarinet being substituted, totally destroying the composer’s ideas and intentions, and losing an octave in the most effective part of the instruments.110 105. “Capitoli d’obbligo per l’Impresa degl’Imperiali Regj Teatri della Scala e della Canobbiana in Milano pel sejennio dal 1° dicembre 1854 al 30 novembre 1860” (Milan, 1853), 37; cited by Harwood, “Verdi’s reform of the Italian opera orchestra,” 112, Table 2 and n. e. 106. “. . . di due clarini, obbligato il primo anche a suonare il corno inglese. . . .” in “Progetto d’Impresa Teatrale per la Primavera 1853,” Archives of the International Verdi Institute (New York), Reel L-72. Harwood draws attention to this error in “Verdi’s reform of the Italian opera orchestra,” 114, n. a. 107. Nigel Burton with Ian D. Halligan, “Balfe, Michael William,” Grove Music Online. 108. Tyldesley, Michael William Balfe, 117. 109. “Drury-Lane Theatre,” (1844), 5. 110. “Neglected solo instruments,” 549; see also Rendall, “A short account of the clarinet,” 74, 80. Maycock also mentions bass clarinet solos written for him by Balfe in Bianca, or The Bravo’s Bride (1860), Vincent Wallace in his opera The Amber Witch (1861), and Charles Villiers Stanford’s opera The Eumenides (1885). In 1852, Henri Wuille (1822–1871) played the clarinet, saxophone, and bass clarinet at a concert for the Musical Union. He played the bass clarinet obbligato to “The Last Farewell” by Frank Mori (1820–1873) sung by Mrs. Sunderland. See “Musical Union,” 372.

368

From the Clarinet d'Amour to the Contra Bass

Neither the basset horn nor the bass clarinet part is found in the manuscript of the overture or the autograph of The Daughter of St. Mark,111 although a separate bass clarinet part could have been lost. It seems possible that the critic of the Times was mistaken and that the overture to The Daughter of St. Mark included a bass clarinet at the premiere rather than a basset horn part. Signiﬁcantly, there is a long solo clarinet passage in the middle section of the overture, including an accompanied eighteen-bar melodic section followed by a second cadenza.112 Perhaps Balfe intended this solo to be played on the bass clarinet by Maycock. Unfortunately, this suggestion cannot be veriﬁed because of the lack of a bass clarinet part.

Wagner Richard Wagner (1813–1883) was one of the key ﬁgures in the history of opera and inﬂuenced the development of the orchestra in his sophisticated scoring and rich orchestration.113 In Lohengrin WWV 75 (1848), Wagner uses bass clarinets in A and B with a limited compass of e to f2. It is his ﬁrst opera to use the A bass clarinet, and he became well known for it, as well as for using the bass clef in bass clarinet parts.114 Lohengrin was premiered in Weimar in August 1850 with Franz Liszt conducting since Wagner was in exile in Switzerland.115 In fact, Wagner wrote from Zürich to entrust Liszt with all the arrangements for the production of his new opera. In July, Liszt wrote to Wagner assuring him. Your Lohengrin will be given under exceptional conditions, which are most favourable to its success. The management for this occasion spends about 2,000 thalers, a thing that has not been done in Weymar within the memory of man. The press will not be forgotten, and suitable and seriously conceived articles will appear successively in several papers. All the personnel will be on its mettle. The number of violins will be slightly increased (from sixteen to eighteen), and a bass clarinet has been purchased.116 111. Balfe, “The Daughter of St. Mark” (MS.); Balfe, The Daughter of St. Mark. I thank Francis Firth for checking the vocal score of this opera in the British Library; the author has checked the autograph score. Tyldesley gave the wrong shelf numbers for the autograph manuscript in Michael William Balfe, 117. A full version of the overture (MS., Eg. 2740), not found in the autograph, also does not contain bass clarinet or basset horn parts. I thank David McLachlan of the British Library staff who checked this score. A third manuscript score of The Daughter of St. Mark (H.193.f) at the British Library was also checked for bass clarinet without success. 112. Balfe, “The Daughter of St. Mark”; Tyldesley, Balfe, 121. 113. Barry Millington, “Wagner, Richard,” Grove Music Online. 114. Wagner, Lohengrin, 3–10, 39–58, 67–70, 73–78, 99, 101–102, 107–110, 113–115, 117–118, 129. The use of bass clarinet in A is pointed out by Gevaert in his A new treatise, 182, 184. 115. Barry Millington, “Lohengrin,” Grove Music Online. 116. Correspondence of Wagner and Liszt, 70.

Bass Clarinet, Contra Bass, and Contra Alto Music 369 The Weimar opera orchestra apparently did not own a bass clarinet in A before one was purchased for this opera. Unfortunately, we don’t know who made this instrument, but it is possible that the wind instrument maker Wilhelm Christian Beck of Weimar supplied a bass clarinet in A, since he was also the Intendant of the Weimar Court Theatre from June 1857.117 One Beck bassoon-shaped B bass clarinet is known (D-Leipzig, 1541; see chapter 4). In some passages, Wagner switches from bass to treble clefs, apparently to avoid ledger lines. The bass clarinetist plays the treble clef parts an octave lower than written and the bass clef part as written.118 Wagner subsequently speciﬁes B and A bass clarinets in many sections of the work and uses the instrument sparingly in short solo passages, often with other woodwinds or a separate singer.119 Wagner uses the A bass clarinet in sharp tonalities and the B bass clarinet in ﬂat tonalities. Thus, he follows an eighteenth-century tradition of clarinet writing that provides less ﬁngering difﬁculties and makes the parts easier to perform.120 Because the difference in timbre between bass clarinets in B and A is hardly perceptible, it appears that Wagner was not using both bass clarinets for a change in tone color. Wagner required B and A bass clarinets in the Leipzig score (1860) of Tristan und Isolde, WWV 90. It appears in all four acts with very few pauses. By this time, the bass clarinet was considered an integral part of the opera orchestra’s woodwinds. Its greatest compass throughout is e to d3 in two sections by itself, the introduction and the second act.121 Wagner uses bass clarinets primarily paired with clarinets in B or A, bassoons, celli and basses, and other woodwinds. The parts are long and technically challenging.122

117. Heyde, Historische Musikinstrumente im Bachhaus Eisenach, 287. Other possible makers are Stengel (Bayreuth) and Gebrüder Alexander (Mainz). 118. Wagner, Lohengrin, vol. 7, pt. 1, 3–10. 119. Wagner, Lohengrin, vol. 7, pt. 1, 73–75, 99, pt. 2, 2–3, 4–5, 65–68, 275–278. Gevaert reproduces four measures from act two, scene 1, with bass clarinet in A notated in the bass clef; A new treatise, 184. 120. See Rice, The clarinet in the classical period, 90–106. 121. Wagner, Tristan und Isolde, 1–17, 45, 48, 60–61, 68–74, 78–79, 90–91, 93–99, 108, 110–112, 114–117, 119–128, 130–131, 144–147, 152–157, 159–163, 167–170, 172–176, 185–190, 239. 122. Subsequently, Wagner uses a B bass clarinet in Huldigungsmarsch, WWV 97 (1864), the part written in treble clef. An orchestral version of the same work was begun by Wagner and completed by Joachim Raff in 1865; the bass clarinet part was written in the bass clef. He also uses B and A bass clarinets in the Mainz score (1873) of Das Rheingold; B and A bass clarinets in the Mainz score (1874) of Die Walküre; B and A bass clarinets in the Mainz score (1875) of Siegfried; Tannhäuser (ﬁrst composed in 1845) only in the Vienna score of 1875; B bass clarinet in the Mainz score (1876) of Götterdämerung; and B and A bass clarinets in the Mainz score (1883) of Parsifal. See Wagner, Orchesterwerke, vol. 18, pt. 3; Tannhäuser, vol. 6, pt. 1, XI; Das Rheingold, vol. 10, Götterdämmerung, vol. 13. See also Wagner, Orchestral excerpts. Bass clarinets pitched in B and A continued to be speciﬁed during the late nineteenth and early twentieth centuries by composers such as Richard Strauss, Mahler, Schoenberg, Ravel, and Dohnányi; see Leeson, “Some remarks on the bass clarinet in A,” 53.

370 From the Clarinet d'Amour to the Contra Bass

Liszt The Hungarian composer, pianist, and teacher Franz Liszt (1811–1886) was a leader of the Romantic movement in music. Liszt’s Ce qu’on entend sur la montagne, Bergsymphonie (What Is Heard on the Mountain) was composed from 1847 to 1856, scored by Joachim Raff in 1848 to 1849, and published in Leipzig in 1857. One B bass clarinet is written, using bass and treble clefs with a compass from d to c3.123 Liszt wrote for a German-made instrument that includes a low compass to C. In 1849, August Conradi scored Lizst’s Tasso, Lamento e Trionfo; Raff scored the work in 1850 to 1851. A B and an A bass clarinet are required with an overall compass of e to a2.124 At the beginning of the Gondoliers’ Song in Tasso, these arrangers and Liszt himself entrusted an important solo to the B bass clarinet, presenting the main theme forte in six measures.125 Liszt mentions in his program notes that this theme represents a Venetian gondolier’s song and explains what he imagines to hear in his musical setting. The motive itself is plaintive, slow and mournfully monotonous; but the gondoliers give it a quite special character by dragging certain notes, holding back their voices, which, heard from a distance produced an effect similar to that of rays of light reﬂected from the wave. This song had already so powerfully impressed me, that when the subject of Tasso was suggested to me, I could not but take for the text of my thoughts this enduring homage rendered by his nation to a genius of whom the court of Ferrara had proved itself unworthy.126 The section is marked adagio mesto and begins with a loud, expressive whole note on d2, settling on c2, followed by a diminuendo to pianissimo on written a1. At this point appears the note in the score: “Where a bass-clarinet is not available the motive is to be executed by three violoncellos.”127 By presenting this mournful theme on the bass clarinet, Liszt and his orchestrators were following in the footsteps of Berlioz and Wagner in afﬁrming the association of romantic themes with the bass clarinet’s tone color. Because of its lowest note of e, the player could have used a French-made bass clarinet. Liszt wrote Mazeppa, symphonic poem after V. Hugo from 1851 to 1854. It was scored by Joachim Raff in 1851 for a full orchestra and published in Leipzig in 123. Liszt, Ce qu’on entend sur la montagne, Musikalische Werke, Abt. 1, bd. 1, 48–78; see Walker, Franz Liszt, vol. 2, 301. 124. Liszt, Tasso, Lamento e Trionfo, Musikalische Werke, vol. 1, pt. 1, 79–85, 98–112; see Walker, Franz Liszt, vol. 2, 302. 125. Rehding, “Liszt’s musical monuments,” 54, ex. 1. In Tasso and Ce qu’on entend sur la montagne, Liszt’s orchestrators specify bass clarinets in B and in the same arias soprano clarinets in A. 126. Liszt, intro. to Tasso: Lamento e Trionfo, trans. Humphrey Searle (London: Eulenburg, 1976), V, cited by Rehding, “Liszt’s musical monuments,” 54, n. 9. 127. Liszt, Tasso, Lamento e Trionfo, 13.

Bass Clarinet, Contra Bass, and Contra Alto Music 371 1856. He made use of a C bass clarinet with a compass of f to b2 written in the bass clef.128 Liszt’s Eine Symphonie zu Dantes Divina commedia (Dante Symphony) was composed between 1855 and 1856, scored for a full orchestra, and published by Breitkopf & Härtel in 1859. Liszt includes an A bass clarinet with a compass of e to d3.129 Here is a short but extraordinarily expressive eight-measure solo for bass clarinet alone ending one section. Liszt makes use of the clarino register from g2 descending to whole notes on f and e, gradually dying away (ﬁgure 5.6). Prout points out the beautiful effect of these sustained notes.130 In his choice of bass clarinets, Liszt was obviously inﬂuenced by Wagner’s use of the A bass clarinet.

Viviani Luigi Maria Viviani was a composer in Florence, Italy, active from the 1830s. He is known from Tosoroni’s instrumentation treatise of 1850 as a composer for the bimbonifono (a valve trombone) and for the bimbonclaro (a B bass clarinet) made by the Bimboni brothers, Giovacchino and Giovanni (see chapter 4).131

Figure 5.6. Franz Liszt, Eine Symphonie zu Dantes Divina commedia (Leipzig: Breitkopf & Härtel, 1920). 128. See Liszt, Mazeppa, symphonic poem after V. Hugo, Musikalische Werke, Abt. 1, Bd. 3, Walker, Franz Liszt, 302. 129. See Liszt, Eine Symphonie zu Dantes Divina commedia, 37; Walker, Franz Liszt, 302. 130. Prout, The orchestra, 170–171. 131. Tosoroni, Trattato pratico, 27. Viviani’s work “Nelle Cantata,” dating from May 1835, is accessible from http://www.internetculturale.it.

372

From the Clarinet d'Amour to the Contra Bass

Figure 5.6. Continued.

Viviani’s ballet Il Fausto was premiered at the Teatro della Pergola in Venice in autumn 1849. He includes the bimbonifono and bimbonclaro in its ﬁfth act.132 Number one of act ﬁve is scored for an orchestra of two ﬂutes, two oboes, B bimbonclaro, second Bclarinet, two F horns, two F trumpets, two bassoons (on one line), bimbonifono, two trombones (on one line), ophicleide, harp, B and F timpani, violins, violas, cellos, and basses.133 The ﬁrst clarinetist plays a highly virtuosic bass clarinet part written in treble and tenor clefs. Another similarly difﬁcult part had not been seen since Mercadante’s 1834 writing in Emma d’Antiochia. After a short introduction of two measures, the bass clarinet plays its entire compass, beginning on a low c (in bass clef) held as a fermata, followed by a C major arpeggio to c4 (in treble clef) held as a fermata. After two more measures, the bimbonifono enters with similar virtuosic arpeggios. The bass clarinet then presents a simple melody and the bimbonifono enters, with both instruments exchanging motives between them. The section ends with a cadenza of a measure and a half of sixteenth and thirty-second notes, a cadenza by both soloists, followed by soft, long held notes dying away (ﬁgure 5.7).134 Viviani writes for the 132. Viviani, “Il Fausto,” 191r–216r, accessible from http://www.internetculturale.it. Reported in the Annuario del R. Istituto Musicale di Firenze (anno I) e Atti dell’Accademia, 127; cited by Onerati, “Strumenti a ﬁato nella vita musicale ﬁorentina dell’Ottocento,” 147, n. 58. 133. Onerati, “Strumenti a ﬁato nella vita musicale ﬁorentina dell’Ottocento,” 76–77, 99–101, 147–148, 155–162. The manuscript score of the ﬁrst number of the ﬁfth act is photocopied in Onerati, “Strumenti a ﬁato nella vita musicale ﬁorentina dell’Ottocento,” Tavola IX–XXV. A copy of this autograph score is Viviani, “Il Fausto,” Florence, Italy, Bibloteca del Conservatorio di Musica “L. Cherubini,” MS. 2601. 134. Onerati, “Strumenti a ﬁato nella vita musicale ﬁorentina dell’Ottocento,” Tavola IX–XXV. Another composer of the mid-century from Florence is Olimpo Mariotti. Little is known about him other than the fact he wrote for the bimbonclaro (bass clarinet) in his Messa di Requiem performed on 29 April 1858 at the church of Saints Michael and Gaetano in Florence. The tenor aria “Preces meae” features the bimbonclaro, English horn, and bassoon, as reported in L’Armonia vol. 9, 130. See Onerati, “Strumenti a ﬁato nella vita musicale ﬁorentina dell’Ottocento,” 77; Onerati and Carreras, “I Bimboni, costruttori di strumenti a ﬁato nella Firenze dell’Ottocento,” 46.

Bass Clarinet, Contra Bass, and Contra Alto Music 373 bimbonclaro and bimbonifono again in number two of act ﬁve but in a much less virtuosic manner.135

Limnander de Nieuwenhove Baron Armand Marie Ghislain Limnander de Nieuwenhove (1814–1892) was a Belgian composer who studied with Lambillote and Fétis. He wrote four stage works for the Paris Opéra.136 Le maítre chanteur, was premiered on 17 October 1853 but was not a success. The “premier tableau” in act three begins with a slow, expressive unaccompanied solo for a bass clarinet in C, marked Larghetto and con molto espressione. The orchestra is scored for two ﬂutes, oboe, English horn, two A clarinets, two A horns, two F horns, two bassoons, two A cornets à piston, two trombones, timpani, violins, viola, cellos, contra bass, and two singers. Unfortunately, only the ﬁrst page or ﬁrst three measures of the manuscript of this solo survive from this act.137 The bass clarinet compass is written mainly in the clarino register from a to

Figure 5.7. Luigi Maria Viviani, “Il Fausto,” act 5, no. 1, Florence, Italy, Biblioteca del Conservatorio di Musica “L. Cherubini”, MS., 2601 (1849). 135. Viviani, “Il Fausto,” 191r–216r. 136. Eugène Borrel, “Limanander de Nieuwenhove, Armand Marie Ghislain, Baron de,” MGG, vol. 8 (1960), 878–879. 137. Limnander de Nieuwenhove, “Le maítre de chanteur,” 53. I thank Ignace De Keyser and Géry Dumoulin for sending a photocopy of the single surviving page from this act and information. The bass clarinet solo is reported to be in act three, no. 2 of “Le maítre chanteur,” vol. II, 53–55; see De Keyser, “Adolphe Sax and the Paris Opéra,” 136.

374 From the Clarinet d'Amour to the Contra Bass

Figure 5.7. Continued.

c3. According to Loewenberg, this opera was revived on 5 March 1856 as Maximilien, ou le maítre chanteur at the Paris Opéra.138

Saint-Saëns Camille Saint-Saëns (1835–1921) was a French composer, pianist, organist, and writer. He was a brilliant craftsman, versatile and proliﬁc, and one of the leaders of 138. Loewenberg, Annals of opera, 910. A later, three-act version of Le maître chanteur was edited by H. Trianon, F. H. Leroy, and F. Bärwolf, and published as Maximilien à Francfort in 1874.

Bass Clarinet, Contra Bass, and Contra Alto Music 375

Figure 5.7. Continued.

the French musical renaissance of the 1870s.139 He completed his First Symphony op. 2 in 1853 at seventeen and submitted it to a committee of the Société Sainte-Cécile. To increase the work’s chances of being accepted, the conductor of the society’s orchestra, François Seghers, submitted it as “a symphony by an unknown author, which had been sent to him from Germany.”140 It was premiered by the orchestra 139. Sabina Teller Ratner, “Saint-Saëns, Camille,” Grove Music Online. 140. Locke, “The French Symphony,” 169; Fallon, “The symphonies and symphonic poems of SaintSaens,” 85–86.

376

From the Clarinet d'Amour to the Contra Bass

Figure 5.7. Continued.

of the Société Saint-Cécile in December directed by Seghers, to whom the symphony was dedicated when it was published in 1855.141 Saint-Saëns writes for a B bass clarinet only in the fourth movement ﬁnale. This movement includes several brasses, woodwinds, four harps, and string instruments, and Seghers must have had 141. Ratner, Camille Saint-Saëns, 262–263.

Bass Clarinet, Contra Bass, and Contra Alto Music 377

Figure 5.7. Continued.

a large orchestra at his disposal.142 Saint-Saëns’s writing is very idiomatic and skillfully written for a French-made bass clarinet by Buffet or Sax. The compass is e to c3, and the instrument doubles the parts of E piston horns, an E bass saxhorn, clarinets, and an oboe.143

David Félicien David (1810–1876) was a French composer who wrote music as a boy, was an assistant conductor in the Aix-en-Provence Theater, and worked as a lawyer’s clerk and then as a chapel master of the church of St. Sauveur. He moved to Paris and studied with Millault, Fétis, and Benoist at the Conservatoire, and privately with Reber. Partly because of his poverty, he joined the sect of the St. Simonians in 1831 and in 1832 left with a few friends to preach the Saint Simonian gospel to the Orient, hoping to restore Egypt to its ancient prosperity. After two years of traveling, David recognized the Egyptian customs, religion, and landscape as a source of musical inspiration and devoted much time to composing songs and piano pieces in an Oriental style. He returned to France in 1835.144 Beginning in 1851, David wrote music for the stage. His opera Herculanum, produced on 4 March 1859, includes a B bass clarinet in the “Scène et duo” of act four. 142. Fallon, “The symphonies and symphonic poems of Saint-Saens,” 110. 143. Saint-Saëns, 1ère Symphonie, 113–156. 144. Hugh MacDonald, “David, Félicien,” Grove Music Online.

378

From the Clarinet d'Amour to the Contra Bass

The orchestra has piccolo, ﬂute, oboe, A clarinet, two E trumpets, two A horns, two E horns, two bassoons, timpani, violins, viola, cello, bass, and harp.145 The bass clarinet is used only in act four where it doubles the A clarinet parts an octave lower.

Smetana Bedrˇich Smetana (1824–1884) was the ﬁrst modern Czech composer and the most important of his generation writing from the 1860s.146 He ﬁrst wrote for the B bass clarinet in his third symphonic poem, Hakon Jarl, during 1860 to 1861; it was published in 1896. The bass clarinet appears as a solo instrument after a harp cadenza in measure 56 and is given a short cadenza alone in measures 61–65. He uses the instrument alternately with bassoon and cello and in doubling the ﬁrst clarinet, other woodwinds, and strings. The overall compass of the B bass clarinet is g to d3.147 Smetana had met Liszt and heard several of his works in 1857, and he was inﬂuenced by the music of Wagner.148 Smetana was probably led to include the bass clarinet in this composition from their use of the instrument. Table 5.1 lists the composers and works discussed here: composer, title, place and date of composition and/or publication, nominal pitch and number of bass clarinets utilized, and compass.149

Band Music Streitwolf ’s bass clarinet was played in German bands during the 1830s and 1840s. In 1844, T. H. Rau, the music director of the Second Infantry Regiment band in Fulda, arranged the ﬁrst eight Beethoven symphonies for band. The editor of the Neue Zeitschrift für Musik ends his article by emphasizing the ﬁne qualities of the bass clarinet by Streitwolf in Göttingen and states that the maker Johann Andreas Mollenhauer (1798–1871) in Fulda thought his band’s performances were the best

145. David, Herculanum, 569, 582, notated as “Clar. Basse.” I thank John Roberts and Manuel Erviti of the music library of the University of California, Berkeley, for a copy of these two pages from this score. See also De Keyser, “Adolphe Sax and the Paris Opéra,” 136. 146. Marta Ottlová, “Smetana, Bedrˇich,” Grove Music Online. 147. Smetana, Hakon Jarl, 9–12. 148. See Bartos´, Bedrˇich Smetana: Letters and Reminiscences, 43–50. 149. The modern edition (1966) of Glinka’s opera Ruslan i Lyudmila ﬁrst performed in St. Petersburg, Russia, in 1842, includes a bass clarinet in the third supplementary volume. Nikolay Andreyevich Rimsky-Korsakov made additions in orchestration, including a B bass clarinet, to three numbers of Glinka’s score in 1878. In the modern edition, they are placed after the sketches that were not included in the opera. See Glinka, Ruslan y Lyudmila, vol. 14 Dop, 88–95, 96–132, 133–210. The bass clarinet is also found in Gounod’s Faust originally premiered in 1859; it was added to the ballet music for a production in Paris in 1869. Here, a B bass clarinet is used in an adagio or slow dance doubling the ﬁrst clarinet. See Gounod, Faust, 479–487; cf. Coggiola, “The use of the bass clarinet in the French opera orchestra,” 142.

Table 5.1. Operas and Stage Works with the Bass Clarinet, 1834–1860

379

Composer

Title

Place, Date

Nominal Pitch

Compass

Mercadante, Saverio

Emma d’Antiochia

Venice, 1834

C

Meyerbeer, Giocomo

Les Huguenots

Paris, 1836

B

Neukomm, Sigismund von Berlioz, Hector

“Make haste, O God, to deliver me, Psalm 70” Benvenuto Cellini

London, 1836

C

Paris, 1838; Weimar, 1852

B

Mercadante, Saverio

La solitaria delle Asturie

Venice, 1840

C

Donizetti, Gaetano

Dom Sébastien

Paris, 1843

Two B

Berlioz, Hector

Paris, 1842; published in 1843

Berlioz, Hector

Grande Symphonie Funébre et Triomphale Chant Sacré

Two B, C (supplemental part) Two B

Meyerbeer, Giacomo

Ein Feldlager in Schlesien

Berlin, 1844

C to g3 Bass, tenor, treble clefs e to g3 Treble clef C to d3 Treble clef f to b2 Treble clef e1 to d3 Bass and tenor clefs e to a2 e to e2 Tenor clef e to a2 Treble clef f to g2 f to c2 Treble clef e to e2 Treble clef Continued

Paris, composed 1829; published 1830; orchestrated 1843; published 1844

B

Table 5.1. Continued

380

Composer

Title

Place, Date

Nominal Pitch

Compass

Verdi, Giuseppe

Ernani

Venice, 1844

B

Berlioz, Hector

La Damnation de Faust

Paris, composed 1846; published 1854

B

Berlioz, Hector

Te Deum

B

Wagner, Richard

Lohengrin

Meyerbeer, Giacomo

Le Prophète

Paris, composed 1848–1849; ﬁrst performed 30 April 1855; published 1855 Dresden, ﬁrst complete draft, 1848; published Leipzig, 1852 Paris, 1849

Liszt, Franz

Ce qu’on entend sur la montagne (Bergsymphonie) Tasso: lamento e trionfo, Symphonic poem after Goethe and Byron Il Fausto (ballet)

Composed 1847–1856; scored by Joachim Raff, 1848–1849; published Leipzig, 1857 Composed 1847–1854; scored by August Conradi, 1849; scored by Raff, 1850–1851; published Leipzig, 1856 Florence, 1849

C to a2 Tenor and bass clefs e to g2 Treble clef e to a1 b to f2 Treble clef e to g2 Treble and bass clefs e to g2 Treble clef d to c3 Bass clef

Mazeppa, symphonic poem after V. Hugo Maximilien ou le maítre chanteur

Composed 1851–1854; scored by Raff, 1851; published Leipzig, 1856 Brussels, 1858

Liszt, Franz

Viviani, Luigi Maria Liszt, Franz Limnander de Nieuwenhove, Armand Marie Ghislain

B and A B B

B

e to a2 Treble clef

B

C to c4 Treble and tenor clefs f to b2 Bass clef a to c3 Treble clef (incomplete score)

C C

Table 5.1. Continued

381

Composer

Title

Place, Date

Nominal Pitch

Compass

Saint-Saëns, Camille

1ére Symphonie

Composed 1853, published Paris, 1855

B

Liszt, Franz

Composed 1855–1856, published Leipzig, 1859 Paris, 1859

A

Meyerbeer, Giacomo

Eine Symphonie zu Dantes Divina Commedia Le Pardon de Ploërmel

B

Wagner, Richard

Tristan und Isolde

Composed 1854–1859; published 1860

B and A

David, Félicien Smetana, Bedrˇich

Herculanum Hakon Jarl

Paris, 1859 Composed 1860–1861; published 1896

B B

e to c3 Treble clef e to d3 Treble clef e to e2 Treble clef e to d3 Treble and bass clefs Treble clef g to d3 Treble clef

382

From the Clarinet d'Amour to the Contra Bass

with a fully effective bass part.150 A glicibarifono was played as part of a wind band in Persiceto from the early 1840s. In the Biblioteca comunale G.C. Croce are nine wind band arrangements including glicibarifono by G. André of arias and other sections from contemporary operas by Bellini, Donizetti, L. Ricci, and L. Pacini dating from 1843 to the mid 1800s.151 Valentini suggests that the maker Giacinto Riva from Persiceto made a glicibarifono in 1844 and that his brother and clarinetist, Pasquale Riva, played this instrument.152 Adolphe Sax’s immediate success with his bass clarinet during the 1840s is demonstrated by its use in French military bands. Whitwell located three printed scores entitled Fantaisie, Deuxième fantaisie, and Pas redouble by Alexandre-Charles Fessy, conductor of the band of the Fifth Legion of the Garde Nationale de Paris. The Fantaisie includes the statement that it was written for Adolphe Sax’s new instruments, composed expressly for the 1845 competition at the Champ de Mars.153 This twentyseven-page score was published by Adolphe Sax in Paris for thirty-one players: petite ﬂute [piccolo], E clarinet, two B clarinets, bass clarinet, B saxophone, two cornets, two E trumpets, two E (cylinder valve) horns, two E saxhorns, two saxhorns, two E alto saxhorns, two B cylinder valve saxhorns, four B cylinder valve saxhorns, three [valve] trombones, two ophicleides in B, contra bass saxhorn in E, and percussion.154 The number and choice of instruments does not match the description of Sax’s band of thirty-eight given by Kastner in 1845,155 and it appears that Fessy’s published work was composed for a different instrumentation. These works also may have been published later, such as the late 1840s or early 1850s, with the mention of their performance at the 1845 Champ de Mars competition meant to garner music sales. By the 1850s, Sax organized a professional wind band in Paris with performers playing his own instruments. A poster announcing a program dated 9 December 1853 includes the L’Orchestre-Sax performing La Marche aux Flambeaux by Meyerbeer and a Fantasie sur une Tyrolienne by Mohr.156 Another undated poster showing the instrumentation of the Orchestre-Sax or band conducted by Mohr includes two E (petites) clarinets, eight clarinets, and a bass clarinet (nouvelle clarinette-basse). The bass clarinetist was Edouard Duprez.157

150. “Arrangement der Beethoven’schen Symphonieen für Militair musik,” 32. 151. Valentini, “L’orchestra a San Giovanni in Persiceto,” 302, Tabella 5. 152. Valentini, “L’orchestra a San Giovanni in Persiceto,” 287. 153. “. . . pour musique militaire d’infanterie avec des nouveaux instruments inventes par Ad. Sax et composée expressement pour les concours au Champ de Mars en 1845.” See Whitwell, Wind band and wind ensemble literature of the nineteenth century, 94–95. 154. Whitwell, Wind band and wind ensemble literature of the nineteenth century, 94–95. All three works are preserved in the Bibliothèque Nationale, Vm.7.14451, Vm.7.14452, and Vm.7.14453. 155. Kastner, Manuel générale, 264–265, 267–268. 156. Haine, Adolphe Sax, 162. 157. Haine, Adolphe Sax, 166.

Bass Clarinet, Contra Bass, and Contra Alto Music 383 By the mid-nineteenth-century in England, B bass clarinets had begun to be used in wind bands. Mandel describes two types of bass clarinets played in reed bands. The French B bass-clarionet is exactly an octave lower than the ordinary B clarionet, and, like it, is noted in the treble clef, sounding naturally an octave lower. The German B bass-clarionet, and the low tones which can be produced on the instrument, are alone sufﬁcient to prove it is best calculated to take the principal bass-part.158 The French bass clarinet was a straight-shaped instrument made by Louis Auguste Buffet, Buffet-Crampon, or Adolphe Sax. The German bass clarinet was a bassoon-shaped instrument made by Beck, Seidel, Losschmidt, Kruspe, Stengel, or Berthold. Mandel describes the tone, characteristics, and uses of the German B bass clarinet. Unfortunately, it has always a nasal sound, even when played by the greatest proﬁcients, while its tone is, compared with that of the other bass instruments, too weak to take effectively, when unsupported, even [with] the violoncello-parts, more especially the solos. It has a great number of keys, and its mechanism is so intricate that the task of keeping it in proper order is attended with a vast amount of trouble to the performer,—so that, although possessing a more extensive compass, and being more easy to play than any other bass instrument, it seldom ﬁnds favour in the eyes of a musician. In spite of this, however, it ought not to be so much neglected as it is; for, on account of the ease with which it is played, it imparts to the invariably jolting and awkward-sounding bass-passages upon the F, and still more upon the E bass-bombardon,—when it is employed to support them,—roundness and volume, and that to a far greater extent than the ophicleides, basshorns, serpents, euphonions, and other bass instruments. Furthermore, as a substitute, in the higher notes and passages, for the violoncello, it produces, when supported by bassoons or even bassett horns, a characteristic expression, never attainable by any other bass instrument. Since, however, it cannot, in reed bands, produce by itself any grand effect, there is no separate part written for it. The bass-clarionetist has, consequently, to play his notes not according to the system adopted for other clarionetists, but as they really sound,—that is to say, a tone lower; thus, for instance, the notes, C, D, E, which sound like B, C, D, are, on the bass-clarionet, called, also b, c, d. Thus the lowest B, on the bass-clarionet, which sounds like A of the concert pitch, is called contra A, in order that the bass-clarionetist may play 158. Mandel, A treatise on the instrumentation of military bands, 18.

384 From the Clarinet d'Amour to the Contra Bass from the same part as the other bass-players. In all cases where there is a bass-clarionetist, we should,—bearing in mind the compass of his instrument, and its effect,—denote his part by writing over the bass-bombardon, ophicleide, bass-horn, or serpent parts, “et B bass-clarionet,” and inserting, separately the few passages intended for the bass-clarionetist alone, when supporting the bassoons or bassett horns.159 Mandel makes the point that an important function of the bass clarinet is to support, in volume and tone quality, various low brasses, such as bass bombardons, ophicleides, bass horns, serpents, and euphoniums. Bass clarinetists would simply transpose and play these parts on their B instruments. The bass clarinet was also an effective replacement for the cello in its upper register and in technical passages, when supported by bassoons or basset horns. Stone mentions two bass clarinets in Daniel Auber’s “Exhibition March” performed at the 1862 International Exhibition in London, along with works by Meyerbeer and Sterndale Bennett.160 This is possible, but bass clarinet parts cannot be found today in various versions of Auber’s work or in any Auber opera.161 Bass clarinet parts are initially included in British band scores during the 1870s, when they double the other bass parts; independent parts appear only after 1900.162 Contra Bass and Contra Alto Clarinets: Musical Use In 1808, Dumas developed a contra bass clarinet called contre-basse guerrière in C or B. He introduced this instrument in 1810 to a Paris Conservatory committee for its evaluation. Dumas must have demonstrated the instrument for the committee members, who stated: “We believe that the contra bass clarinet of Mr. Dumas introduced into the military band completes the harmony and will produce a very beautiful effect.”163 He continued to work on his contra bass clarinet, as reported in a 159. Mandel, A treatise on the instrumentation of military bands, 18. 160. Stone, “Bass clarinet,” vol. 1, 197. This orchestral work was reported by a writer for the London Times as “March, composée pour l’Exposition Universelle de Londres” and was performed by an orchestra of 408 musicians, including 10 clarinetists. See “The Music for the International Exhibition,” 124–125. 161. See Schneider, Chronologisch-thematisches Verzeichnis sämtlicher Werke von Daniel François Esprit Auber, vol. 2, 1562–1563. A piano solo by Auber is entitled “Grand ouverture pour l’inauguration de l’exposition à Londres,” published by Boosey & Sons in London in 1862. Subsequently, it was orchestrated for military band as the “International Exhibition March” published by Boosey & Co. in London in 1880 and scored for ﬁrst, second, and third clarinets in B and ﬁrst and second clarinets in E, but without bass clarinet. An orchestral version has two A clarinets, but no bass clarinet. I thank Michael Bryant for checking the scores in the British Library. 162. Hunsberger, “Deﬁning the wind band sound,” 7–8. 163. “Nous pensons que la basse et contre-basse guerrierès de M. Dumas, introduites dan les orchestras militaries, en compléteront l’harmonie et y produiront un très-bon effet”; “Basse guerrière de M. Dumas,” 222.

Bass Clarinet, Contra Bass, and Contra Alto Music 385 committee meeting of 1818 and Halary’s 1821 French patent (see chapter 4). No musical works are documented or associated with Dumas’s contra bass clarinet.164 The earliest documented performance on the contra alto (known at the time also as a contra bass) in F or E occurred at the same subscription series concert in Kassel on 14 January 1830 that featured the ﬁrst documented performance of the bass clarinet. Deichert performed “Volkslied für Bass- und Contrabass-Klarinette” on bass clarinet, and Bänder played the contra alto clarinet. Unfortunately, the reviewer did not discuss the music or the instruments,165 and the music has not been found. Contra alto clarinets were unknown at this time throughout Germany, except for Streitwolf ’s instruments in Göttingen near Kassel. Thus, Bänder probably played a Streitwolf E contra alto clarinet. Deichert may have composed both these works. It is difﬁcult to know how well Deichert’s contra alto clarinet played, as there are no further reports on his playing. Streitwolf ’s contra alto clarinets were played in Prussian military bands, as reported in the catalog of the 1844 Berlin Exhibition.166 Wieprecht and Skorra’s batyphon, or contra bass in C, was developed in 1839 and reported to have been in use in Prussian and German bands during the 1840s and 1850s (see chapter 4). A short example of military band music including the batyphon is in a march in E from Meyerbeer’s Fiaccole (Fackeltänze), written for the Prussian royal wedding of Princess Charlotte in 1850 and transcribed for band by Wilhelm Wieprecht.167 The fragment of this march is scored for a military band of two C piccolos, two oboes, two B cornets, two E alto cornets, two B tenor horns, baritone horn, C bass tuba, two E clarinets, two B clarinets, two bassoons, C batyphon,168 two G trumpets, two E trumpets, tenor trombone, bass trombone, side drum, bass drum, and cymbals. The batyphon is written in bass clef and in one measure doubles the bassoon parts.169 A second fragment from another march dispenses with the piccolos, oboes, alto cornets, and percussion parts. Here the batyphon doubles the baritone and bass tuba parts in playing quarter notes on the ﬁrst beat of each 3/4 bar.170 According to Vessella, Wieprecht was famous for his military band transcriptions of ﬁve Beethoven symphonies (Second, Third, Fifth,

164. The ﬁrst published work for a B contra bass clarinet was written by Vincent d’Indy for use in his 1897 opera Fervaal. For an excerpt from the score, see Pierné and Woollett, “Histoire de l’orchestration,” 2684. 165. “Chronik des Opern,” 188–189. 166. Amtlicher Bericht, vol. 3, 213. 167. According to Matthias Brzoska in “Meyerbeer, Giacomo,” Grove Music Online, the four marches of the Fackeltänze were published in Berlin about 1854; they are written in in E, B, C minor, and C. 168. Four alternative instruments for the batyphon are suggested and may have originated in the published score: serpent, contra bassoon, bombardon, or bass tuba; Vessella, La Banda, 345, 351. 169. Only the ﬁrst three bars are transcribed by Vessella in La Banda, 345. 170. Vessella, La Banda, 351.

386

From the Clarinet d'Amour to the Contra Bass

Seventh, and Ninth), two Mozart symphonies, about thirty overtures by various composers, and numerous fantasies based on operatic themes, all in manuscript copies.171 Many of these transcriptions may have included the batyphon. Finally, Adolphe Sax developed an E contra alto clarinet during the 1840s, and it seems likely that in addition to band use, musicians could have performed string bass parts by an easy transposition or transcriptions of other music. There is no surviving music from this period. The earliest known music for the E contra alto clarinet and B contra bass appears in band music during the mid-twentieth century.

171. Vessella, La Banda, 151.

Appendix 1

Extant Clarinets d’Amour, ca. 1740–1850 (69)

T

he following is a listing by number of keys and a brief description of clarinets d’amour, the existence of which I have been able to verify. Length measurements (cm) in brackets indicate the instrument is missing a section or sections. Many of these measurements were taken by me; others were taken from published catalogs or sent by curators, private owners, and researchers.

Three Key (14) Dotzell, I., southern Germany. ca. 75, 5 sections, boxwood, ivory and horn ferrules: mouthpiece-barrel, brass crook, upper and lower joints, and stock-bell. Keys: S, A, E/B, alternate 7th tone hole. CH-Genève, IM 142. Kraus, I., southern Germany. [74, length measured by Sachs], pear, horn ferrules: stock-bell section only. Alternate 7th tone hole. D-Berlin, 293. —— . [72.5], 5 sections, stained boxwood, horn ferrules: mouthpiece (missing), brass crook, upper and lower joints, and stock-bell. Alternate 7th tone hole. D-Braunschweig-S, Ck 111. —— . In G (A=405), 81.5, 5 sections, cherry or plum, horn ferrules: mouthpiece (replaced), brass crook (replaced), upper and lower joints, and stock-bell. Alternate 7th tone hole. D-München-DM, Mu 107. —— . [81.3], 5 sections, boxwood, horn ferrules: mouthpiece (missing), brass crook (missing), upper and lower joints, and stock-bell. Alternate 7th tone hole. D-Sigmaringen, 296. —— . [80.9], 5 sections, boxwood, horn ferrules: mouthpiece (missing), brass crook (missing), upper and lower joints, and stock-bell. Alternate 7th tone hole. D-Sigmaringen, 319. —— . [74], 5 sections, boxwood, horn ferrules: mouthpiece (missing), brass crook (missing), upper and lower joints, and stock-bell. Alternate 7th tone hole. J-Hamamatsu, A-0169R.

387

388

Appendix 1 IP, southern Germany. 82, 5 sections, maple, horn ferrules: mouthpiece-barrel, brass crook, upper and lower joints, and stock-bell. Alternate 7th tone hole. D-Hamburg, 1926, 406. —— . In G, ca. 80.3 (sounding length), 5 sections, maple, horn ferrules: mouthpiecebarrel, brass crook, upper and lower joints, and stock-bell. Alternate 7th tone hole ﬁlled with wooden plug. D-Nürnberg, MI 131. Paur, R. [Rockobauer, Mathias, Vienna]. In F, 87.4, 5 sections, stained maple, horn ferrules: mouthpiece-barrel, brass crook, left and right hand joints, and stock-bell. Alternate 7th tone hole. A-Wien-GM, 130. —— . In F, 89, 5 sections, stained maple, horn ferrules: mouthpiece-barrel, brass crook, left and right hand joints, and stock-bell. Alternate 7th tone hole. A-Wien, GM 131. IS TW [Stinglwagner, Johann or Joseph], Triftern. [74], 5 sections, pear, horn ferrules: mouthpiece-barrel (missing), brass crook (missing), upper and lower joints, and stock-bell. Alternate 7th tone hole. D-Berlin, 2892. —— . In G? 83.2 (sounding length), 6 sections, fruit wood, horn ferrules: mouthpiece (replaced), round wooden barrel (replaced), brass crook, upper and lower joints, and stock-bell. Alternate 7th tone hole. D-Nürnberg, MIR 461. Walch, Georg, Berchtesgaden. 5 sections, pear: mouthpiece (missing), brass crook (missing), ﬁnger hole section, and stock-bell (missing). A-Salzburg, 18/2b.

Four Key (17) Anonymous. In C (low pitch), [52], 6 sections, boxwood, horn ferrules: mouthpiece (missing), brass crook (missing), left and right hand joints, stock, and bell. A/E key. D-Berlin, 2890. Deginan, L. T., Gand. 63.5, 5 sections, boxwood, horn ferrules: mouthpiece, brass crook, left and right hand joints, and stock-bell. F/C key. RU-St Petersburg, 504. —— . 64, 5 sections, boxwood with horn ferrules: mouthpiece, brass crook, left and right hand joints, and stock-bell. F/C key. RU-St. Petersburg, 503. IF. 81.5, 5 sections, boxwood, horn ferrules: mouthpiece, brass crook, upper and lower joints, and stock-bell. Alternate 7th tone hole, A/E key, dorsally mounted E/B key. SF-Turku, 25. Gehring, Johann Christian, Adorf. [74], 5 sections, stained boxwood: mouthpiecebarrel (missing), brass crook (missing), left- and-right hand joints, and stock-bell. Doubled 3rd and 7th tone holes, A/E key. D-Berlin, 84. Gehring, Johann Christian, Adorf, attributed. [75], 5 sections, stained boxwood: mouthpiece-barrel (missing), brass crook (missing), left- and right-hand joints, and stock-bell. Doubled 3rd and 7th tone holes, A/E key. D-Berlin, 85. Königsberger [Kenigsperger], Franz, Roding. 79, 6 sections, maple, horn ferrules: small boxwood mouthpiece, horn barrel, brass crook, left- and right-hand joints,

Extant Clarinets d’Amour, ca. 1740–1850 (69) 389 and stock-bell. Alternate 7th tone hole originally doubled, now ﬁlled in, A/E key. D-München-DM, 18869. Löhner, Friedrich (I), Nürnberg? attributed. (3 + 1) keys. In A? 77.3 (sounding length), 5 sections, fruit wood: mouthpiece (ivory), brass crook, left- and right-hand joints, and stock-bell. A/E key added, 7th tone hole originally doubled, now ﬁlled in. D-Nürnberg, MI 130. —— , attributed. In A? 77.7 (sounding length), 5 sections, plum: mouthpiece (boxwood), brass crook, left- and right-hand joints, and stock-bell. D-Nürnberg, MIR 463. Rottenburgh, Godfridus Adrianus, Brussels. In A, ca. 64.7, 6 sections, boxwood, ivory ferrules: mouthpiece (black wood replaced), curved barrel, left- and right-hand joints, stock, and bell. A/E key. B-Brugge, M51 0.18.XXVIII. Schlegel, Jeremias, Basle. 80.5, 4 sections, rosewood?, ivory ferrules: mouthpiecebarrel, left- and right-hand joints, and stock-bell. F/C key, thumb E/B key. B-Bruxelles, M931. IS T W [Stinglwagner, Joseph], Triftern. [72.55], 5 sections, plum, horn ferrules: mouthpiece-barrel (missing), brass crook (missing), upper and lower joints, and stock-bell. All keys are missing: S, A and E/B keys, A/E key (possibly a later addition), alternate 7th tone hole ﬁlled in, resonance hole in bell just above E/B keyhead. D-Nürnberg, MIR 462. —— . 88.7, 5 sections, maple, horn ferrules: mouthpiece, brass crook, upper and lower joints, and stock-bell. Double-wing A/E touch, alternate 7th tone hole, dorsally mounted E/B key. D-München-DM, Mu 115. —— . 82.2, 5 sections, plum, bone ferrules: mouthpiece, brass crook, upper and lower joints, and stock-bell. Double-wing A/E touch, alternate 7th tone hole. GBOxford, 4020. —— . 5 sections, boxwood or maple, one ivory mount: mouthpiece (missing), brass crook (missing), upper and lower joints, and stock-bell. Double-wing A/E touch, alternate 7th tone hole. D-Leipzig, 1520. —— . 5 sections, boxwood or maple, one ivory mount: mouthpiece (missing), brass crook (missing), upper and lower joints, and stock-bell. Double-wing A/E touch, alternate 7th tone hole. D-Leipzig, 1522. —— , IF (on right hand section). 83.3, 5 sections, plum, horn ferrules: mouthpiece, brass crook, upper and lower joints, and stock-bell. Double-wing A/E key, alternate 7th tone hole, dorsally mounted E/B key. CH-Basel, 1956.397.

Five Key (21) Anonymous. In C (low pitch), ca. 58, 6 sections, boxwood, horn ferrules: small boxwood mouthpiece, brass crook, left- and right-hand joints, stock, and slightly pear-shaped bell. D-Berlin, 2889. Anonymous. In A, [63.8], 6 sections, boxwood, horn ferrules: mouthpiece (missing), brass crook (missing), left- and right-hand joints, stock, and bell. D-Berlin, 2891 (missing).

390 Appendix 1 Anonymous. 6 sections, boxwood: mouthpiece (missing), brass crook (missing), leftand right-hand joints, stock, and bell. S-Stockholm, F325. Cerino, Simone, Turin. 76, 7 sections, stained maple: mouthpiece (missing), barrel, brass crook, left- and right-hand joints, stock, and bell. F-Paris, E.2355. —— . 6 sections, boxwood, ivory/horn ferrules: Amlingue, clarinet: mouthpiece (black wood) barrel, left-hand A joint; Cerino, clarinet d’amour: right-hand joint, stock, and bell. F-Varzy, 326. Frölich, Simon, Dettelbach. [70.4 sounding length], 6 sections, boxwood, horn ferrules: mouthpiece, brass crook, left- and right-hand joints, stock, and bell (missing). D-Nürnberg, MI 151. Lancé, Turin. [76], 7 sections, maple, horn ferrules: mouthpiece (missing), barrel, brass crook, left- and right-hand joints, stock, and bell. I-Bologna, 1803. —— . [63.5], 7 sections, stained maple, horn ferrules: mouthpiece (missing), barrel, brass crook, left- and right-hand joints, stock, and bell. US-IL-Edwardsville, 69:93:46. —— . 7 sections, stained maple, maple ferrules: mouthpiece (ivory), barrel, brass crook, left- and right-hand joints, stock, and bell. I-Bergamo, 14. —— . 81.2, 7 sections, stained maple, ivory ferrules: mouthpiece (replaced), barrel, brass crook, left- and-right hand joints, stock, and bell. Missing A/E key. F-Paris, E.2194. —— . 7 sections, stained maple (?), maple (?) ferrules: mouthpiece, barrel, brass crook, left- and right-hand joints, stock, and bell. J-Tokyo, A851. Piana, Pietro Antonio, Milan. In F (stamped), 81, 7 sections, boxwood, horn ferrules: mouthpiece, barrel, brass crook, left- and right-hand joints, stock, and bell. B-Bruxelles, M932. Raingo, Nicolas Marcel, Mons. In A, 68.9, 6 sections, boxwood, ivory ferrules: mouthpiece (black wood), barrel, left- and right-hand joints, stock, and bell. B-Bruxelles, M2596. Schlegel, Jeremias, Basel. In F (stamped), 84.8, 5 sections, boxwood, brass ferrules: mouthpiece, brass crook, left- and right-hand joints, and stock-bell. Raised metal tube for R4. F-Paris, E.1049 C.1135. —— , attributed. In G (stamped, A=415), ca. 80, 5 sections, plum, horn ferrules: mouthpiece, brass crook, upper and lower joints, and stock-bell. Decorative brass ferrule at end of stock-bell, alternate 7th tone hole, extension on dorsally placed E/B key lever, two restored A/E keys on either side of E/B key (= 4-key instrument without an F/C key). D-München-DM, Mu 106. —— , attributed. In G (A=415), ca. 80, 5 sections, plum, horn ferrules: mouthpiece, brass crook, upper and lower joints, and stock-bell. Decorative brass ferrule at end of stock-bell, alternate 7th tone hole, extension on dorsally placed E/B key lever, originally two restored A/E keys on either side of E/B key (= 4-key instrument without an F/C key). D-München-DM, Mu 113.

Extant Clarinets d’Amour, ca. 1740–1850 (69) 391 Scholl, Franz, Vienna. In F, 87, 6 sections, boxwood, horn ferrules: mouthpiece, brass crook, left- and right-hand joints, stock, and bell. E/B key head mounted in a metal saddle. A-Wien-GM, 132. —— . In F, 6 sections, boxwood, horn ferrules: mouthpiece, brass crook, left- and righthand joints, stock, and bell. E/B key head mounted in a metal saddle. A-Wien-GM, 133. IS TW [Stinglwagner, Joseph, Triftern]. 5 sections, boxwood, horn ferrules: mouthpiece (missing), brass crook (missing), left- and right-hand joints, and stock-bell. D-Leipzig, 1521. Tuerlinckx, Jean Arnold Antoine, Malines. In C (stamped), 53.2, 6 sections, boxwood, ivory ferrules: mouthpiece, barrel, left- and-right hand joints, stock, and bell, with an extra bulb bell. B-Bruxelles, M2597. Venera, Turin. 75.9 (measured without mouthpiece and barrel), 7 sections, black stained boxwood, horn ferrules: mouthpiece, barrel, brass crook with 2 vent holes, left- and right-hand joints, stock, and bell. GB-Oxford, 484.

Six Key (7) Castlas [Castellazzo], Turin. (5 + 1) keys. 77.85, 7 sections, stained maple, ivory ferrules: mouthpiece (black wood), barrel, brass crook, left- and right-hand joints, stock, and bell. B/F key added on a saddle. I-Milano-MTS, FA/16 (owned by I-Milano-Con). Collin, Claude Hippolyte, Paris. 71.0, 7 sections, boxwood, horn ferrules: mouthpiece (black wood, replaced), barrel, brass crook, left- and right-hand joints, stock, and bell. C/G key on pillar. US-MA-Newton Centre. Raingo, Nicolas Marcel, Mons. In F (stamped on left-hand and stock joints; G on right-hand joint), [69.3], 6 sections, boxwood: mouthpiece (missing), brass crook (missing), left- and right-hand joints, stock, and bell. Extensions on F/C and E/B keys, F/C is the sixth key, ivory peg in a hole on the bell. F-Paris, E.374 C.536. Rottenburgh, Godfridus Adrianus, Brussels. In G, 85.5, 6 sections, boxwood, ivory ferrules: mouthpiece, long brass crook, left- and right-hand joints, stock, and pearshaped bell. F/C is the sixth key. B-Bruxelles, M2595. Schürer, Rothenthal. In C, 55.5, 6 sections of boxwood, horn ferrules: mouthpiece, barrel, left- and right-hand joints, stock, and bulb bell with four tuning holes (replaced). The sixth key is for the A/B trill. NL-Den Haag, 0840704. Tuerlinckx, Jean Arnold Antoine, Malines. 79, 6 sections of boxwood with boxwood ferrules: mouthpiece (dark wood, stamped), curved barrel, left- and right-hand joints, stock, and bell. F/C is the sixth key. B-Bruxelles, M2598. IS TW [Stinglwagner, Joseph, Triftern, Triftern]. (3 + 3) keys. In G, ca. 86 (sounding length), 5 sections, plum, horn ferrules: mouthpiece-barrel, brass crook, left- and right-hand joints, and stock-bell. E/B originally on dorsal side, A/E, F/C, and B/F keys added on metal mounts. D-Nürnberg, MIR 464.

392 Appendix 1

Seven Key (1) Castlas [Castellazzo], Turin. (5 + 2) keys. 75, 7 sections, boxwood, ivory ferrules: mouthpiece (missing), barrel, brass crook, left- and right-hand joints, stock, and bell. B/F and G added on brass mounts. B-Antwerpen, 67.1.61.

Eight Key (1) Jeantet, Lyon. In G (stamped “en Sol”), 73.8, 6 sections, stained maple, ivory ferrules: mouthpiece (missing), curved barrel, left- and right-hand joints, stock, and bell. F-Paris, E.2195.

Nine Key (3) Franco, Italy? 81, 5 sections, boxwood, horn or bone ferrules: mouthpiece (black wood), curved barrel, left-hand joint, right-hand joint-stock, and bell. Keys mounted in metal saddles and ring on stock: S, A-B, A, E/B, B/F, A/E, F/C, F/C, and E/B; the E/B key in a block; doubled L3 ﬁnger hole. A-Wien, 134. Lancé, Turin. (5 + 4) keys. ca. 76, 7 sections, stained maple with horn ferrules: mouthpiece (replacement), barrel, brass crook, left- and right-hand joints, stock, and bell. Four keys added on brass saddles: G, E/B, C/G, and B/F. NL-Den Haag, 0840197. Piana, Pietro, Milan. (5 + 4) keys. 74, 7 sections, stained maple with horn ferrules: mouthpiece (missing), barrel, brass crook, left- and right-hand joints, stock, and bell. G, E/B, C/G, and B/F added on brass mounts. I-Milano-C, 417.

Eleven Key (1) Piana, Pietro, Milan. (7 + 4) keys. In G (low pitch), 79.75, 7 sections, stained maple, horn ferrules: mouthpiece, barrel, brass crook, left- and right-hand joints, stock, and bell. The keys are S, A-B, A, G, f/c, E/B, C/G, B/F, A/E, F/C, E/B; f/c, E/B, C/G, and B/F are added on pillars. D-Bochum, SGK 51, Ex Van Kalker.

Twelve Key (3) Castlas [Castellazzo], Turin. (6 + 6) keys. [71] 7 sections, boxwood, ivory ferrules: mouthpiece (replacement), barrel, brass crook, left- and right-hand joints, stock, and bell. The keys are S, A, G, f/c, E/B, C/G, B/F, B/F, F/C, A/E, F/C, and E/B; f/c, E/B, C/G, B/F, B/F, and F/C are added on brass mounts. I-Roma, 795. Cramer & Son, London. (10 + 2) keys. In F, 88.5, 5 sections, stained boxwood, ivory ferrules: mouthpiece, brass crook, left-hand joint, right-hand joint-stock, and bell. The keys are S, A-B, A, G, f/c, E/B, C/G, B/F, A/E, F/C, F/C, and E/B; G and f/c are added in brass mounts. GB-Edinburgh, 1708.

Extant Clarinets d’Amour, ca. 1740–1850 (69) 393 Lesti, Ancona. In F (stamped), 89.5, 6 sections, olivewood, horn ferrules: mouthpiece, brass crook, left- and right-hand joints, stock, and bell. The keys are S, A, G, f/c, E/B, C/G, B/F, B/F, A/E, F/C, F/C, and E/B; G, f/c, E/B, C/G, B/F, B/F, and F/C are added on brass mounts. I-Modena, SM 32.

Fourteen Key (1) Heckel, Biebrich. In G, 6 sections, stained rosewood, nickel silver ferrules: mouthpiece, curved barrel, left- and right-hand joints, stock, and long bell. All keys are nickel silver and pillar mounted. The keys are S, A, G, f/c, E/B, E/B (L1), C/G, B/F, B/F, A/E, F/C, F/C, and E/B. D-Biebrich, K 18.

Appendix 2

Extant Alto Clarinets, ca. 1740–1860 (58)

T

he following is a listing by number of keys and a brief description of alto clarinets, the existence of which I have been able to verify. Length measurements (cm) in brackets indicate the instrument is missing a section or sections. Many of these measurements were taken by me; others were taken from published catalogs or sent by curators, private owners, and researchers.

Three Key (8) Anonymous, southern Germany. [67.5], 5 sections, boxwood: mouthpiece (missing), brass crook, right- and left-hand joints, and stock-bell. Keys: S, A, and E/B key (L4). US-NY-New York, 1995.253, Ex Maynard. Anonymous. 5 sections? mouthpiece (missing), brass crook (missing), right- and left-hand joints, and stock-bell (missing). A key (replaced), E/B key (missing). A-Salzburg, 18/3. Deper, M., Vienna? Stamped “D” (in G?), [74], 5 sections, boxwood: mouthpiece (missing), brass crook (missing), upper and lower joints, and stock-bell. Swallowtail F/C key, no E/B key. CZ-Jihlava, Ji-13/B/22. —— . Stamped “D” (in G?), [74], 5 sections, boxwood: mouthpiece (missing), brass crook (missing), upper and lower joints, and stock-bell. Swallowtail F/C key, no E/B key. CZ-Jihlava, Ji-13/B/23. Dotzell, I., Southern Germany. In G (A=410), 84.5, 5 sections, plum, horn ferrules: mouthpiece-barrel, brass crook, upper- and lower-hand joints, and stock-bell. Keys: S, A, and E/B (for either thumb). Alternate 7th tone hole. D-München-DM, 292. IS TW [Stinglwagner, Triftern]. In A, 6 sections, plum, horn ferrules: mouthpiece, barrel, brass crook, upper and lower joints, and stock-bell. Alternate 7th tone hole. A-Salzburg-C, XVIII/1. —— . In A (low pitch), 70, 5 sections of plum, horn ferrules: mouthpiece, brass crook, upper and lower joints, and stock-bell. Alternate 7th tone hole, E/B lever replaced and lengthened. A-Salzburg, 18/5.

394

Extant Alto Clarinets, ca. 1740–1860 (58) “Ioseph/SW/Trifftern” [Stinglwagner, Joseph], Triftern. In A (low pitch), 76, 5 sections, stained boxwood, horn ferrules: mouthpiece, brass crook, upper and lower joints, and stock-bell. Alternate 7th tone hole. A-Salzburg, 18/4.

Four Key (6) Anonymous. In G, 77.5, 6 sections, dark plum: mouthpiece, very long barrel, left- and right-hand joints, stock, and bell. Keys: S, A, A/E(with an ornamented ﬂap), and E/B (L4). A-Salzburg, 18/8. Grundmann, Jakob Friedrich, Dresden, dated 1775. In G (ca. 422 Hz), ca. 84.5, 5 sections, boxwood: mouthpiece (replaced), barrel, left-hand joint, right-hand joint (replaced), and stock-bell. Keys: S, A, A/E, and E/B (L4). F-Arnouville-Lès-Gonesse. Lehner, F. [Friedrich Löhner I], Nuremberg. [63], 5 sections, boxwood: mouthpiece (missing), brass crook, left- and right-hand joints, and stock-bell. A/E key. D-Braunschweig-S, Ck 112. IS T W [Stinglwagner], Triftern. In A, 70, 6 sections, plum, horn mounts: mouthpiece, barrel, brass crook, left- and right-hand joints, and stock-bell. Double-wing A/E key, alternate 7th tone hole. A-Salzburg, 18/6. —— . In A, 70, 6 sections, plum, horn mounts: mouthpiece (missing), brass crook (missing), brass crook, left- and right-hand joints, and stock-bell. Double-wing A/ E key, alternate 7th tone hole. A-Salzburg, 18/7. —— . 75.5, 6 sections, pear, horn ferrules: mouthpiece, barrel, brass crook, left- and right-hole joints, and stock-bell. Double-wing A/E touch, alternate 7th tone hole. D-Bonn, 152.

Five Keys (4) Anonymous. In G, 82.4, 5 sections, stained boxwood: mouthpiece (missing), barrel, left-hand joint, right-hand section-stock, and bell. Keys: S, A, A/E, F/C, and E/B (no F/C key). D-Berlin, 575. Oberlender, Franz Adolf Gabriel, Nuremberg. [73.4], 6 sections, boxwood, horn ferrules: mouthpiece (missing) brass crook, left- and right-hand joints, stock, and bell. Keys: S, A, A/E, F/C, and E/B (usual ﬁve keys). S-Stockholm, 81.436. Proff, Tours. In G, 74, 6 sections, stained boxwood, ivory ferrules: mouthpiece (missing), curved barrel, left- and right-hand joints, stock, and bell. Usual ﬁve keys. F-Paris-S. —— , attributed. In G, 6 sections, stained boxwood, horn/ivory ferrules: mouthpiece, curved barrel, left- and right-hand joints, stock, and bell. Usual ﬁve keys. F-Paris-L.

395

396 Appendix 2

Six Keys (2) Catlin, Philadelphia, attributed. In D or E, 124 (sounding length), 7 sections, maple (bassoon shape): mouthpiece, barrel, brass knee at 90 degrees, wing joint with ﬁnger holes, butt joint with ﬁnger holes, long joint, and bell. Keys: S, A, F/C (L4), open A/ E key (R4), closed E/B, and E (RT). US-NY-New York, 1994.365.1. Tuerlinckx, Corneille Jean Joseph, Malines, attributed. In F?, [93.8] 5 sections, boxwood (bassoon shape): mouthpiece, brass crook, left-hand joint, butt joint, and brass forward-pointing bell. Keys: S, A, C/G, B/F, A/E, and F/C. B-Bruxelles, M933.

Seven Keys (1) Anonymous, German origin. In G?, 74.5, 6 sections, stained boxwood, horn ferrules: mouthpiece (dark wood), curved barrel, left-hand joint, right-hand joint (angled at the upper socket), stock, and bell. Keys: S, A, G, C/G, A/E, F/C, and E/B. GB-London-RCM, 84.

Ten Keys (2) Stengel, Johann Samuel, Bayreuth. (9 +1) keys. In F, 81.9, 6 sections, boxwood, ivory ferrules: mouthpiece (missing), curved barrel, left- and right-hand joints, stock, and bell. Round, ﬂat key heads: S, A, G (saddle mounted), E/B, C/G, B/F (pillar mounted), A/E (pillar mounted at an angle), F/C hinged at end (key head placed underneath, close to the middle of the lever), F/C, and E/B. Ivory thumb rest on right-hand joint. US-DC-Washington-S, 95,296. Embach, Ludwig, Amsterdam. In E (stamped DIS), ca. 101.5, 5 sections, boxwood, right-hand joint-stock, and bell. Round, ﬂat key heads: S, A-B, A, f/c, E/B, C/G, A/E, F/C, F/C, and E/B. NL-Den Haag, 0840588.

Eleven Keys (1) Halary, Paris. In F, 77.8 (without mouthpiece), 4 sections, brass: silver-plated brass mouthpiece, long brass crook, one-piece body, and upturned bell. Key: S, A, G, f/c (missing), E/B, C/G, B/F, A/E, F/C, F/C, and E/B. Four rings for L1, L2, R2, and R3. US-MI-Ann Arbor, 630.

Twelve Keys (1) Grenser & Wiesner, Dresden. (8 + 4) keys. In F, 5 sections, boxwood, ivory/horn ferrules: mouthpiece (missing), curved barrel, left-hand joint, right-hand jointstock, and bell. Keys with square key heads, mounted in blocks and saddles: S, A, G, A-B (saddle mounted), f/c (saddle mounted), E/B (saddle mounted), C/G,

Extant Alto Clarinets, ca. 1740–1860 (58) B/F (saddle mounted), A/E, F/C, F/C, and E/B. Integral wooden thumb rest. S-Stockholm, M330.

Thirteen Keys (22) Buffet, Louis Auguste, Paris. In F, 89, 5 sections, plum, ivory ferrules: mouthpiece, curved barrel, left-hand joint, right-hand joint-stock, and bell. Pillar mounted keys with round key heads: S, A-B, A, G, f/c, E/B, C/G, B/F, B/F, A/E, F/C, F/C, and E/B (usual 13 keys). B-Bruxelles, M1958. —— . In F, 86, 5 sections, black wood, brass ferrules: mouthpiece (missing), brass crook, left-hand joint, right-hand joint-stock, and black wood bell (replaced). Pillar mounted keys, 2 plateau keys, plus 2 ring keys: S and B (LT), A-B, A, G (straight), f/c (R1), E/B (R3), C/G, B/F, A/E, F/C, F/C, and E/B. Ring keys for R2 and R3, plateau keys for LT, L3, and R1. D-Uhingen. Constantin, Paris. In F, 5 sections, boxwood, ivory ferrules: mouthpiece (black wood), curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual pillar mounted 13 keys; G straight. GB-Edinburgh, 4838, Ex Shackleton. Cuvillier, St. Omer. In F, 88.3, 5 sections, fruitwood, ivory ferrules: mouthpiece (replacement), barrel (slightly curved), left-hand joint, right-hand joint-stock, and bell. Usual 13 keys, all saddle mounted with brass round brackets. GB-Edinburgh, 88. Key, Thomas, London. (10 + 3) keys. In F, 86.5, 6 sections, stained boxwood, ivory ferrules: mouthpiece (ivory), brass crook, left- and right-hand joints, stock, and bell. Usual block mounted 13 keys; G (straight) and f/c are saddle mounted, the saddle mounted B/F is probably a repair. US-MA-Boston, 17.1878. —— . (10 + 3) keys. In F, ca. 90, 5 sections, stained boxwood, ivory ferrules: mouthpiece, brass crook, left-hand joint, right-hand joint-stock, and bell. Usual block mounted 13 keys; G (straight), f/c, and C/G mounted on saddles. The F/C is an early Müller design with keyhead in the center of the lever. There are rollers between A/E and F/C, and F/C and E/B. GB-London-RCM, 326/C/16, Ex Ridley. Kleinert, C. A., Breslau. In F (stamped), 5 sections, boxwood, ivory ferrules: mouthpiece (dark wood), curved wooden barrel, left-hand joint, right-hand jointstock, and bell. Usual block mounted 13 keys with round, ﬂat key heads; there is a second lever opening the key head for E/B. S-Stockholm, M528. Knochenhauer, August T. A., Berlin. In F, 85, 5 sections, boxwood, ivory ferrules: mouthpiece (black wood), curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual block mounted 13 keys. US-NY-New York, 89.4.2126. —— . In F (low pitch), [73.2], 5 sections, boxwood, ivory ferrules: mouthpiece (missing), barrel (missing), left-hand joint, right-hand joint-stock, and bell. Brass music lyre. Usual block mounted 13 keys. Additional location stamp: “5tes WESTF.INF. REGT.N° 53 2.” D-Leipzig, 1524.

397

398 Appendix 2 —— . In F (low pitch), 5 sections, boxwood, ivory ferrules: mouthpiece (missing), barrel (missing), left-hand joint, right-hand joint-stock, and bell (missing). Usual block mounted 13 keys. Additional location stamp: “5tes WESTF.INF. REGT.N° 53 1.” D-Leipzig, 1525. —— . In F? attributed. 5 sections, boxwood, ivory ferrules: mouthpiece (dark wood), curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual block mounted 13 keys. D-Rostock, 1243. Lefèvre, François, Paris. 87, 5 sections, boxwood, ivory ferrules: mouthpiece, brass crook, left-hand joint, right-hand joint-stock, and bell. Usual pillar mounted 13 keys; two ring keys for R2 and R3. E-Barcelona, 639. Piatet, Pierre, Paris. In F, 82.4, 5 sections, boxwood, ivory ferrules: mouthpiece, curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual pillar mounted 13 keys; two ring keys for R2 and R3. GB-Edinburgh, 5136, Ex Shackleton. Simiot, Jacques François, Lyon. In F (stamped Fa), 82.4, 6 sections, boxwood, ivory ferrules: mouthpiece (ebony), curved barrel, left- and right-hand sections, stock, and bell. Usual pillar mounted 13 keys; S positioned on front with annular connection. GB-Oxford Bate 493. —— . In F, 89.7, 6 sections, boxwood, ivory ferrules: mouthpiece (black wood), curved barrel, left- and right-hand sections, stock, and bell. Usual pillar mounted 13 keys; alternate thumb hinge key for F/C. GB-London-M. Simiot & Brelet, Lyon. In F (stamped FA), 88.5, 5 sections, boxwood, ivory ferrules: mouthpiece, barrel (slightly angled), left-hand joint, right-hand joint-stock, and bell. Usual pillar mounted 13 keys plus a plate (TL) for correction of intonation. B-Antwerpen, VH 67.1.58. —— . In F (stamped FA), 82, 5 sections, stained maple, ivory ferrules: mouthpiece (ebony), curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual pillar mounted 13 keys plus an open standing key for R3. I-Milano, 410. —— . In F (stamped FA), 5 sections, stained maple, ivory ferrules: mouthpiece, curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual pillar mounted 13 keys plus an open standing double cup key for R3. US-MA-Williamstown. —— . In F (stamped FA), 5 sections, stained maple, ivory ferrules: mouthpiece, curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual pillar mounted 13 keys plus an open standing key for R3, and a ring for R2 (missing). US-MA-Newton Centre. Skorra, Carl Eduard Simon, Berlin. In F, 85.8 (without mouthpiece), 5 sections, boxwood, ivory ferrules: mouthpiece (ebony), curved barrel, left-hand joint, righthand joint-stock, and bell. Usual block mounted 13 keys. D-Halle, 401. —— . In F, 86.5, 5 sections, boxwood, ivory ferrules: mouthpiece (black wood), curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual block mounted 13 keys with one plateau key for R1. D-Uhingen. Stengel, Johann Simon, Bayreuth. In F, 5 sections, boxwood, ivory ferrules: mouthpiece (black wood), curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual

Extant Alto Clarinets, ca. 1740–1860 (58) pillar mounted 13 keys, early Müller design for F/C, alternate thumb key for A/E, and a branch lever for F/C. J-Hamamatsu, A-0069R. —— . In F, 5 sections, boxwood, ivory ferrules: mouthpiece (ivory), curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual pillar mounted 13 keys, with an alternate thumb key for A/E, and a branch lever for F/C. Rollers are between A/E and E/B and between F/C and E/B. D-München-S, 67–48. Tuerlinckx, Corneille Jean Joseph, Malines. (8 + 5) keys. In F (stamped), [82.4], 6 sections, boxwood, ivory ferrules: mouthpiece (missing), curved barrel, left- and right-hand joints, stock, and bell. Usual block mounted 13 keys including ﬁve saddle mounted. E/B and F/C touches include an extension for use with a corps de rechange in G. B-Bruxelles, M2599.

Fourteen Keys (6) Jullien, Paris. In F (?), 90, 5 sections, stained boxwood, ivory ferrules: mouthpiece (black wood), curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual pillar mounted 13 keys plus an f/c (L2). D-Bochum, SGK 50. Key, Thomas, London. In F, 89.7, 5 sections, dark stained wood, ivory ferrules: mouthpiece (black wood), curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual block mounted 13 keys plus an alternate B/F (R3). There are rollers between A/E and E/B, between F/C and E/B, and on the touch of E/B. Serrated recess for right thumb, ring keys for R5 and R6 are a later addition. GBLondon-RCM, 454, Ex Hartley. Skorra, Carl Eduard Simon, Berlin. 5 sections, boxwood, ivory ferrules: mouthpiece (black wood), curved barrel, left-hand joint, right-hand joint-stock (missing), and bell (missing). Eight block mounted keys on upper section. With the usual six keys on the right hand joint this instrument would have carried fourteen keys. F-Paris, E.2196. Wernicke, Johann Friedrich Wilhelm, Berlin. In F, 5 sections, stained boxwood, ivory ferrules: mouthpiece (ebony) with German silver sheath, curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual block mounted 13 keys with an alternate cross f/c key. US-NY-New York, 89.4.2279. —— . 5 sections, boxwood, ivory ferrules: mouthpiece (missing), curved barrel, lefthand joint, right-hand joint-stock, and bell. Usual block mounted 13 keys with an alternate cross f/c key, missing duplicate f/c key. S-Stockholm, F328. Ziegler, Johann Joseph, Vienna. In G (stamped), [68.7], 5 sections, stained maple: mouthpiece (missing), curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual block mounted 13 keys plus an A/E (L4). I-Milano, 405.

Fifteen Key (1) Seidel, Mainz. In F, 5 sections: boxwood, ivory ferrules: mouthpiece, curved barrel, left-hand joint, right-hand joint-stock, and bell. Usual pillar mounted 13 keys plus duplicate side keys for f/c (L2) and E/B (R1). US-MI-Ann Arbor, 629 (missing).

399

400 Appendix 2

Nineteen Keys (1) Seelhofer, Rudolf. Bern. 9 sections, stained maple?: mouthpiece (missing), crook (missing), barrel, left- and right-hand joints, U-bend, lower joint, long joint, long bell with very little ﬂare. Keys: two S, A-B, A, f/c, E/B, C/G, B/F, A/E (R4), A/E (L4), F/C (R4), F/C (L4), E/B (L4), E (RT), D (RT), D (LT), CC (LT), BB (LT), and BB (LT). F-Paris, E.956, C.549.

Boehm System, 17 Keys, 2 Ring (1) Buffet, Louis Auguste, Paris. In F, 86.3, 5 sections, mouthpiece (dark wood), brass crook, boxwood, Boehm system with ring keys for L1 and L2, three plateau keys for R1, R2, and R3 (possibly added), bell without end ferrule. GB-Oxford-PR, 1963.2.6.

Appendix 3

Checklist of Extant Basset Horns, ca. 1760–1860

T

he text of chapter 2 reviews the various shapes in which basset horns were constructed, indicating that curved basset horns were made between ca. 1760 and 1830, angled instruments were made beginning in the 1780s through 1860; and straight instruments were made from the last decade of the eighteenth century through 1860. The majority of extant basset horns were made in three shapes: curved (sickle), angled, and straight. Other variations in shape are: angled at 90 degrees, angled with an integral knee on the right-hand joint, angled with knee joint before the bell, and angled with a bassoon butt joint. Variations among straight basset horns (without a box) are: instruments with an integral knee joint on the right-hand joint, straight with two knee joints before the bell, and straight with a brass crook. Two unusual types are the quadrilateral, incorporating angled and straight shapes, and the bassoon, incorporating a U-joint with ﬁnger holes and a long tenor joint similar to a bassoon. The following is an alphabetical list by maker of surviving basset horns, including seven reported instruments, the existence of which I have not been able to verify (marked with an asterisk). Anonymous (unstamped) in curved or sickle form: 4 key, A-Wien, 135, 136; 6 key “AA,” A-Kremsmünster; 6 key, “SS,” S-Kremsmünster; 7 key, GB-Oxford-PR, 1884.111.36; 7 key, CR-Praha, 1764E; 7 key, F-Bruxelles, M934; 8 key, “AS,” D-Nürnberg, MIR465; 8 key, D-Braunschweig-S, Ck 40; 8 key, US-NY-New York, 1982.100.3; 9 key, D-Berlin, 2913. Anonymous (unstamped) in angular form: 7 key, CR-Praha, 1763E; 7 key, CR-Praha, 1366E; 7 key, CR-Praha, 1367E; 8 key, D-Nürnberg, MIR 467; 8 key, D-Leipzig, 1530; 8 key, CR-Praha, 1793E; 8 key, D-Bonn, 155; 8 key, “DRESDEN,” US-NY-New York, 89.4.1560; 11 key, NL-Den Haag, 0840436; 13 key, F-Paris, E.2453; 14 key, D-Markneukirchen, 3521; 16 key, D-Sigmaringen, 273; 16 key, D-Sigmaringen, 291; 20 key, D-Nürnberg, MI 228. Anonymous (unstamped) in straight form: 7? key, D-München-S, no number, with butt joint at end of right-hand stock joint similar to Koch basset horns; 7 key, B-Bruxelles, M935 with a 90-degree knee below the stock, similar to Pfaff (F-Paris) basset horn; 15 key, NL-Den Haag, 0841088 with a long butt joint at the end of the right-hand stock joint. Anonymous (unstamped) with a knee at almost a 90-degree angle, two knee joints below the right-hand stock joint, and a modiﬁed bell without ridges in the style of J. B. Eisenbrandt. 10 key, F-Paris, E.2200.

401

402 Appendix 3 Adler, Karl Friedrich, Bamberg. 14 key, D-München-DM, 25967. Alexander, Gebrüder, Mainz. 12 key, GB-London-Pri. Amelingue, Michel, Paris. 7 key, F-Paris, E.2002.11.12. AS, 8 key, D-Nürnberg, MIR 465. Astor & Co., London. 11 key, US-NY-New York, 17.52.3. Baur, Jakob, Vienna. 7 key, D-Nürnberg, MI 134. Beltrami, Lugano (attributed). 15 key, D-Uhingen. Berlingozzi, Luigi, Siena. 12 key, D-Leipzig, 1533. Berthold, Georg Jakob, Speyer. 13 key, B-Bruxelles, M936; 17 (14 + 3) key, GB-Oxford, 485. Bischoff, Johann Gottlieb, Darmstadt. 14 key, D-Markneukirchen, 966; 16 key, DBerlin, 90. Braun, Johann Georg, Mannheim. 15 key, D-Berlin, 4707; 17 key, D-Leipzig 1537. Bühner & Keller, Strasbourg. 7 key, F-Paris, E.189. Cramer, John, London (attributed). 8 key, GB-London-VA, 24/2. Dimpﬂ, I. G., Stralfeld. 7 key, CR-Praha, 468E; 11 key, A-Linz, Mu 27. Distin & Sons, London (German import). 8 key, D-Leipzig, 3522. Döhring, Posen [Poznañ]. 8 key, D-Nürnberg, MIR 466. Doke, Carl, Linz. 14 key, D-Nürnberg, MIR 469; (attributed), 15 key, F-Nice, 130. Doleisch, Franz, Prague. 8 key (1791), CR-Praha, 467E; 8 key (1793), CR-Praha, 464E; 8 key (1793), US-SD-Vermillion, 3541; 9 key (1796), CR-Praha, 466E; 9 key (1797), BBruxelles, M938; 10 key (1798), CR-Praha-P, M I/43; 12 key (1798), CR-Praha-P, M I/42; ? key (1798), CR-Praha-P, M I/44; 13 key (1800), US-AZ-Tucson; 9 key (1803), GBLondon-RCM, 90; ? key, undated, CR-Praha-M; (attributed), 8 key, D-Halle, MS406; (attributed), 7 key, CR-Praha, 476E. Eisenbrandt, Johann Benjamin, Göttingen. 11 (originally 16) key, D-Berlin, 1208. Eisenmenger, Georg Peter or Johann Peter, Mannheim. 9 key, D-München-BNM, 128. Engelreid, Mühringen. 11 key, US-WV.

✽

Fehr, Mainz. 15 key, CH-Zürich-B. Felchlin, Joseph Aloys Carl Dominik, Zug. 17 key, CH-Einsiedeln, 25. Fischer, Anton, Eger (now Cheb), 16 key, US-NY-New York, 53.56.13. Freyer, Johann Gottlieb, Potsdam. 9 key, D-Berlin, 4769; 9 key, US-NY-New York, 53.56.12; 14 key, F-Paris, E.198; incomplete, GB-Edinburgh, 5061. Freyer & Martin, Berlin. 15 key (1816), NL-Haag, 0840910; (attributed), 15 key, GBLondon-P. Gedliczka [Jedlicˇka], Anton, Prague. 15 key, (1843), D-Gagganau.

✽

Geisler, Christian Gottfried, Amsterdam. 16 key, GB-Edinburgh, 91.

Checklist of Extant Basset Horns, ca. 1760–1860 Glezl, Georg, Bayerischer Wald. 8 key, D-München-BNM, MU 111. Grenser, August, Dresden. 8 key (1784), S-Stockholm, M553; 9 key (1795), NL-Den Haag, 0840387; 9 key, D-München-DM, 10224; 10 key (1795), NL-Den Haag, 0840386; 12 key, D-Darmstadt, KG 67:132. Grenser, Heinrich, Dresden. 8 key, GB-Oxford, 489; 8 key, GB-Edinburgh, 5059; 12 key, GB-Edinburgh, 5255; 14 key, US-MI-Ann Arbor, 633; 14 key, CH-Burgdorf, 13-1124; 15 key, CH-Zürich-AMG, 2685; 15 key, GB-London-Pr; 15 key, S-Stockholm, M1225. Grenser & Wiesner, Dresden. 15 key, CH-Basel, 1906.3158; 16 key, US-MA-Boston, 17.1883; incomplete, S-Stockholm, N81858. Gressing, Padova. 8 key, I-Padova, Pollini Conservatorio, 437. Grevé, Carl, Carlsruhe. 18 key, CH-Basel, 1908.397. Griesbacher, Raymund, Vienna. 11 key, GB-Totternhoe; 11 key, I-Roma-ASC, 50; 12 key, GB-London-RCM, 242; 13 key, GB-Edinburgh, 4797; 14 key, US-MA-Boston, 17.1882; 15 key, I-Modena, 33-1981; 15 key, GB-Edinburgh, 4796. Griesling & Schlott, Berlin. 9 key, DK-København, CL.495; 9 key, US-PA-Franklin; 12 key, US-DC-Washington-S, 384.091; 12 key, GB-London-H, 167; 12 key, GB-Oxford, 486; 13 key, BR-Rio de Janeiro; 15 key, D-Hamburg, 1924.216; (attributed), 15 key, USNY-New York, 89.4.1387; 16 key, sold at Sotheby’s in November 1987; (attributed), 19 key, “Doerfeldt & Zielcke” of St. Petersburg, D-Berlin, 4852, ? key, S-Stockholm, 81858. Grundmann, Jakob Friedrich, Dresden. 7 key (1787), GB-Edinburgh, 5565 (incomplete); 7 key (1791), US-MA-Boston, 17.1881; 8 key (1784), A-Innsbruck; 8 key (1787), D-Hamburg, 1912.1560; 8 key (1792), D-Lübeck, 4423, 4424; 8 key (1799), D-Hamburg, 1922.70. Grundmann & Floth, Dresden. 8 key (1802), S-Stockholm-D.

✽

Hammig, Friedrich, Vienna. 8 key, RU-St. Petersburg, 16516/1010 A564. Hammig, Friedrich, Junior, Vienna. 10 key, F-Mantes la Jolie; 11 key, B-Antwerp, 67.1.57; 12 key, A-Graz, 1400; 14 key, I-Turin, 3537. Harrach, Franz, Vienna. 7 key, D-Berlin-M; 8 key, A-Salzburg, 18/32. Hauth, J., Überlingen. 9 key, D-Konstanz, I18; 9 key, NZ. Heckel, Johann Adam, Biebrich. 17 key, D-Biebrich. Hess, Wilhelm, Munich. D-München-BNM, MU 124; 16 key, D-Nürnberg, MIR 473; 16 key, GB-London-RCM, 77. Hesse, Wilhelm, Brunswick. 8 key (1789), US-MI-Ann Arbor, 634. Horák, Wenzel I., Prague. ? key, CR-Praha-M, 42295; ? key, H-Budapest, 1961.1336; ? key, H-Budapest, ? key, US-P. Horalek, Joseph, Warsaw. 16 key, F-Arnouville-lés-Gonesse. Jäger, Friedrich, Carlsbad. 8 key, CR-Praha, 364E. ✽

Jehring, Carl Friedrich August, Mainz. ? key, CH-Zürich-H.

Jehring, Johannes, Adorf. 9 key, D-Markneukirchen, 695.

403

404 Appendix 3 Jehring, Julius, Adorf (attributed). 15 key, D-Markneukirchen, 705. Kapeller, Balthasar, Vienna. 20 key, D-Bonn, 153. Key, Thomas, London. 15 key, GB-Edinburgh, 92; 15 key, D-Lübeck, 1934/278. Keyha [Reyha], G., Prague. 7 key, CR-Praha, E19. Kirst, Friedrich Gabriel August, Potsdam. 8 key, D-Leipzig, 1528; 8 key, D-Gotha; 9 key, D-Rostock; 9 key, D-Leipzig, 1529; 9 key, D-Hamburg, 1912.1561; 9 key, F-Paris, E. 2199; 10 key, S-Stockholm, F36; (attributed), 11 key, D-Nürnberg, MIR 468; 12 key, D-Eisenach, 1.6.13/I14. Koch, Stephan, Senior, Vienna. 8 key, CH-Neuchâtel, AA3838; 12 key, S-Stockholm, F327; 14 key, S-Linköping, A 10 885; 15 key, S-Stockholm, M2360; 15 key, DKKøbenhavn, CL 496; 15 key, D-Halle, MS 407; 17 key, A-Wien-T, 15380/26. Kohlert, Ignatz, Graslitz. 8 key, CR-Praha, 133E. Kollmus, Georg Simon, Markneukirchen. 7 key, D-Markneukirchen, 1052. Königsperger, Franz, Roding. 7 key, D-Berlin, 578. Krahuletz, Wenzel, Leitomischl. 16 key, D-Leipzig, 1534; 19 key, CR-Praha, 740E. Kraus, Anton, Augsburg. 16 key, S-Stockholm-N, ITB 108; 18 key, D-Augsburg, 6901; ? key, D-München-S, 57-35; ? key, D-München-S, 97-15. Kretzschmann, Johann Christian, Neukirchen. 17 key, CH-Zürich-L, 2960.

✽

Küss (Kies), Wolfgang, Vienna. 10 key, US-DC-Washington-S, 95.295; 13 key, I-Firenze, 1988/167; 16 key, I-Modena, 34; ✽? key, F-Paris-P. Larshof, Jacob Georg, Copenhagen. 15 key to D, DK-Brøndy; 16 key, DKKøbenhavn-P. ✽

Lefèvre, François, Paris. ? key, GB-London-L.

Lempp, Friedrich, Vienna. 7 key, A-Linz, Mu 28. Lisin, Michael, Moscow. 12 key, RU-St Petersburg, 181. Lotz, Theodor, Vienna. 8 key, D-Berlin, 2911; 8 key, CR-Prague, 1365E; 8 key, CRPrague, 2094E; 8 key, SK-Betliar, three examples; 9 key (2 keys missing) D-Frankfurt (O), V/J-432; 9 key (2 keys missing), D-Frankfurt (O), V/J-433; 10 key, D-Konstanz, I19; 10 key, D-Nürnberg, MI 135. Mayrhofer, Anton Sr. and Michael, Passau. 6 key, D-Bonn, 154; 6 key, D-Nürnberg, MI 133; (attributed), 5 key, A-Salzburg 18/30. Merklein, Johann Baptist, Vienna. 10 key, CR-Brno, E171; 13 key, RU-St. Petersburg, 227; 13 key, RU-St. Petersburg, 1154; 15 key, A-Wien, 328; 15 key, D-Halle, MS 408; ? key, H-Budapest, 1951.17; ? key, H-Budapest, 1961.1337. Miraz, Ignazio, Udine. 14 key, GB-Edinburgh, 90; ✽incomplete, formerly GBCambridge, Shackleton. Mollenhauer, Johann Andreas, Fulda. 14 key, D-P; 16 key, GB-Totternhoe; 11 key, incomplete, GB-Edinburgh, 4980.

Checklist of Extant Basset Horns, ca. 1760–1860 Otto, Johann Georg, Neukirchen. 8 key (1801), D-München-DNM, MU 116. Pask, London (French manufacturer). Boehm system, GB-London-H, 2004.1124. Peuckert, Friedrich August, Breslau. 14 key, CH-Zumikon. Pfaff, Johannes, Kaiserslautern. 10 key, F-Paris, E.313. Piering & Poehla, Berlin. 16 key, S-Stockholm, M112. Porthaux, Dominique Antony, Paris. 7 key, F-Paris, E.603. Riedl, Ignaz Josef, Graslitz. 8 key, DK-København, 494. Roedel, Johannes Josef, Junior, Bremen. 9 key, CH-Zumikon. Rorarius, Augustin, Vienna. 15 key, A-Wien-GM, 139. Rudhard, Johann Baptist, Stuttgart. 15 key, D-Leipzig, 1536; 15 key, D-Lautlingen; 16 key, D-München-DM, 46354; 16 key, GB-Brighton, R5773/60; 16 key, D-Nürnberg, MIR 472. Schauﬂer, Carl August, Stuttgart. 16 key, CH-Genève-AH, IM 143. Scheilly, Mihály, Ofen. 13 key, CR-Praha, 1762E; 13 key, I-Milano-C; incomplete instrument, F-Paris, E.1193. Schicker, Johann Christoph, Germany. 8 key, D-Leipzig, 1527. Schlott, Christian Friedrich, Berlin. 16 key, S-Göteborg, 8364. ✽

Schmidt (Schmitt), Bayreuth. ? key, F-Paris-P.

Schölnast, Franz, Pressburg. 8 key, GB-Oxford, 487; 16 key, US-MI-Ann Arbor, 632; 16 key, A-P; 17 key, H-Budapest, 1927-61. Schott B. ﬁls, Mainz. 15 key, B-Bruxelles, M174. Schürer, Rotenthal. 14 key, CR-Praha, 1800E; ? key, S-Stockholm-N, 42582. Schuster, Christian Gottfried, Neukirchen. 10 key (attributed), D-Markneukirchen, 106; 10 key, F-Paris-P; 10 key, GB-Oxford, 400; 14 key, S-Stockholm-N, ITB 107. Seidel, Josef Franz, Mainz. 17 key, US-NY-New York, 56.94. Singer, Carlsruhe. 18 key, CH-Basel, 1936.146. Skorra, Carl Eduard Simon, Berlin. 16 key, D-Leipzig, 1535. Skousboe, Henning Andersen, Copenhagen. 8 key, D-Nienburg, 715. Söderberg, Hans Pehrsson, Västerås. 14 key, S-Stockholm, N77221. Stengel, Johann Samuel, Bayreuth. 9 key, D-Leipzig, 1531; 9 key, I-Firenze, 159; 14 key, CH-Zumikon. Stiegler, Max, Munich. 12 key, D-Leipzig, 1532. Stinglwagner, Johann Michael and Michael, Triftern. 7 key, A-Salzburg, 18/31. Streitwolf, Johann Heinrich Gottlieb, Göttingen. 16 key, D-Berlin, 91; 16 key, D-Göttingen-U, 91.

405

406 Appendix 3 Strobach, Carlsbad. 8 key, GB-Edinburgh, 969; 8 key, D-München-DM, 63678; 8 key, D-Lübeck, 1934/277; 8 key, CR-Praha, 191E; 8 key, CR-Praha, 132E; 10 key, CR-Praha, 81E; 10 key, CR-Brno, 195E, 10 key, CR-Brno, 196E, 10 key now incomplete, D-Berlin 2915; 11 key (in G), CR-Praha, 225E; 16 key, D-Nürnberg, MIR 471; (attributed), 8 key, D-München-DM, 50893; 8 key walking stick, A-Wien, 329; 10 key walking stick, CRPraha, 465E. Thomae, Johann Carl, Markt-Redwitz. 10 key, D-München-BNM, 22/95. Uhlmann, Johann Tobias, Vienna. 14 key, D-Braunschweig, Ck 39; 15 key, D-Nürnberg, MIR 470; 17 key, A-Wien-GM, 416; 18 key, GB-London-RCM, 326 C/17. Unglerth, Simon, Laybach. 8 key, US-NY-New York, 89.4.2143. Werner, C. C., Leipzig. 14 key, B-Bruxelles, M937. Widmann, Josef Ignaz, Freiburg im Breisgau. 19 key, US-DC-Washington-S, 66.851; 20 key, Oxford, 488. Winckler, Johann Gottlieb II, Leipzig. 9 key, F-Toulouse, 209. Wood & Ivy, London. 18 key, GB-Edinburgh, 5060. Zencker, Gottlieb Ludwig, Junior, Adorf. 15 key, D-Hamburg, 1924/215. Ziegler, Johann Joseph, Senior, Vienna. 8 key, B-Bruxelles, 87.027; 15 key, RU-St. Petersburg, 1132; 17 key, D-Nürnberg, MIR 474; 17 key D-Nürnberg, MIR 475.

Appendix 4

Checklist of Extant Bass Clarinets and Contra Bass Clarinets, ca. 1750–1860

T

he text of chapter 4 indicates that bass clarinets were made in seven basic shapes: plank or prototype, curved basset horn, bassoon, serpent, straight, ophicleide, and straight with butt joint. In this list, a plateau key may be an open standing lever that closes a second lever. The following is an alphabetical list by maker of surviving bass clarinets the existence of which I have been able to verify.

Bass Clarinets Anonymous (unstamped). 3 key, Germany, B-Bruxelles, 939; 3 key, Germany or Italy, CH-Sonogno; 6 key, Germany or Italy, I-Firenze, 109; 7 key, US-NH-Concord, 1966.544.6; 7 key, US-NC-Durham, E200; 20 key (+ 6 plateau), US-NY-New York, 89.1636; 20 key (+ 5 plateau), US-NY-New York, 89.4.1635; 12 key (+ 3 plateau), DGoch; 20 (+ 2 rings), US-MA-Boston, 17.1880. Beck, Creuzberg. 17 key (+ 1 plateau), D-Leipzig, 1540. Berthold, Speyer. 17 key (+ 3 plateau), D-München-DM, 14103; 17 key (+ 3 plateau), D-Göttingen, 532; 17 key (+ 3 plateau), D-Michaelstein, SM 162. Bimboni, Giovanni or Giovacchino, Firenze (attributed). 16 key (+ 5 plateau), DNürnberg, MIR 482. Buffet, Louis-Auguste, Paris. 13 key (+ 2 plateau), F-Paris, E.0644; 13 key (+ 2 plateau), D-München-BNM, 117; 13 key (+ 2 plateau), GB-Edinburgh, 4948; 13 key (+ 4 plateau and 2 rings), GB-Edinburgh, 4734; 13 key (+ 7 plateau), US-MI-Ann Arbor, 635; (attributed), 13 key (+ 4 plateau, 2 rings), F-Paris-K. Buffet-Crampon, Paris. 12 key (+ 7 plateau), Nürnberg, MIR 478; 12 key (+ 5 plateau, 2 rings for L2 and L3), DK-København, 498; 12 key (+ 7 plateau) US-MI-Ann Arbor, 638; 14 key (+ 7 plateau), GB-Edinburgh, 4878; 13 key (+ 7 plateau) F-Nice, C131. Catlin, Hartford. 6 key, US-MI-Dearborn, 77.68.1. Catlin & Bacon, Philadelphia. 9 key, US-NY-Castile. Catterini, Padova. 20 key (+ 8 plateau), GB-Oxford, 496.

407

408 Appendix 4 Darche, Paris. 14 key (+ 7 plateau), S-Stockholm, M111. De Azzi, Venezia. 17 key, D-Uhingen. Desfontenelles, Lisieux. 10 key (1807), F-Paris, E.1055, C.1136. Dupré, Tournai (attributed). 13 key (+ 7 plateau), B-Bruxelles, M2602. Grenser, August, Dresden. 9 key (1795), D-Darmstadt, Kg 67:133. Grenser, Heinrich, Dresden. 8 key (1793), S-Stockholm, M2653. Kruspe, Erfurt. Bass clarinet, [18 key], D-Berlin, 88; 18 key (+ 6 plateau), Ex US-Ann Arbor, 636. Lausmann, Johann Wenzel. Linz. 16 key (+ 2 plateau and 1 ring), D-Uhingen. Losschmidt, Olmütz. 17? key (+ 6 plateau), I-Trieste, 10492; 17 key (+ 6 plateau), D-Nürnberg, MIR 481; 17 key (+ 6 plateau), US-NY-New York, 89.4.2459; 18 key (+ 6 plateau), D-München-DM, 20506; 17 key (+ 6 plateau), GB-Edinburgh, 5703; (attributed), 19 key (+ 6 plateau), A-Linz, Mu 82. Maino, Paolo, Milan. 14 key (+ 3 plateau), B-Bruxelles, M941. Marsh & Chase, Calais. 7 key, US-NY-Poughkeepsie; (attributed) Marsh, Calais or Fischer & Metcalf, Woodstock, 7 key, US-DC-Washington-S, 65.609. Martin Frères, Paris. 12 key (+ 7 plateau), F-Paris, E.1154. Mayrhofer, Anton Sr. and Michael, Passau. 7 key, D-München-S, 52-50. Miner, Hartford. 9 key, US-CT-Farmington, 167 a + b; (attributed), 9 key, US-NYBuffalo, 61.259; (attributed), 9 key, US-NY-Dearborn, 77.63. Nechwalsky, Vienna. 17 key, US-Washington-S, 65.0613; 16 key, A-Wien-GM, 144. Papalini, Chiaravalle. 5 key, D-Leipzig, 1538; 5 key, B-Bruxelles, 940; (attributed), 5 key, US-MA-Boston, 17.1879; (attributed), 5 key, US-NY-New York, 89.4.2345; 8 key, F-Paris, E.760, C.550; 10 key (1829), I-Roma, 617. Riva, Persiceto. 19 key, US-NY-New York, 89.4.3124. Sax, Adolphe, Brussels. 13 key (+ 7 plateau), B-Bruxelles, M2601; 14 key (+ 7 plateau), B-Bruxelles, M175; 13 key (+ 7 plateau), US-MI-Ann Arbor, 637. Sax, Adolphe, Paris. 14 key (+ 7 plateau), F-Paris, E.759, C.552; 14 key (+ 7 plateau), F-Paris, E.1223 C.1137; 14 key (+ 7 plateau), NL-Den Haag, 0840392; 14 key (+ 7 plateau), US-MA, Newton Centre; (attributed), 14 key (+ 7 plateau), F-Paris E.2197; (attributed), 14 key (+ 7 plateau), J-Hamamatsu, A-0164R; metal body, (attributed), 14 key (+ 7 plateau), F-Paris, E.713 C.551. Seidel, Mainz. 18 key (+ 1 plateau), D-Leipzig, 1541. Skorra, Berlin. 13 key (+ 2 plateau), D-Leipzig, 1542. Stengel, Bayreuth. 15 key (+ 2 plateau), B-Bruxelles, 943; 15 key (+ 2 plateau), I-Firenze, 161; 18 key (+ 2 plateau), D-Nürnberg, MIR 479. Streitwolf, Göttingen. 17 key, D-Sondershausen, Mu 3; 17 key, CH-Zurich-B, 123; 18 key, D-Leipzig, 1539; 19 key, D-München-DM, 68079; 19 key, D-Nürnberg, MIR

Checklist of Extant Bass Clarinets and Contra Bass Clarinets

409

477; 19 key, NL-Den Haag, 0840392; 19 key, NL-Den Haag, 0840390; incomplete, D-Kronach. Uhlmann, Johann Tobias, Vienna. 13 key (+ 3 plateau, 1 ring), GB-Edinburgh, 4818. Uhlmann, Joseph, Vienna. 19 key (+ 4 plateau), D-München-DM, 43337. Walsch, Prossnitz. 17 key (?+ 6 plateau), A-Wien-GM, 143. Widemann, Paris. 13 key (+ 7 plateau, 1847), D-Bochum, SGK 47; (attributed), 13 key (+ 7 plateau), Widemann, Paris, GB-London-H, 14.5.47/301.

Contra Bass Clarinets Kruspe, Erfurt. 18 key (+ 2 plateau), D-Berlin, 591. Wieprecht & Skorra, Berlin. 18 key (+ 8 plateau), D-Berlin, 2904.

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Bibliography

Music Sources Clarinet Amour or Alto Clarinet Anonymous. “Concert in G für 2 Clarinetten.” Regensburg, Germany, Fürst Thurn und Taxis Hofbibliothek, MS., Inc. IIc 3. Bach, Johann Christian. Fünf Sinfonien, ed. F. Stein. Das Erbe Deutscher Musik, vol. 30. Wiebaden: Breitkopf & Härtel, 1957. —— . Lucio Silla: Opera Seria in Three Acts. The Collected Works of Johann Christian Bach, vol. 8. New York: Garland, 1986. —— . Temistocle: Opera Seria in Three Acts. The Collected Works of Johann Christian Bach, vol. 7. New York: Garland, 1988. —— . Music for Wind Band, ed. R. Maunder. The Collected Works of Johann Christian Bach, vol. 37. New York: Garland, 1990. Croes, Henri-Joseph de. “Partia con due clarinetti in G, due viole et violone” (1788). Regensburg, Germany, Fürst Thurn und Taxis Hofbibliothek, MS., H. de Croes, 8. Gluck, Christoph Willibald. Orphée et Eurydice, Sämtliche Werke, Series 1, vol. 6. Kassel: Bärenreiter, 1968. Gossec, François-Joseph. “Missa pro defunctis a piu Voce e piu Stromenti” (1760). Brussels, Belgium, Conservatoire Royal, Bibliothèque [Koninklijk Conservatorium, Bibliotheek], MS., Littera D 140. —— . “Messe des morts” (1760). Paris, Bibliothèque Nationale, MS., L 4984. —— . Messe des morts. Paris: M. Henry, 1780. Guglielmi, Pietro Alessandro. “Enea e Lavinia” (1786), 3 vols. Naples, Conservatorio di Musica San Pietro a Majella, Biblioteca, MS., 27.4.33-34-35. Haydn, Franz Joseph. Drei Trios für Klarinette, Violine und Violoncello oder Fagott, ed. K. Burmeister. Leipzig: Edition Peters, 1977. Mayr. Johann Simon. “Gloria patri Soprano solo con cori e Clarinetto dolce.” Bergamo, Italy, Biblioteca Civica Angelo Mai, MS., Mayr 4.9. —— .“Lamentazione terza del Venerdi S. a due tenori e due Violoncelli o Clarini dolci.” Bergamo, Italy, Biblioteca Civica Angelo Mai, MS., Mayr, 30.11.

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Index of Instrument Makers and Dealers

Alto clarinet Anonymous (three-key), 35 Anonymous (ﬁve-key), 45 Anonymous (seven-key), 49 Besson & Co., Paris and London, 275n120, 325, 338, 338n407 Boosey & Co., London, 27n82, 275n120, 384n161 Buffet, Louis-Auguste, Paris, 69, 69n299 Buffet-Crampon & Cie, Paris, 69n300 Catlin, George, Hartford, Connecticut, 21, 28, 49–50, 251, 264–268, 322 Constantin, Paris, 66–67 Cuvilliers, St. Omer, 63 Deper, M., Vienna (?), 12, 31 Distin, Henry, London, 69n300, 163 Dölling, Potsdam, 62n261 Dotzell,, Germany (?), 29–30 Embach, Ludwig, Amsterdam, 22, 60 Gentellet, Paris, 23, 28 Grenser, Heinrich, Dresden, 22, 28, Grenser & Wiesner, Dresden, 57–58 Griessling & Schlott, Berlin, 23, 28, 61 Grundmann, Jakob Friedrich, Dresden, 40 Halari (Asté, Jean Hilaire), Paris, 68–69 Hanniecke, G., Oldenburg, 60n255 Jullien, Louis, Paris, 63–64 Key, Thomas, London, 51–52, 94 Kleinert, Breslau, 65–66 Knockenhauer, August T. A., Berlin, 12, 61–62, 65, 68 Labro, Sedan, 51n210 Lefèvre, François, Paris, 64 Oberlender, Franz, Nuremberg, 45 Piatet, Pierre, Lyon, 67

Proff, Jean Chrestien, Tours, 42–43, 93 Rudall, Rose, Carte & Co., London, 27n82 Sax, Adolphe, Paris, 26 Sax, Charles, Brussels, 25 Schott, B. Söhnen, Mainz, 23 Seelhofer, Rudolf, Bern, 64–65 Seidel, Josef Franz, Mainz, 68, 94 Simiot, Jacques François, Lyon, 25, 58–59, 94 Simiot & Brelet, Lyon, 58–60 Skorra, Carl Eduard Simon, Berlin, 65, 68, 94 Stengels, Bayreuth, 22, 52–54, 94 Stinglwagners, Triftern, 29, 33–35 Tabard, Lyon, 59n251 Tuerlinckxes, Malines, 43–44 Wernicke, Johann Friedrich, Berlin, 12, 67–68 Wiesner, Samuel Gottfried, Dresden, 57–58 Ziegler, Johann Joseph, Vienna, 62, 94 Bass clarinet Amer, Anton, Straubing, 274, 323 Anonymous (three-key, B-Bruxelles), 252 Anonymous (three-key, CH-Sonogno), 253 Anonymous (six-key, I-Firenze), 253 Anonymous (D-Goch), 308–309 Anonymous (US-New York), 279–280 Anonymous (attributed to Miner), 266–267 Anonymous (American made), 267 Bachet, Carlo, Italy, 282n149 Bachmann, Georg Chrétien, Brussels, 290 Beck, Wilhelm Christian, Weimar, 313, 323 Berthold, Georg Jakob, Speyer, 313–314 Bimboni, Giovanni, Florence, 317–318, 323

449

450 Index of Instrument Makers and Dealers Bass clarinet (continued) Buffet, Louis-Auguste, Paris, 250, 263, 287–289, 295, 299, 308–309, 314–317, 323–324, 333, 347, 349, 352, 355–356, 377, 383 Buffet-Crampon, Paris, 295, 307–308, 308n278, 323, 383 Catlin, George, Hartford, Connecticut, 264–266, 322 Catlin & Bacon, Philadelphia, 266 Catterini, Catterino, Padua, 3, 250–251, 275–278, 280, 322, 324, 342–345, 366 Darche, Paris, 306, 323 De Azzi, Pellegrino, Venice, 280–282 Desfontenelles, Lisieux, 286–287, 322 Dumas, Paris, 251, 261–263, 322 Dupré, Tournai, 307, 323 Fischer & Metcalf, Woodstock, Vermont, 266 Felchlin, Josef Karl Anton, Bern and Schwyz, 310–311 Fornari, Pietro, Venice, 251, 278–279, 323, 345n25, 366 Glier, Carl Friedrich, Klingenthal, 310, 323 Grenser, August, Dresden, 250–251, 260–261, 263, 265–266, 322, 339–340 Grenser, Heinrich, Dresden, 250–251, 256n37, 258–261, 263, 265–266, 322, 339–340 Kruspe, Franz Carl, Erfurt, 320–321, 323 Lausmann, Johann Wenzel, Linz, 322–323 Losschmidt (Lauschmidt), Franz, Olmütz, 251, 282–283, 314, 319–320, 322–323, 383 Maino, Paolo, Milan, 277–278, 323 Marsh, Perry (attributed), Calais, Vermont, 267 Marsh & Chase, Calais, Vermont, 267 Martin Frères, La Couture and Paris, 316–317, 323 Mayrhofer, Anton and Michael, Passau, 120, 249, 254–257, 261, 322 Miner, Uzal, Hartford, Connecticut, 251, 265–267 Müller, Louis, Lyon, 280–281, 323 Nechwalsky, Anton, Vienna, 311, 321, 323 Papalini, Nicola, Chiaravalle, 283–286, 322 Plößl, Rupert, Teisendorf, 251, 274, 322 Riva, Giancito, Persiceto, 283, 323 Roth, Jean Chrétien, Strasbourg, 312, 323

Sautermeister, François Antoine, Lyon, 251, 263–264, 280, 322 Sax, Adolphe, Brussels and Paris, 250, 288–309, 311–312, 315, 319, 323–324 Scholl, Franz, Vienna, 251, 261, 322 Schuster, Michael, Markneukirchen, 311n291 Seidel, Josef Franz, Mainz, 313, 323 Skorra, Carl Eduard Simon, Berlin, 306, 323 Stengel, Johan Simon, Bayreuth, 311–312 Streitwolf, Johann Heinrich Gottlieb, Göttingen, 250, 268–275, 287n176, 303–304, 313, 320, 322, 324, 340–341, 357, 378, 385 Uhlmann, Johann Tobias, Vienna, 306–307, 323 Uhlmann, Joseph, Vienna, 318–319, 323 Walsch, Franz, Prossnitz, 321, 323 Widemann, Paris, 64, 314–315, 323 Widmann, Josef Ignaz, Freiburg im Breisgau, 282–283, 323 Wood, George F., London, 274–275, 322 Basset horn AA, Vienna (?), 116 AS, Vienna (?), 117 Adler, Karl Friedrich, Bamberg, 147 Alexander, Gebrüder, Mainz, 142 Amelingue (Amlingue), Michel, Paris, 106, 136–138 Anonymous (four-key), 115–116 Anonymous (ﬁve-key), 116–117 Anonymous (eight-key), 117 Astor, George, London, 161 Backofen, Johann Georg Heinrich, Darmstadt, 152 Baur, Jakob, Vienna, 129 Beltrami, Lugano, 164 Berlingozzi, Luigi, Siena, 163 Berthold, Georg Jakob, Speyer, 152, 167 Bischoff, Johann Gottlieb Karl, Darmstadt, 115, 144–145 Braun, Johann Georg, Mannheim, 103, 145–146 Bühner & Keller, Strasbourg, 106, 139 Buffet-Crampon, Paris, 104, 168 Braun, Johann Georg, Mannheim, 140n281, 145–146

Index of Instrument Makers and Dealers Cramer, John, London, 160–161 Dimpﬂ, I. G., Stalfeld, 101, 108, 120 Distin & Sons, London, 163 Döhring, Posen, 140 Doke, Carl, Linz, 155 Doleisch, Franz, Prague, 101–102, 135–136, 167 Eisenbrandt, Johann Benjamin, Göttingen, 103, 145 Eisenmengers, Göttingen, 125 Engelried, Mühringen, 148 Fehr, Mainz, 152 Felchin, Joseph Aloys Carl Dominik, Zug, 166 Fischer, Eger, 160n467 Freyer, Johann Gottlieb, Potsdam, 124, 128–129, 167 Freyer & Martin, Potsdam, 144 Gedliczka, Anton, Prague, 160 Geisler, Christian Gottfried, Amsterdam, 165 Glezl, Georg, Bavarian Forest, 101, 108, 120–121 Grenser, August, Dresden, 101, 121–124, 167 Grenser, (Johann) Heinrich, Dresden, 122, 127–128, 140, 167 Grenser & Wiesner, Dresden, 140, 146 Gressing, Padua, 164n493 Grevé, Carl, Carlsruhe, 103, 150 Griesbacher, Raymund, Vienna, 134–135, 167 Griesling (Griessling) & Schlott, Berlin, 140–142, 167 Grundmann, Jakob Friedrich, Dresden, 101, 111, 123–124, 167, 242 Grundmann & Floth, Dresden, 141 Hammig, Friedrich, Vienna, 103, 133–134 Hammig, Friedrich, Junior, Vienna, 103, 153–154 Harrach, Franz, Vienna, 108, 135 Haseneier, Heinrich Joseph, Coblenz, 150 Hauth, J., Überlingen, 145 Heckel, Johann Adam, Biebrich, 104, 150, 167 Hess, Wilhelm, Munich, 101, 148 Hesse, Wilhelm, Braunschweig, 126 Horák, Wenzel, I., Prague, 160 Horalek, Józef, Warsaw, 165 Jäger, Friedrich, Carlsbad, 160

451

Jehring, Carl Friedrich August, Mainz, 149 Jehring, Johannes, Adorf, 126–127 Jehring, Julius, Adorf, 152 Kapeller, Balthasar, Vienna, 157 Key, Thomas, London, 94, 103, 161 Keyha, G., Prague, 160 Kirst, Friedrich Gabriel August, Potsdam, 122, 124–125, 167 Koch, Stephan, Senior, Vienna, 154–155, 167 Koch, Stephan, Junior, Vienna, 167 Königsberger, Franz, Roding, 40–41, 101, 108, 120 Kohlerth, Ignaz, Graslitz, 160 Kollmus, Georg Simon, Markneukirchen, 146 Krahuletz, Wenzel, Leitomischl, 160 Kraus, Anton, Augsburg, 103–104, 152 Kretzschmann, Johann Christian, Neukirchen, 141 Küss (Kies), Wolfgang, Vienna, 103, 115, 155–156, 167 Larshof(f), Jacob Georg, Copenhagen, 103, 164–165 Lefèvre, François, Paris, 163 Lempp, Friedrich, Vienna, 132–133 Lindemann, Gottlieb, Leipzig, 151 Lisin, Michael, Moscow, 165 Lot, Gilles, Paris, 99, 105–106 Lotz, Theodor, Vienna, 96, 101–102, 106–110, 114, 122, 124, 125n126, 129–134, 153, 167 Mayrhofer, Anton and Michael, Passau, 101–102, 107, 110, 116–120, 126, 137–138, 171n7 Merklein, Johann Baptist, Vienna, 153, 167 Miraz, Ignazio, Udine, 101, 164 Mollenhauer, Johann Andreas, Fulda, 104, 147, 167 Ottensteiner, Georg, Munich, 104, 167 Otto, Johann Georg, Neukirchen, 126 Pask, John, London, 104 Peuckert, Friedrich August, Breslau, 142 Pfaff, Johannes, Kaiserlautern, 148 Piering, Adam Friedrich, Berlin, 144 Piering & Poehla, Berlin, 148 Porthaux, Dominique Antony, Paris, 104, 138–139 Riedl, Ignaz Josef, Graslitz, 136 Roedel, Johannes Josef, Bremen, 150

452

Index of Instrument Makers and Dealers

Basset horn (continued) Rorarius, Augustin, Vienna, 157 Rudhard, Johann Baptist, Stuttgart, 147–148, 167 SS, Vienna (?), 116 Schauﬂer, Carl August, Stuttgart, 146 Scheilly, Michael, Ofen, 163 Schicker, Johann Christoph, Germany, 128 Schintler, Antoni (Anonius Schindler), Vienna, 117 Schlott, Balthasar Melchior, Berlin, 150 Schmidt, Bayreuth, 149 Schölnast, Franz, Pressburg, 103, 157–158, 167 Schott, Bernhard, ﬁls, Mainz, 147 Schürer, Rotenthal, 149 Schuster, Christian Gottfried, Neukirchen, 141 Seidel, Josef Franz, Mainz, 94, 151–152, 167 Singer, Carlsruhe, 152–153 Skorra, Carl Eduard Simon, Berlin, 94, 151, 167 Skousboe, Henning Andersen, Copenhagen, 166 Söderberg, Hans Pehrsson, Västerås, 166 Stengel, Johann Samuel, Bayreuth, 94, 143, 167 Stengel, Johann Simon, Bayreuth, 94, 104, 143–144, 167 Stiegler, Max, Munich, 144 Stinglwagners, Trifern, 117–118 Streitwolf, Johann Heinrich Gottlieb, Göttingen, 100, 103, 149–150, 167 Strobach, Franz, Carlsbad, 103, 158–159, 167 Thomae, Johann Carl, Markt-Redwitz, 101, 147 Truška, Simon Joseph, Prague, 158 Uhlmann, Johann Tobias, Vienna, 156 Uhlmann, Leopold, Vienna, 156, 167 Uhlmann & Söhne, Vienna, 104, 156 Uhlrich, G. M., Leipzig, Unglerth, Simon, Laibach, 166 Werner, C., Leipzig, 149 Widmann, Josef Ignaz, Freiburg im Breisgau, 104, 151 Winckler, Johann Gottlieb II, Leipzig, 149n365 Wood & Ivy, London, 162

Zencker, Gottlieb Ludwig, Adorf, 151 Ziegler, Johann Joseph, Senior, Vienna, 94, 103, 140, 157, 167 Clarinet Amlingue, Michel, Paris, 55 Baumann, Jean Jacques, Paris, 54n219 Bouchmann, Annonay, 61 Buffet, Louis Auguste, Paris, 53 Coselschi, Siena, 21n51 Cramer, John, London, 47 Cramer & Key, London, 48 Frölich, Georg, Dettelbach, 42 Frölich, Johann, Dettelbach, 42 Geist, Johann Gottfried, Paris, 40 Glover, I. E., Boston, 267–268 Grenser, August, Dresden, 41 Griessling & Schlot, Berlin, 24, 141 Kenigsperger (Königsberger), Johann Wolfgang, Roding, 28 Key, Thomas, London, 47 Lot, Gilles, Paris, 99, 105 Merklein, Johann Baptist, Vienna, 23 Miller, George, London, 47 Piatet & Benoit, Lyon, 67 Proff, Jean Chrestien, Tours, 38 Riley, Edward, New York, 267 Rottenburgh, Godfridus Adrianus, Brussels, 35 Rudall, Rose & Co., London, 51 Stümpel, Minden, 275 Sutter, Appenzell, 49n200 Theodore, Paris (?), 40n158 Tietzel, Johann Burghart, Bremen, 72 Tölcke, Heinrich Carl, Braunschweig, 38 Vinatieri & Castlas, Torino, 54 Weisse, Johann Wendelinus, Berlin, 61 Wood, George F., London, 162 Clarinet d’amour Anonymous (four-key), 71 Anonymous (ﬁve-key), 71 Castlas (Castellazzo), Turin, 21, 54 Cerino, Simone, Turin, 54 Collin, Claude Hippolyte, Paris, 47 Cramer & Son, London, 47–49, 93 Deginan (Deginant), Ghent, 44Dotzell, southern Germany (?), 12n12, 13n17, 21n49, 29–30, 32, 34, Franco, Italy or Germany (?), 21, 60–61

Index of Instrument Makers and Dealers Frölich. Simon, Dettelbach, 42 Gehrings, Leipzig, 41 Heckel, Johann Adam, Bieberich, 66, IF, Germany (?), 39–40 IP, Germany (?), 32–33 Italian makers, 20–21 Jeantet, Lyon, 50–51 Königsberger, Franz, Roding, 40–41 Kraus, southern Germany (?), 12, 93 Lancé (Lanca), Turin, 55–56 Lesti, Ancona, 21, 61 Löhner (Lehner), Friedrich I, Nuremberg, 38–39 Piana, Pietro Antonio, Milan, 21, 57 Raingo, Nicolas-Marcel, Mons, 36, 47, 70–71 Rockobauer, Mathias, Vienna, 12, 35 Rottenburgh, Franciscus, Brussels, 35–36, 70 Schlegel, Jeremias, Basel, 15–16, 27, 36–38, 41, 93 Scholl, Franz, Vienna, 12, 27, 45–46

453

Schürer, Rottenthal, 71 Stinglwagners, Triftern, 12, 29, 33–35, 39–40, 93 Tuerlinckx, Malines, 43, 70 Tuerlinckx workshop, Malines, 27, Venera, Turin, 21, 55 Walch, Georg, Berchtesgaden, 28–29 Contra Alto Clarinet Sax, Adolphe, Paris, 6, 325, 332–337 Streitwolf, Johann Heinrich Gottlieb, Göttingen, 325–328 Contra Bass Clarinet Brod, Paris, 328 Dumas, Paris, 325–326 Kruspe, Franz Carl, Leipzig, 6, 336–337 Müller, Louis, Lyon, 337–338 Skorra, Eduard and Wieprecht, Wilhelm, Berlin, 6, 65, 328–332 G clarinet Boileau, Paris, 22

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General Index

Addison, Richard, 7 Ahl, 340 Albertazzi, Emma, 245 Albrechtsberger, Johann Georg, 99, 109–110 Altenburg, Wilhelm, 333 Alto clarinet alto clef, 22, 84 barrel, 10, 11 bassoon-shaped, 49–50 bell, 10–11 body, 11 Boehm-system, 69n299 brass, 68 crook, 11 vent holes in, 55 depiction, 19 design features of, 11 dissemination of, 93 ferrules, 11 ﬁngering chart, 50 history and documentation, 11–22 infantry regiment bands, 62, 88–89 keys, 11, 30–31, 51 Müller design, 51, 63, 66, 87 pillar mounted, 63–64, 66–68 ring, 51–53, 64, 67 rollers on, 51–53 mouthpiece, 11, 40n158, 51, 53, 58, 62, 67 ligature, 50 mouthpiece (reed) position, 53 Müllersche Bassethorn, 23, 28, 85 music wind band music, 82–84, 87, 89 Ophicleide-shaped, 64–65 pitch nominal, 9–10, 45, 60, 66 sounding, 30, 40 Quartet (anonymous), 85–87

Regensburg court inventory, 18, 75, 110 Schollbass, 45–46 terminology, 24 thumb rest, 49, 52–53, 58, 63, 65, 67–68 tone quality, 12 Anonymous, Double Concerto for two G clarinets, 77–79 Andrássy, Count Georg, 131 Antolini, Francesco, 110n74, 251 Bach, Johann Christian, 97 Lucio Silla, 171–172 marches for the Queen’s Dragoons, 89–90 Temistocle, 171–172, 200 Backofen, Johann Georg Heinrich, 208, 211 Anweisung zur Klarinette (ca. 1803), 21, 111–114 Anweisung zur Clarinette (1824), 22, 115 Concertante pour harpe et cor de bassette, 223 Concerto in F for basset horn, 204, 208–209 Kurze Abhandlung über das Bassetthorn, 115 Quintetto for basset horn and strings, 100, 170n3, 223–224, 242 Scala für Bassethorn, 114 Variazioni per il Corno di Bassetto, 209–210, 243 Baines, Anthony, 161, 277 Balfe, Michael, 3, 194 The Daughter of St. Mark, 367–368 “The Heart Bowed Down” in The Bohemian Girl, 170–171, 194–199, 246, 367 Bär, Frank, 32–33, 38, 124, 144, 171n7 Bärmann (Baermann), Carl, 3, 170, 224–227, 288–289, 351 Bärmann (Baermann), Heinrich, 3, 87, 170, 211, 224–226

455

456

General Index

Bass clarinet body design and construction, 249–250 Leather covered, 252, 254–255 body shapes basset horn, 254–257 bassoon, 257–283, 310–314 Ophicleide, 252, 314–322 prototype or plank, 252–253 serpent, 283–286 straight or clarinet, 286–309 straight with butt joint, 309 bore, 249–250, 256, 265–267, 272, 277, 288–289, 292, 304, 308, 318–319, 321 clarinetists Ahl, 340 Deichert, Wilhelm, 340 Hebestreit, 341 composers Balfe, 367–368 Berlioz, 359–363 David, 377–378 Donizetti, 364–365 Limnander de Nieuwenhove, 373–374 Liszt, 370–371 Mercadante, 342–352 Meyerbeer, 346–356 Neukomm, 356–359 Saint-Saëns, 374–377 Smetana, 378 Verdi, 366–367 Viviani, 371–377 Wagner, 368–369 deﬁnition, 249 early developments, 249–250 ﬁngerings and ﬁngering chart, 272–276 keys, 252–253, 255, 259–260, 263, 265, 267, 268–269, 271–275, 279, 283, 288–289, 294, 296, 306–307, 314–317, 321 pillar-mounted, 268, 271, 275, 279, 283, 288–289, 292, 294, 296, 306–307, 314–317, 321 rollers on, 289, 314, 318–320 mouthpiece, 249, 253, 258, 262, 265–266, 269–271, 283, 292–293, 304, 309, 315, 316–317, 319 mouthpiece (reed) position, 264 music band (wind), 378, 382–384 notation, 341

opera and stage works, 342–378 wind band, 378–384 pitch, nominal, 249, 251, 253–254, 258–260, 265, 268, 270, 274, 275, 277, 284, 288, 293–296, 298, 311–314, 315, 318, 321, 322 on sheet music covers, 268 terminology, 250–252 thumb rest, 293, 304, 320 Basset clarinet, AS, 72 Basset horn barrel, 119 basset keys (extension) to C, 95–96, 102–103, 131 basset keys (extension) to BB, 103, 154n405 bell, 96, 101, 114, 140 resonance hole in, 118, 140, 145, 147, 154, 154n402, 158–159, 164, 185 body design and construction, 96, 101, 114, 140 leather covered, 100–102, 107–108, 115–119, 131n216, 137–139 bore, 96, 120 box (Buch or Kasten), 95–96, 101 chimney on, 119 hole in, 138–139 documentation, 104–110 double holes, 116–117, 119, 121, 139, 142 earliest, 96, 115–117 1830s through 1850s, 245–247 eighteenth-century makers, 115–140 Austria, 129–135 Czech Republic (Bohemia), 135–136 France, 136–139 Germany, 117–129 Poland, 140 ﬁngerings and ﬁngering chart, 111–113 in India, 245 instructional materials, 111–115 key head covers, 125, 125n162, 132, 138, 140, 165 keys pewter plug, 158 rollers on, 150–151, 157, 161, 165 knee, 101–102, 108, 124, 131 mezzo soprano clef in music, 215 mouthpiece, 96, 107–108, 116, 122–123, 125, 127–128, 132, 134, 138, 153n396, 159, 161

General Index mouthpiece (reed) placement, 113–114 music chamber, 211–217 concertos, 204–211 duets, 212–217 opera, sacred, and stage works, 171–197 orchestral, 197–204 trios, quartets, quintets, and sextets, 217–226 wind band, 226–237 nineteenth-century makers, 140–166 Austria, 153–157 Czech Republic (Bohemia), 158–160 Denmark, 164–165 England, 160–163 France, 163 Germany, 141–153 Hungary, 163 Italy, 163–164 Netherlands, 165 Poland, 165 Russia, 165 Slovakia, 157–158 Slovenia, 166 Sweden, 166 Switzerland, 166 Oehler system, 104 organ stop as, 247 origins and history, 100–104 pitch nominal, 95, 101 sounding, 98 Prince of Hardenberg on the, 97 Regensburg court inventory, 18, 75, 110 terminology, 96–100 thumb rest, 146, 148, 158, 165 tuning using wax, 112 virtuosi and concert appearances, 237–247 walking-stick, 103 water key, 112 wind band music, 226–233 Batthyány, Joseph von, 129–130 Batyphon, 65 Beecké, Ignaz von, 99 Beer, Josef, 205, 239 Beerhalter, Aloys, 211 Divertisement for basset horn and piano, 216–217

457

Thema und Variationen for basset horn and piano, 217 Variationen über ein deutsches Volkslied für Corno di Bassetto und Pianoforte, 217 Beethoven, Ludwig van, 3, 185–188 The Creatures of Prometheus (Die Geschöpfe des Prometheus), 170, 185–187, 248 Marsch für die böhmische Landwehr (March for the Bohemian Army), 232–233 Bellini, Fermo, 100 Berlioz, Hector, 6, 300, 305, 331, 341, 348, 350n39, 351n41, 359–363 Benvenuto Cellini, 360, 379 Chant Sacré, 361–362, 379 Le Damnation de Faust, 361, 380 Grande Symphonie Funèbre et Triomphale, 302, 360–363, 379 Grand traité d’instrumentation et d’orchestration modernes, 26, 293 Te Deum, 363, 380 Berr, Frédéric, 25, 84 Bicžisstie (Bicˇíte), Joseph, 237n327 Bimbonclaro, 252, 317–318, 333, 371–373 Birsak, Kurt, 7, 28, 80 Boscari, 23 Brahms, Johannes, 246 Brockhaus, Friedrich Arnold, 100 Burney, Charles, 227 Busby, Thomas, 19 Buteux, Claude-François, 287n177, 301 Camporese, Violante, 244 Carafa, Michele, 243, 300, 302–303 Castejon, Phillipe, 85 Castillon, Frédéric Adolphe Maximilian Gustav de, 17n30 Suite du recueil de planches, 38 Supplément à l’Encyclopédie, 38 Choron & La Fage, 25 Clarin basso, 251, 278, 345n25 Clarinet d’amour barrel, 11, 33 bell, 10–11, 29 body, 11, 29–30 crook, 11, 29 design features of, 11

458

General Index

Clarinet d’amour (continued) double hole, 41 ferrules, 11 history and documentation, 11–27 keys, 11, 29, 31, 33–35, 37–38 Liebefuß, 11n9 mouthpiece, 11, 17, 21, 28, 33–34, 37–39, 48–49, 70 curved (duck-bill or concave proﬁle), 29, 32, 34 music for A-ﬂat, 73, 90–92 music for B-ﬂat, 89–90 music chamber, 79–81 concertos, 77–79 opera, sacred and orchestral, 73–77, 90–92 wind band music, 82–84, 89–90 pitch nominal, 10, 38, 41, 61 sounding, 31–32 porcelain ﬁgures, 17 Regensburg court inventory, 17–18, 75, 110 small-size, 36, 47, 69–71 terminology, 27–28 thumb rest, 61 tone quality, 12 Clarinette alto, 28 Clarinetto dolce, 20, 27, 76, 90–91, 100 Clarinetto viola, 28 Clariofon, 252, 282, 319 Clarone, 28 Conservatoire Impérial de Musique et de Declamation, 23–24, 28 Contra bass clarinet, 6 bore, 324, 326, 329, 331, 336 music, 384–385 terminology, 325 Contra alto clarinet, 6, 326–328, 332–337, 385 bore, 324 keys, 328–330, 333, 336, 338 pillar-mounted, 331 mouthpiece, 326–327, 329, 333–336, 338 music, 385–386 Copenhagen court orchestra, 170, 183n69 inventory, 15, 41 Cramer, Carl Friedrich, 106–107, 109, 130, 206, 239

Croes, Henri Joseph de, 80 partia, 80 Czerný, Kasper, 238, 247 Dacosta, Isaac Franco, 3, 69, 263, 287–289, 299, 301, 328, 347–348, 351, 355–356 Danzi, Franz Ignaz, 5, 211–214 Grande Sonate pour Piano-Forté & Cor de Bassette, 211–214 David, Anton, 106–107, 203–204, 206, 218–219, 228, 239–241, 247 David, Félicien, 377–378 Herculanum, 377–378, 381 Deichert, Wilhelm, 340 De Keyser, Ignace, 295 Demus, Dietrich, 8, 18, 95 Deutsche encyclopädie, 19, 97–98 Douce Clarinet, 15, 21, 27 Donizetti, Giuseppe, 25, 27, 364–365 Dom Sébastien, roi de Portugal, 364–365 Maria di Rudenz, 364 Druschetzky, Georg, 199–200, 211 Concerto in D for three basset horns, 204, 207 Concerto in G, 207 Partitas, 232 Quartet for basset horn, violin, viola, and cello, 222–223 Rondo, Fresco Ungaria, 232 Symphony in G, 200 Trios for three basset horns, 222 Dullat, Günter, 7 Duprez, Edouard, 295, 301–302, 355, 360, 362, 382 Dušek (Duschek), Josepha, 175 Dworschack (Dvorˇák), Franz, 206, 239–241, 247 Edge, Dexter, 175 Egerton, William, 226n277, 246 Einstein, Alfred, 174, 217–218 Eisen, Cliff, 174, 206 Eliason, Robert, 265–267 Engel, Engelhard, 18n36 English horn, 13 Eppelsheim, Jürgen, 7 Eybler, Joseph, 176 Fauconnier, Benoît Elegie for voice and bass clarinet, 357n73

General Index Federici, Piera, 7, 221n255, 232 Fétis, François-Joseph, 25, 58, 251, 262–263, 272–273, 287n176, 288, 290, 299–300, 319, 327, 332, 335, 348, 373, 377 Finkelman, Michael, 257n38 Flothius, Marius, 221 Forkel, Johann Nicolaus, 107, 250, 257 Francoeur, Louis-Joseph, Diapason générale, 15, 17, 82, 84 Friebert, Johann Joseph Der Serail (lost opera), 171n7 Friedlowsky, Joseph, 213 Fröhlich (Froehlich), Joseph, 21, 114–115 Gassner, Ferdinand Simon, 88, 234 G clarinet, 27–28 Gerber, Ernst Ludwig, 108–109 Gleich, Ferdinand, 236–237 Glicibarifono (polifono, contro clarinetto, glicibarisofono), 251, 275–280, 282, 342–346, 364, 382 Glöggl, Franz Xaver, 101, 238 Gluck Christoph Willibald Ritter von, 76 Orphée et Eurydice, 76 Gossec, François-Joseph, 73 Messe des morts, 27, 72–76 Missa pro defunctis, 27, 72–75 Gotha Court orchestra, 13–14 Grass, Thomas, 7, 95 Griesbacher, Anton (as a musician), 219, 222 Greisbacher, Raymund, 219, 222 Gugliemi, Pietro Alessandro, 75 Enea e Lavinia, 75 Guillaud, Mons., 246 Hartmann, Johann Ernst, 181–182 Balders død, 182 Den blinde i Palmyra, 182 Fiskerne, 182 Hyrdinden paa Alperne, 182 Hartmann, Johann Peter Emilius, 183n69 Hattenbauer, Wilhelm, 75 Haydn, Michael, 79–80 12 Minuets, 80 Haynes, Bruce, 98 Hebestreit, 341 Hensel (Mendelssohn), Fanny, 193 Hermstedt, Johann Simon, 85–87 Heyde, Herbert, 32, 65, 155, 227 Hoeprich, Eric, 6–7, 131–132, 134, 260

459

Hoffmann, Ernst Theodor Amadeus, 189 Aurora, 189 Fantasiestücke in Callots Manier, 189–190 Das Kreuz an der Ostsee, 189 Lebens-Ansichten des Katers Murr, 190 Hoffmeister, Franz Anton Quintet for basset horn, ﬂute, oboe, viola, and bassoon, 211, 224 Hogarth, George, 180–181, 244–245 Holbrooke, Joseph Les hommages, Symphony no. 1, 94n388 Apollo and the seaman: An illuminated symphony, 94n388 The wild fowl: Fantasie from the children of Don, 94n388 Holler, Georg, 200 Serenata in C, 200–203 Holzbauer, Ignaz La Betulia Liberata, 97, 171–174, 200 Horàk, Josef, 6 Jeltsch, Jean, 15n28, 40, 105n63, 138 Jullien, Adolphe, 63, 195n124, 246, 352, 353n45 Kalina, David, 7, 253, 260, 264, 311 Kalkbrenner, August, 237 Kalker, Johan von, 111 Kastner, Georges, 171, 302 Beatrice, 193 Manuel général de musique militaire, 26, 291, 296, 299–300, 303, 331, 333, 382 Supplément au Cours d’instrumentation, 193 Supplément au Traité genéale d’instrumentation, 278, 293, 300, 325, 327–328, 333 Traité genérale d’instrumentation, 26, 100, 32, 194 Keyed trumpet, 20n46 Kinsky-Poniatowsky, Theresia Princess, 238 Kirrstein, 238 Kne˘žek, Václav, 77 double concertos for two G clarinets, 77, 93n387 Parthias, 81 Knittel, Margareta, 242–243n369 Koch, Heinrich Christoph, 110 Königsberger, Johann Andreas, 29 Krejcˇí, Jirˇí, 31 Kroll, Oskar, 7, 172, 332

460

General Index

Küffner, Quintet for basset horn, ﬂute, clarinet, horn, and bassoon, 242 Kuhlau, Mr., 245 Kunzen, Friedrich Ludwig Aemilius, 183n69 Laborde, Jean Benjamin de, 17 Lange, Aloysia Madame, 242 Langwill, Lyndesay, 95 Lazarus, Henry, 69n300, 104n54, 161, 226n277 Leeson, Daniel, 218 Lefﬂer, James Henry, 179 Lichtenthal, Pietro, 100 Limnander de Nieuwenhove, Baron Armand Marie Ghislain Le maître chanteur, 373–374, 380 Lindpaintner, Peter Joseph von, 217 Liszt, Franz, 370–371 Ce qu-on entend sur la montagne, 370, 380 Mazeppa, symphonic poem after V. Hugo, 370–371, 380 Eine Symphonie zu Dantes Divina Commedia, 371–372, 381 Tasso, Lamento e Trionfo, 370, 380 use of A bass clarinet, 370–371 London, Prince Regent’s Band, 235–236 Löwenhielm, Count Carl Gustaf, 155n410, 170n3 Lotz, Theodor (as a musician), 204, 218, 219 Macartney, Lord George, 227 MacGillivray, James A., 59n249 Meckelenburg-Schwerin Court orchestra, 88 Magistrelli, Luigi, 213 Mahillon, Victor-Charles, 252 Mahmud II, 25, 27 Mahon, John, basset horn played by, 99–100, 241–242, 247 A New and Complete Preceptor, 111–112, 212 Malibran, Maria, 244 Mandel, Charles, A treatise on the instrumentation of military bands, 26–27, 236 Mantzaros, Nikolaos Halikiopoulous, 190 “Se, ti credo amato bene,” 190–191 Martin i Soler, Vicente, 229 Divertimento, 229–231

Marx, Adolf Bernhard, 192 Die Lehre von der musikalischen Komposition, 26, 85 Masonic lodges, 130, 174, 201–204, 217–222, 240 Massenet, Jules Le Cid, 94 Matauschek (Mathausheck), Johann, 238, 247 Maunder, Richard, 172 Maycock, John Henry, 3, 170, 195–196, 226n277, 246, 248, 352, 367–368 Maynard, William, 50 Mayr, Simon Johann, 27, 76, 191 Domine Deus, 191 Fioretti pel piano forte e corno bassetto, 216n213 Gloria Patri, 90–92 Gran messa di requiem, 191n99 Lamentazione Terza, 76–77 Qui Sedes, 76–77 Sacriﬁcium, 76–77 “Trattatello sopra agli stromenti ed istromentazione”, 20n47 Meerti (Blaes), Elisa, 245 Melville-Mason, Graham, 7, 95, 213 Mendelssohn, Felix, 3, 191–192, 211 conducting score of St. Matthew Passion (J. S. Bach) by, 192–193 Nocturno, 235 Trauermarsch, 235 Zwei Concertstücke (Two Concert Pieces) for clarinet, basset horn, and piano, 170, 224–226, 248 Mercadante, Saverio, 342–346 Le due illustri rivali, 345 Emma d’Antiochia, 7, 251, 276, 279, 339, 341–353, 364, 372, 379 La solitaria delle Asturie, 345–346, 379 Meusel, Johann Georg, 107 Meyerbeer, Giacomo, 88, 184, 224, 234, 243, 300 Ein Feldlager in Schlesien, 354, 379 Les Huguenots, 287–289, 339, 346–353, 379 Pardon de Ploërmel, 355–356, 381 Le Prophète, 354–355, 380 Michel, Méthode de clarinette, 19–20 Mosewius, Johann Theodor, 103 Mozart, Constanze, 176, 179n35, 185 Mozart, Leopold, 97n6, 104

General Index Mozart, Wolfgang Amadeus, 3, 171 Adagio in B K484a, 217–218 Adagio in F K484d, 218 Adagio in F K94/580a, 218, 220 “Al desio, di chi t’adora” in Le Nozze di Figaro K492, 99, 169, 174–175, 242, 245–246 Allegro in F KA90/580b, 220 Allegro in F KA93/484c, 220 Allegro in F K484e, 221 Allegro assai in B KA95/484b, 219, 240 Concerto for basset horn K621b, 204, 206–207 Duets K41b, 97, 104, 212 Die Entführung aus dem Serail K384, 174 Maurerische Trauermusik K479a, 99, 130, 201–204, 218, 240 Quintet in B KA54/452a, 219 “Non più di ﬁore” in La Clemenza di Tito K621, 5, 22, 169, 174–178, 223, 237, 242–245, 248 Requiem, K626, 5, 22, 176–181, 185, 237, 248 Serenade K371, 5, 103, 131, 227–231, 237, 240 Six Notturni K436, 437, 438, 439, 439a, 549, 5,103, 218–219, 248 Twelve Duets for 2 Horns K487/496a, 212 Die Zauberﬂöte K620, 169, 174–175, 185, 237, 242 Müller, Carl, 19 Müller, Iwan, 4–5, 22–25, 28, 84, 93–94, 168, 251, 287n176, 306 Altklarinette, 28 alto clarinet, 23 Alto-Klarinette, 28 Anweisung, 53 concerto, 23 concerts, 24–25, 28, 88 Méthode, 28, 53, 84 Tre Fantasi per clarinetto, 84 Variations sur l’Air, 84 Müller, Louis bass clarinet patent, 280–281 contra bass clarinet patent, 337–338 Münster, Robert, 225 Munro, Robert, 179 Nassau-Weilburg court, 98–99 Neukomm, Sigismund von, 356

461

“Make haste, O God, to deliver me,” 3, 251, 339, 341, 356–359, 379 Newhill, John, 7, 85, 168, 207, 209–210, 223, 232 Novello, Clara, 244 Nudera, Adalbert Vojte˘ch, 221n253 Oboe, 14, 19, 28, 31, 36, 38, 40, 47, 63, 67 Gehring, Leipzig, 41n164 Oboe d’amour, 13–14, 30 Bauer, Leipzig, 13n14 Oboe da caccia, 31 Eichentopf, Leipzig, Oliva, Franz, 238, 247 Ott, Phillip, 242, 248 Ott-Imhof, Conrad, 242, 248 Pacini, Giovanni, I crociati a Tolemaide, 215–216 Page, Janet K., 175 Petit, Pierre, 23 Pleidinger, Johann Paul, 117 Porteous, Richard, 26 Composer’s Musical Atlas, 235 Principes de clarinette, 15–17 Prussia, military band in, 88, 233–234, 272, 302, 331–332, 337, 385 Puddy, Keith, 6 Rauch, Albrecht, 170 Rauch, Joseph, 170 Regensburg Court inventory, 18 Rehm, Johann Georg, 19 Reinhardt, Georg, 216 Reinhardt, F., 216 Reil, Thomas, 7 Rellstab, Johann Carl, 27 Rendall, Geoffrey, 7–8, 104, 150, 297, 336, 359 Ridley, Edward Alexander Keane, 49 Riepel, Joseph, divertimento, 73n312 Rietz, Eduard, 192–193 Riotte, Philipp Jakob, 23 Rochlitz, Friedrich, 22n59, 193n111 Roeser, Valentin, 14 deﬁnition of clarinet d’amour, 15, 231n290 Essai d’instruction, 14–15 Rolla, Alessandro, 210 Concerto for basset horn, 204, 210–211

462

General Index

Rosenbaum, Joseph Carl, 187 Rosenbaum, Robert, 296n220, 328n361 Rousseau, Jean Jacques, 82 March, 82–84 Rudolph, Archduke Johann Joseph Rainer Variations in F, 211–213 Rummel, Christian, Quintet, 170n3 Saam, Josef, 7, 115, 254 Sachs, Curt, 11n9, 41, 45 Sadie, Stanley, 174, 206 Saint-Saëns, Camille, 374–377 First Symphony, 375–377, 381 Salieri, Antonio, 175, 214 Salieri, Girolamo Giuseppe Bartolomeo Andante con Variazioni for basset horn and string quartet, 211–212, 214–216 Sautermeister, François Antoine, bass clarinet patent, 263–264 Sax, Adolphe, 88, bass clarinet patent, 291–292 collection, 252n21, 257n38, 286 contra alto patent, 333–335 stamped bass clarinets, 293–295, 298 unstamped bass clarinets attributed to, 296–298 Schacht, Theodor Freiherr von, 75, 197–198 Partitta Armonica, 80 Partitta, 80 Serenata, 75 Sinfonia, 75 Sinfonia à 15 Strumenti, 199 Schalk, Franz, 243–244, 248 Schierl (Schirl), Joseph II, 17–18n34, 110 Schifferer, Iganz, 21n49 Schink, Johann Friedrich, 99 Schlotthauer, Ferdinand, 234 Schneider, Georg Abraham, 85 Concertos for basset horn [alto clarinet], 22, 85, 170n3, 233, 243 Schönfeld, Johann Ferdinand von, 100 Schöni, Andreas, 128 Schofftlmayr, Franz, Passau, 118 Schumann, Clara, 246 Schütte, Daniel, 72 Schulz, Johann Abraham Peter, 182–183 Indtoget, 183 Peters bryllup, 183 Schumann, Clara, 246

Schütte, Daniel, 72 Schwenke, Christian Friedrich Gottlieb, 179, 180n55 Shackleton, Nicholas, 7, 50, 102, 108, 111, 117, 131, 164, 254–255 Shirreff, Jane, 245 Sigal, Marlowe, 7 Smart, George, 243–244 Smetana, Bedrˇich, 378 Hakon Jarl, 378, 381 Snoeck, César Charles, 44 Sondershausen Court orchestra, 85 Soullier, Charles, 277, 315–316 Spaarnay, Harry, 6 Spohr, Louis, 21–22, 85, 171, 208, 243–244 Faust, 188n85 Spontini, Gaspare, 65, 233–234, 302, Springer, Vincent, 106–107, 110, 111n79, 203–206, 219, 228, 239–241, 247 Stadler, Anton Paul, 3, 72, 99–100, 109–110, 130–131, 134, 145, 169–170, 175–176, 179, 181, 185, 204, 207, 218–220, 221, 228, 247 Eighteen Terzetten, 211, 221–222 Stadler, Johann, 3, 99–100, 109–110, 130, 169–170, 175, 179, 188, 204, 218–220, 228 Stalder, Hans Rudolf, 7 Stamitz, Carl, 204 Concerto for basset horn, 204–206 Stamitz, Johann, Sextet, 82 Stanford, Charles Villiers, 226n277, 367n110 Stirzaker, Terence, 226 Stone, William S., 384 Streck, Peter, 237 Stumpf, Johann Christian, 175n23 Sundelin, August, 234 Süssmayr, Franz Xaver, 3, 184–185 Der Wildfang, 170, 185 Phasma, 185 Synesthesia, 189–190 Tausch, Franz, 211 Tenor clarinet, 28, 49 Tenor oboe, 13 Denner, J. C., 13n14 Tirry (Tyri), Anton, 238 Tosoroni, Antonio, 28 Traeg, Johann, 221 Tremmel, Erich, 7

General Index Triebensee, Joseph, basset horn concerto, 243 Troyer, Count Ferdinand, 213 Tyler, George, 246 Valentin (Valenti), Leopold, 99, 104–105, 204–205, 237, 247 Van Aerde, Raymond, 44 Vanderhagen, Amand, Nouvelle méthode de clarinette divisée, 17 Van der, Meer, John Henry, 7 Variationen für Bassethorn und Clarinette d’amour, 19 Vauxhall Gardens, 206, 240–241 Verdi, Giuseppe, 366–367 Ernani, 366, 380 Macbeth, 366 Vessella, Alessandro, 170n3, 385 Vinitzki, Leopold, 76 Viviani, Luigi Maria, 371–373 Il Fausto, 372–377, 380 Messa di Requiem, 372n134 “Preces meae,” 372n134 Vogler, Georg, 98, 183–184 Hermann von Unna, 184 Samori, 194 Wack, Wolfgang, 18n35, 110 Waddell, “Facheltanz for H.R.H. the Princess Royall’s Marriage,” 89

463

Wagner, Richard, 368–369 Lohengrin, 368–369, 380 Tristan und Isolde, 369, 381 use of A bass clarinet, 310, 324, 368–369 Ward, Martha Kingdon, 181 Watel, Denis, 7, 63 Waterhouse, William, 7, 95, 261 Weber, Carl Maria, 188 Peter Schmoll und seine Nachbarn, 188 Weber, Gottfried, 25, 100 Weber, Rainer, 32, 125 Weston, Pamela, 8, 217, 243, 359 Weyse, Christoph Ernst Friedrich, 183n69 Whiteley, William, The instrumental preceptor, 88n373 Wieprecht, Wilhelm, 6, 65, 302–303, 321, 325, 328–332, 336–338, 385 Wilby, Philip, 220 Wilke, Johann Georg Leberecht, 99, 107–108 Williams, Joseph, 245, 248 Willman, Thomas Lyndsay, 3, 100, 180n56, 195n124, 244–245, 248, 251, 275, 356–357, 359n74 Wolf, Georg Friedrich, 99 Young, Phillip T., 7, 123, 252, 256–257, 320 Zaslaw, Neal, 218 Zelter, Carl Friedrich, 191–193 Zinzendorf, Count Karl, 231n291