Classical Clarinet Technique: Documentary Approaches Author(s): David Charlton Source: Early Music, Vol. 16, No. 3 (Aug.

, 1988), pp. 396-406 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3127293 . Accessed: 20/09/2013 22:09
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David Charlton
Classical clarinet

technique: documentary

approaches

1 Engravingof a clarinettist, from The Clarinet Instructor(c.1780), published by Longman & Broderip

The clarinet tutors published in the late 18th and early 19th centuries contain many details of technique that arerelevantto present-dayplayers.This article aims to offer some new considerations for practical use; its title is intended to reflect the mainly literarynature of the exercise. A chronological list of source material, which is mainly of French or German origin (the English tutors and newspaper reports are generally ratheruninformative),is included at the end. It offers certain new datings which modify those in Warner's perenially useful An Annotated of WoodBibliography wind Instruction Books,1600-1830.1
396 EARLY MUSIC AUGUST 1988

1 The French tradition as it was perceived Reed-below clarinet technique was not officially recognized at the Paris Conservatoireuntil Friedrich (Frederic)Berr(1794-1838) became unsalaried titular professorthere in 1831.2A resident of Paristhroughout his working life, Berr was nevertheless born in Mannheim and trained in Frankenthal,and thereby appeared to be an example of the victory of German over Frenchtechnique. His two clarinet methods, both of which appeared in 1836, constitute important documents for the French performance tradition;3 other published sources also attest to its nature.

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butthevolumeand The first generation of clarinettiststo arrivein Paris, soundsfromits upperandmiddle range; withtherestthat of thelowsoundsareso ill-matched around 1748, comprised Gaspard Proksch, Flieger, quality from a kind of issued different one would think they Schenker and Louis. The first pair became especially instrument. active in orchestral work.4They did not perform as soloists at the Concert Spirituel, as far as is known: Accordingto a rareobjective description, Michel Yost that distinction went to Joseph Beer (1744-1812);5 also displayed not dissimilar qualities. and it is with him that later perceptions of a tradition M. Michel... a diploye de la force,de l'aisance,des sons trisbegan. Originallya trumpeterin Bohemia, Beer settled agreables . . . in Paris after 1763, and subsequently took up the M. Michel . . exhibited strength, facility, very pleasant clarinet. sounds ... de le Concerto se il a 30 ans dans Le l er Virtuose qui distingua y Against the background of a style perhaps notable Baur; il joiioit touttesortede Clarinette nommd fut un Allemand for strength and agility as for tone (one can be equally surla Clarinette en Ut,ce quimeportea croire quecelleen no more musique specific) was heard the playing of a presumed a cet Artiste.. .6 Si Bemolest d'invention postirieure Teutonic visitor named Wachter. Wachter remains a The first virtuoso who became famous 30 years ago in shadowy figure: he appeared in seven concerts he playedall named wasa German clarinet concertos Bauer; between 1782 and 1790, and only Gerber'sdictionary whichleadsme to believe kindsof musicon the C clarinet, notices him.12 But he was picked out for special that the one in B flat was inventedafterhis time ... mention straight away. In 1786 two reviews of I know of no other evidence concerning precisely the Christmasconcerts described certain striking effects size of clarinet supposedly used by any named which, by implication,were admirableand uncommon. performerin 18th-century France. est d'uneforce& d'unebeautd Leson qu'iltirede cet Instrument Beer played solos in at least 26 concerts given in a une avec infinimentd'exvolubilit6 grande surprenantes. II Paris between Christmas Eve 1771 and 1 November l'art avec il nuancesonjeu,& Ona sur-tout lequel pression. admird 1779; he then left France to embark on a wider la manieredont il enfle & digradeles sons. 3 European career.7Press reports of his early concerto Thesoundhe drawsfromthis instrument has a surprising tend towards epithets such as 'brillante' ]performances strength and beauty. He combines great fluency with and 'precise', when not preferringimponderables like immenseexpression. One aboveall admired the skill with 'soul and taste'. One critic made veiled allusion to whichhe nuancedhis playing,andthe wayhe swelledand Beer's ostentation in cadenzas: 'let a clarinettist keep shadedoff the sounds. up a cadenza for 160 seconds ...', though the context The second review is particularlyimportantfor its use suggests this was an exaggeration.8 of the simile of a glass harmonica. This is firstly Soloists at the Concerts Spirituels later included because it provides an objective measure of Wachter's Rath6(soloist 1777-82), Michel Yost (ibid 1781-6), E. exploitation of pianissimo,and secondly because the Solere (ibid 1782-90), Xavier Lefevre (ibid 1783-90) identical simile was to be used in 1808 by a German and Hostie (ibid 1787-8). Beer appears to have taught writer attemptingto characterizethe ideal qualities of the favourite, Yost, usually known simply as Michel the reed-below technique. (1754-86), who in turn taught Lef vre (1763-1829).9 Lessons tire de cet instrument souventd ceuxde ressemblent qu'il An examination of the surviving press reviews of dont ont ils la puret6 ...14 relevant concerts provides some further clues about l'harmonica The sounds he draws from this instrument often resemble solo performance. Rathe was vividly described in the those of the glass harmonica, whose puritythey have ... de France,repository of the fullest critiques. Mercure
&unegrande de t&te CetArtiste force paroitavoirune vivechaleur toutes les de poitrine.II parcourtavec une agilit6 merveilleuse ii en tire des sons fort dimensionspossibles de son instrument, &la qualitides maisle volume dans l'aigu&le mddium,; agrdables avecle reste,qu'onles croiroit sons gravessont une telledisparate sortis d'uneautreesp~ced'instrument 10 This artist appears to have intense fervour and much strength of chest. He runs over the whole compass of the instrumentwith marvellous agility and draws most pleasant runde[Ton],welcherbey derKlarinette, ... der vorziiglich sanfte, sehroftvollkommen demTone derHarmonika gleicht gutgetragen,
15

S. . that soft, round [tone], which on the clarinet, especially well played, very often resembles that of the glass harmonica

Xavier LefPwvre's playing, in the context of French tradition, was described when his brother LouisFrancois still taught at the Conservatoire:
EARLY MUSIC AUGUST 1988 397

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du c6tede la levresuperieure ... lanche tournme qui doit tredans sur les dents: et appuyde ce cas recourbie fortement c'estainsi que les frdresle Fivre,etc .. .16 jouaientMICHEL, .. . the reed turnedto the upperlip which in this case must be curved and pressed stronglyon the teeth: that is how Michel, the Lef6vre brothers, etc., played... Xavier Lefevre taught at the Conservatoire until 1824, and his famous MWthode de clarinette was both translated into German and subjected to revision by an eminent pupil, Claude-Frangois Buteux.17 The latter declared that he wished 'usefully to transmit the teaching' received from Lefevre and so providedalbeit in a historically rearguard defence action-an unusually detailed appreciation of the virtues of reedabove playing.

be influenced by Iwan MWller, inventor of the 13keyed clarinet and a virtuoso himself, and Heinrich Baermann, whose 1817-18 visit to Paris had a lasting impact. In particular, their influence coalesced in the person of Friedrich Berr, and this proved decisive. A further influence may have been Giovanni Gambaro (1785-1828), whose playing on a Mfiller instrument 'created a sensation' after he came to Paris in 1814.21 Yet Gambaro's clarinet tutor [1820] deals with the sixkeyed instrument and advocates reed-above technique. Berr's tutors provide very useful and unique

information for the Restoration period. If it is to be related to Miller's periods of residence in Paris, the must refer to following extract from Berr's1836 Traite Pamela Weston has that the only shown 1820-25; de la mobilit6 et de la ... a lavantagedefaire obtenir Ceprincipe that was in other Paris was before de nettete et de mordant dans les sensibilit6 dans I'execution, 1815, period plus MUiller danstouteletendue too early for his new instrument to have been sons detachesetgne'ralement plus de vigueur
accepted, and not a time when Berr was present. del'ecolefranfaise, Plusieurs artistes entendule cklebre apresavoir dont le talent ont la pour difficult6 n'avaitpoint dcegal, Miiller vouluchanger leurembouchure etjouerl'ancheen-dessous; mais ils ne pouvaientobtenirune qualit6de son satisfaisante,parce qu'on leur avait enseignele vicieuxsysteme de mordresur le bec.22 Several artists of the French school, having heard the famous Mfillerwhose virtuosic talent had no equal, wanted to change their embouchure and play with the reed below; but they could not obtain a satisfactorytone quality because de son ... they had been taught the incorrect method of biting into the les artistesallemandes.. . visentdunegrandedouceur dans l'6cole de M Xavier Parminous,et particulierement Lefbvre, mouthpiece. on vise a un grandson ... on ne peutjouerpiano .. .19 This habit of Miller's, wrote Berr,'existed above all in sous le poss6daitun beau son, et cela est incontestable Lefevre a bad tone quality; and harmed le son Germany', 'gave du volume: mais ce son 6taitce qu'onpeut appeler rapport of flexibility expression'. How much credence should franyais, parcequ'ilest plus puissant que moelleux.20 be lent to this last as a blanket judgment remains Germanartists ... aim for greatsweetness of sound ... Here, unclear, since Berr never worked in Germany.Fetis, especially in the school of M. XavierLefevre,one aims for a who met him in Universelle 1816, says in the Biographie large sound . . . one cannot play piano ... he had learned earlier that clarinet his during military Lefevre had a beautiful tone, unquestionably so from the it the but to bassoon after service, only going preferred point of view of volume; but this was what one might call the in This date to Paris be Berr's '1819'. may misleading: mellow. is more than Frenchtone, since it powerful was is that he there the to own evidence before year F6tis ascribed one cause of the 'French tone', as it was hear Baermann it was that therefore, It play. appears, then taught, to over-strong reeds: see section 4 below. Baermann who sowed the seeds not just of Berr's solo Felix Mendelssohn, writing to Zelter on 15 February career, and maybe his reed-below technique, but also 1832 about the Conservatoire orchestra, found clarinets of French conversion to that technique. and timpani alone a cause for complaint. en-dessousest ddmontrd de par les plus nichtangenehmen L'avantage jouerI'anche dieschreitundeinensteifen, dieersteClarinette, reconnaissent les artistes Tous habilesclarinettistes. quenullepart und Tonhat... Vortrag on ne peut obtenir les piano et les pianissimo comme en who Allemagne. The first clarinet[I. F. Dacosta,a pupil of Lefevre], en 1818 d nous a fait entendre Baermann Le celhbre shrieks and has a stiff, unpleasant delivery and tone... inconnusen Paris des sons pianissimo qui etaient tout-ai-fait The outlook of French players had already begun to France...23 This principle ... has the advantage of giving mobility and sensitivity in performance; greater clarity and bite in detached sounds and generally more strength throughout the instrument's range. The critic and historian F. J. Fetis had grown so tired of the prevailing French technique that by 1828-9 he was campaigning for its demise. Passages such as the following must therefore be regarded as propaganda, though their overall tendency is probably trustworthy. 398 EARLY MUSIC AUGUST 1988 de l'instrument 18

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of playingwiththe reedbelowis provenby Theadvantage All artistsadmitthatnowhere the most skilledclarinettists. The like Germany. can one obtain piano and pianissimo famous Baermann gave us in Paris in 1818 pianissimo soundsthat weretotallyunknownin France ... Not content just to note Baermann'svisit, the first French tutor issued thereafter (Vanderhagen,[1819]) even printed an illustration of the German's instrument.It had twelve keys and a half-inch adjustable 'pump'section within the barrelto arrestmoisture and facilitate pitch adjustment. Significantly, this tutor refrained from mentioning reed position at all; it was as though the ageing Vanderhagenrealized that Frenchplaying could never be the same again. Likewise, Mfiller [c.1821] and, Carnaud (1829) declared some impartiality in their tutors over this issue, while the former gave three reasons for preferringthe reed below. Examination of the press reports shows that Baermann played in at least six concerts: Christmas Day, 1817, then in 1818, on 29 Januaryand 3, 8, 17 and 21 March.24 Although reed position was never mentioned, the very earliest report showed in full measure an appreciation of his very unfamiliar style.
de son de son touteparticulibre tireune qualit6 Cetartiste 6tranger laisseraitpeutde son execution douceur et l'extreme instrument, de la vigueurmais, sous le rapport etrequelquechose acdesirer le critiquer.25 de est il songer difficile lorsqu'on d l'&coute, This foreign artist drawsa wholly distinctive sound from his

noting that by this stage Frenchstudents could, under Berr's guidance, readily reverse their technique: a fortnight's practice was sufficient to convert them to the Germanway.29 To bring this account full circle, it must be mentioned that Berrhimself believed he had inherited the Teutonic reed-below tradition as established by Joseph Beer:that is, after Beer had left Parisin 177980.
virtuose au serviceduRoide Prusse, JosephBEER, avaitfondevers la fin du 18esidcleune &cole de clarinette plusieurs qui a produite artistes... [y compris] Baermann.30

of Prussia, JosephBeer,a virtuosoin the serviceof the King foundeda schoolof clarinet nearthe endof the 18th playing
century that produced several artists . . . [including]

Baermann. The wordingused by Fetis in recounting Joseph Beer's 'conversion' in Brussels by one Schwartz leaves no doubt that Fetis believed it was here, c.1780, that Beer heard and adopted reed-below style.31This requires as it sounds, investigation.Nevertheless, extraordinary Beer co-founded two separate traditions, one French and one German:in Parisbefore 1780 and in Potsdam after 1792, with Tausch. The second was ultimately destined to replace the first.

2 Articulation:Reed above Contemporary documents attest three possible methods of articulation:with the chest, the throat and softnessof his playingwould the tongue. Chest articulation was briefly mentioned and the extreme instrument, to be desiredas regards energy; in Heinz Becker's wide-ranging article in 1955;32throat possiblyleave something but, on hearinghim, it is hardto thinkof beingcritical. articulation does not appear to have attracted conAnd G. L. P. Sievers in the Allgemeine musihalische spicuous published comment. Zeitungagreed, maintaining that nothing was played (i) The classical citation for chest articulation comes above mezzo-forte:'but sugar upon sugar still remains towards the end of Valentin Roeser's tutor for 'those sugar!'26 who compose for clarinet and horn'. Roeser (c.1735A decade later Fetis assumed that Lefevre and his c.1782) came from Germanyto Paris perhaps as early associates had also witnessed these revelations. as 1754, and may perhaps be identified with the player de la partde nos artistes. of the 'corno bassetto ou contre-clarinette' in the il y a de l'ent&tement Malheureusement des heureux Lenten concerts of 1774.33 et Miller; ils sont t6moins Baermann Ils ont entendu
en suivant les principesde resultatsobtenuspar M Beer de doublesCroches dansle modeparallele ne sontpoint Beaucoup [Bert], dans leurroutine et sobstinent ils allemande, ... Lariforme en usagesurla Clarinette, l'&cole attendu doitsubstituer au quela Poitrrne est urgente.27 a causedela positionde lAnchequise trouve sous coupdeLangue, Unfortunately, our artists show stubbornness. They have le Palais de la Bouche . .34 heard Baermannand Miiller;they are witnesses to the happy Manysemiquaversrepeated on one note are not used on the results obtained by M. Beer, in following the principles of clarinet, since the chest has to substitute for the tongue the German school, and they persist in their routine... stroke, owing to,the reed's position beneath the palate of the Reform is urgent. mouth ..

Berr's pupil, Klose, asserted that 'in his hands the clarinet became a new instrument',28 and it is worth

This is not isolated evidence. Also in Paris at this period was the Wiirzburgclarinettist Philipp Meissner
EARLY MUSIC AUGUST 1988 399

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(1748-1816), surely the 'Philippe' whom the same source notes as a soloist in Lent, 1774.35Meissner is the hypothetical'missing link'between documentation like Roeser's and the known practice of chest articulation, in that it is known from a later account (see below) exactly how Meissner'stechnique worked, using the reed-above position. Moreover, chest articulation certainly existed around 1800, being discussed knowledgeablyin France and Germanyjust after. Lef vre counsels avoidance of it, but in vivid terms:
Enjouantde la clarinette, defaireagirparsecousse,le ilfaut eviter auxarticulations I'air necessaire pourdonner gosierou la poitrine, ... Ceuxqui jouent de la poitrinese fatiguent beaucoupet ne dans leurjeu ...36 peuventavoird'egalit& In playing the clarinet one must avoid making the throat or

Die 2te Art,dieNotenhurz,undfest abzustossen, muss mit vieler Gleichheit werden... UmdemStossedie ndthige Kraft ausgefiihrt zu geben,muss man die Lippenetwas zusammenhalten. Second type, the notes must be performed short, pushed

andwithmuchevenness... Togivethe impulsesthe firmly, the lips mustbe somewhat held together: necessary power,

Die 3teArt,das Staccato, wirdweitgelinder dieNoten ausgeffihrt, werden nur leicht angestossen, und die Lippen nicht fester geschlossen,als bey derBindung.39 Third type, the staccato, is much more gently played, the

chest move jerkily, to provide the necessary air for articulation ... Thosewhoplayfromthe chestgetverytired and cannotplay evenly... Backofen [1803] only discusses the throat, not chest, articulation. But Joseph Froehlich (1780-1862), the distinguished Wiirzburg musician and university teacher, left a unique account, contained within his exhaustive Musikschule. 'The playing of this fine artist [Meissner] demonstrates that a lively and brilliant playing style, coupled with a full tone capable of the most delicate shadings, can result from this method.37 Although, as Becker pointed out, Froehlich's overall comparison of the tonal characteristics of reed-below and reed-above playing is self-contradictory, nevertheless his account of articulation is clear.
zu erhalten, manin dasInstrument UmdiesenVortheil ein spreche leichtesh (ha)welchesnurbey tiefern T6nen hdrter angesprochen mansich auchetwas Vorschub durch das wird,beyderenVortrage mit den Nachhelfen Lippenverschafft.38

notesonlylightlystruck, the lipsno morefirmly closedthan for the slur:

L ,
ha ha

It is striking that both the anonymous German 'M'. (1808), Froehlich and Blatt [c.1828] all seem to regard tongued articulation as inherently unsatisfactory, perhapsnot even to be used, for the reed-above player. M. inclines to the latter view since he says in passing,
das Blattauf die weicheUnterlippe zu Wdre es einmaleingefiihrt, ausserdem wie beyderFl6te, legen... wodurch jedeArtderZunge, nicht nur m6glich, sondernleicht wird...40

Were the practice of placing the reedon the soft lowerlipto

be introduced ... whereby,besides, everytype of tonguingeasy ...

as on the flute-would become not simplypossible but And Froehlich qualifies the matter:
Bey dererstenArtldsstsich die Zungenichtso genau undsicher anwenden...41

Thefirstmethod[reed-above] does not allowforthe tongue to be used preciselyand securely... Blatt [c.1828] admitted both reed positions. Albeit he was a professor at the Prague Conservatoire, his evidence lends a useful sense of proportion by wirddieersteNoteangesprochen, unddieandern mentioning two reasons why the tongue should not BeyderBindung werdendarangeschleift necessarily be used in reed-above playing:extraneous In slursthe firstnote is spoken,andthe othersslurred from noise, and lyrical style.
it:
ha

To obtainthis advantage one speaksa lighth (ha)into the more firmlyspoken only in lower notes, in instrument, whoseperformance one also gets support the help through of the lips. Froehlich's stress was on lightness; the chest should neither be heard in action, nor suffer any strain. His musical examples relevant to chest articulation are as follows:

Cette a l'avantage depouvoir [ancheau-dessous] derniremkthode le coup de langue en articulant tu ou tou, ce qui de appliquer I'autremanidrea des inconvdniens, puisqu'il en rdsulte un au son. Cependant le coupde languen'est sifflementprdjudiciable

400

EARLY MUSIC AUGUST 1988

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themoff threeby three,one mustmakethe firstfelt The latter [reed-below] method has the advantageof by a smallexpression fromthe throat, not by a smalltongue thetongue-stroke, tuortou; certain stroke.Forthe first [note],over-emphasised allowing bypronouncing by a tongue arise in applying drawbacks this to the other[reed-above] stroke,wouldpositivelysoundlike: since it producesa hissingwhichis detrimental manner, to thetone.However, the tongue-stroke is notindispensable to an instrument like the clarinet, whosetaskis to imitatethe humanvoice. UnfortunatelyBlattdid not go so far as to describe any This makes the valuable suggestion that players should mix types of articulation:Lefevre once again alternatives to tonguing. implies knowledge of throat technique while at the chest died articulation even in hard, Perhaps France:final warnings against it occur in Gambaro same time denying its utility. ceux quijouent du gosierne peuventpas executer des morceaux [1820], Vaillant [c1830] and Buteux [1836]. The first French tutor [1785] to describe the vifs, parcequ'ilsne trouventjamais dans cet organeassez de et d'agilite avec les doigts. . .45 pour &tre d'accord 'orthodox' tongued articulation was that of Amand mouvement those who who in from the throat was cannot fact trained in play Vanderhagen(1753-1822), play lively pieces, and agilityin that the Netherlands. It is tempting to speculate from the becausethey neverfind enoughrhythm evidence so far produced that players in France like organto agreewith theirfingers... and Meissner, and perhapsJoseph Beerand his The notion of a kind of coughing action, obviously ]Roeser followers, used chest articulation as a staple part of difficult to control, is borne out by Backofen, who the their reed-above technique, not least in the 1760s and next year put a useful perspective on the same 1770s. Afterall, Lefevre still knew of practitioners.To technique in not limiting it to either reed position in Froehlich,the technique was the very key to expressive particular. playing because although it was not possible to Die Klarinettisten brauchen MitteldieNotenabzustossen, dreyerley 'produceall the types of articulationthat the [tonguing die Zunge,die Lippen oderdieKehle.Die erste ist die beste. .. .Art die mit der clarinettist]is able to', the singer's art,the true goal of denn sie bindenalle Noten,eben so wie diejenigen, all instrumental performance, could still be more Kehle stossen. Fallen auch bey diesen die G(rimassen weg so habensie wiedereine andreUnannehmlichheit nehmlichdiese, closely emulated. Clarinettists use threeways of articulating notes, with the Thefirstwayis thebest... forthey[i.e. tongue,lipsorthroat. faces]slur the way he can give shade and expression to every playersusingtheirlips,who also makedreadful Andif just as do thosewhopushwiththethroat. nuance... is far simpler,moretrue, and thus the means everything, the latter do not make have another grimaces, they yet wherebya totalityof feeling maybe soulfullyexpressed. disagreeableness,namely that one hears each throat It is therefore my opinion that chest articulation, as a impulse. possible and natural adjunct to early expressive Although Vaillant [c.1830] and Buteux [1836] still technique, warrantsfurtherinvestigation. In fact some warned against throat articulation, it is preferable to evidence of the co-existence of different articulation that, with all its limitations, this played a imagine techniques can be produced. Maybe chest and minor role by 1800. But how importantmight it have tongued articulation had also co-existed. been in the Baroqueperiod, for example?When used (ii) The earliest source of information about throat with the older quasi-trumpet timbre and in simpler articulation appears to be the first of Vanderhagen's rhythms, it might well have been acceptable; the three tutors. After describing the clarinet's tonguing 'cough' would have seemed less intrusive. syllables (d and t), the author discusses their varied (iii) Of all woodwind instruments, the 18th-century application. Arriving at slurred groups of three, he flute had the most complex tonguing possibilities; the says: almost fantastic detail in J. G. Tromlitz'sAusfuihrlicher
troispartrois, pourles distinguer non ilfautfairesentirla premiere, par un petitcoupde Languemais par une petiteexpression de la und gruindlicher Unterricht (1791), chapters 8 and 9, seineArtzu schattiren, alleNuancenimAusdruche zu geben... ist weit einfacher, mehrwahr,und dahereigentliches Mittelzu der seelenvollen eines Ganzenvon Empfindungen.43 Darstellung dass manleden Stoss derKehleh6rt 46

n6cessaire pas une chose indispensablement pourun instrument gorge.Car enmarquant tropla premibre parun coupdelangue,cela comme la Clarinette,dont la tache est d'imiter la voix ressemblerait positivement : humaine.42 to mark

bears eloquent witness to that. For reed-above

EARLY MUSIC AUGUST 1988 401

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Table 1 Tongued articulation: reed above

Source Name of stroke ordinaire articule ou d6tache staccato modleux sec mo6lleux sec detache ou coupe pique Description none liaison entre toutes les notes petit repos entre chaque note very spirited and distinct manner enchaine plusieurs notes sans cependant les couler d6tache toutes n'interrompjamais le son detache les sons pincer les levres et donner le coup de langue avec force et vigueur frapper le6grementund scharf angeblasen linger gehalten [shorterthan the above] schwachen Zungenstoss ... der Ton keineswegs ganz unterbrochen Rybicki [c.1825] Ibid Ibid Mfiller [c1821] Willman [1826] Ibid doux sec sec pique staccato
v

Notation slurred dot dot

Syllable dash D T TU

Vanderhagen[1785] Ibid Complete Instuctions [c.1785] Vanderhagen[1799] Ibid Michel [c.1801] Ibid Lefevre [1802] Ibid Backofen [1803] (also applying to reedbelow playing)

/ /

'

'

TE TU T TU

TO

/ [not explained]

DI TU TI DI

legato

press the lips and tongue each note with promptitude and vigour with less force and the notes ... blown with a looser lip

and reed... mouthpiece Accordingto Backofen,this articulationwas especially hard for the beginner, as 'the tongue is greatly incommoded by the mouthpiece, which practically fills the mouth'; those using it 'often misapply their tongue, and sometimes perform gentle, singing passages roughly, through this improper use' (ibid, Le bec ne doitpas &tre la dans il autrement bouche, tropenfonce p. 12).To place this kind of observationnext to those of nuiraitau jeu de la languequi,en s'approchant du palais et en se Froehlich is to sketch a picture displaying little retirant ensuite,sert de soupapeau souffle...48 uniformity of objective or results, especially conThe mouthpieceshould not be pushed too far into the sidering that the towns of Wiirzburg(where Froelich mouth, otherwise it would prejudice the play of the tongue taught) and Niirnberg (where Backofen taught) are which, nearing the palate and drawingback again, serves as only about 50 miles distant. The latter writerdeclared a valve for the breath ... no preference for reed above or below. The following quotation provides an interesting A summary of the basic categories of tonguing is contrast: presented in Table 1; it is, of course, always necessary
402 EARLY MUSIC AUGUST 1988

clarinets, the tutors limit themselves to two categories selected from either the normal separation,the simple dot, or the dash. The slurreddot played a surprisingly small part in these sources, compared with the instructions for oboe by Garnier and Vogt.47Aside from the ambiguous Rybicki,Table 1 shows that not before Berr's teaching did it become established. Possibly the softer separationwas not used so much in a tradition that recognized 'greaterclarity and bite in detached sounds' (see Buteux in section 1). Detailed descriptions of reed-above tonguing date from rather later.

on obtientcetteactionen touchant de l'ancheaveccelle l'extrimitW de la langue,de manibre boucher entrele bec existant ac l'intervalle et lanche. . .49

this actionis achievedby touchingthe tip of the reedwith

that of the tongue, so as to block the space between

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to bear in mind the words of Vanderhagen,'Thereare still other tongue strokes, but as they can only derive from those I have spoken of, teachers will acquaint pupils with them's50 3 Articulation:Reed below As discussed in section 2(i), the writer known as M. (1808) observed that tonguing became 'not simply possible but easy' with reed below. Froehlich gave the syllable 'tu' for those using the same position, which allowed 'an advantage as regardsarticulationwith the tongue (for example, in playing rapid staccato passages); but [was] a disadvantage in so far that he cannot rapidly alternate with such equality between the high and low registers'.51 Precisely similar points were advanced by M. concerning leaps; but as he wanted to portray a simple antithesis between the shortcomings of the flashy reed-above style-as he saw it-and the virtues of the honest, Mozartendorsed reed-below style, he omitted to say that the fastest tonguing was also the prerogative of the latter.52 For the tongue had ratherfurther to travel in the reed-above style, a point that F6tis adduced in favour of the Germanic practice:
commedans la ... la languen'tant point obligeede remonter, maniere franCaise, agit bien plus librement 53 2 The EnglishclarinettistT. L Willman. A lithograph from his clarinettutor(c.1826): note the lever for rightthumb.As can be seen, Willman playedwith reed above.

... the tongue,not beingobligedto go backup, as in the Frenchstyle, acts muchmorefreely. Berr's two tutors describe the staccato (dash), the point6(dot) and the point6-lie (slurreddot). Both the last two involved holding a note until the next was was tongued in a softer articulated, but the point6-lid manner. 4 Teeth, grip, tone The evidence collected by Heinz Becker and T. Eric Hoeprich points to a general lack of teeth marksupon surviving mouthpieces of 18th-centuryclarinets, and Hoeprich concludes 'Whateverthe reed position, both the upper and lowerteeth would have been covered by the lips'; he notes the opposite prescription in Vanderhagen [1785], seen below.54 However, Becker claimed that reed-above players' upper teeth were in contact with the reed when playing.55 Neither of these conclusions seems to me to be universally correct. Certainly, the evidence points to problems in reedteeth contact for the reed-above player. Avoiding contact between reed and teeth is unanimously counselled by the French tutors, as well as Froehlich (see illus.1) and an anonymous English author writes:

'be carefull that the Teeth do not touch the Reed in blowing'.56Later sources provided reasons why this advice was necessary:
einensanftenundzartenTonzu bilden, Alleinwie ist es m6glich, Hierdurch Blattmit denZdhnen wennmandasfibrirende beriihrt? Tonheraushommen...5s mussganz unvermeidlich... einscharfer But how is it possible to form a soft, sweet tone when one touches the vibrating reed with the teeth? A piercing tone must quite inevitably result. Le contactdes dentssur lAncheproduitun sifflementqu'ilfaut soigneusement viter.58

a hissingwhich Contact of the teeth on the reed produces must be carefullyavoided. Although M. gave no other possibility than the abovementioned contact, his polemical stance once again makes for selectivity in his evidence. Touching the mouthpiece with the teeth on the oppositeside to the reed was permittedby a minorityof teachers only.
[il faut] ... appuierle bec sur les dents...59 [one must] ... rest the mouthpiece on the teeth ... EARLY MUSIC AUGUST 1988 403

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This idea was paraphrasedin Vanderhagen[1799] and in Michel [c.1801];but it was opposed by the tutors of Blasius [1796],Lefevre[1802]and all later Frenchmen. Likewise, reed-below Germanplayers could regard teeth contact as normal.
RindedesSchnabels mitdemZahnevorsichtig zu .. unddie harte beriihren ...60

accidens qu'on nomme couacs, en se servant d'anchesplus faibles.64

of themouthpiece with ... andtouchthehardsurface warily the teeth... Moreoverthere is strong evidence that Mfillergripped the mouthpiece with the teeth, and that this habit was copied to an extent in France, that is until the influence of Berrbegan to be felt.
de I'autre ont introduite qui est celle que les Allemands maniere, du c6tOde la lvre depuis peu en France,l'ancheest toumrne infirieurequi pince seule et les dents de la machoire superieure sont appuy'essur le boisdu bec,ce quidonnebeaucoup desolidit6 a l'embouchure ..
.61

in the otherway,thatwhichthe Germans introduced a short while ago in France, the reed is turnedto the side of the lowerlip,whichalonegrips,andthe upper teethleanon the wood of the mouthpiece,giving much solidity to the ... embouchure Berrclaimed that Miuller In his TraitW, and Germansin bit into the Here he provides general mouthpiece. what may be unique evidence that only by using his teeth grip could Miillermanipulatethe newly-invented keys that requiredthe right-handthumb to act. These were the c"/e flat" and the b'/ c sharp" slur keys. For Berr, whose right thumb played the traditional supporting role, these keys would have obliged him either to bite into the mouthpiece, or else supporthis instrumenton his knee to stop it from falling.62Miller regardedthe rightthumb as available for the new keys simply as a consequence of reed-below position; but the evidence of Berr and Carnaud really negates Becker's theory that all reed-below players had free use of that thumb.63 Tonal considerations will always remain imponderable, and it is beyond the scope of this article to discuss the factor of reed shape and design. Becker was surely right to stress the individuality of 18thcentury clarinet techniques; even Froehlich's careful attempts at description ran into trouble. It is essential not to be influenced by currentnational tendencies in reed design when reconstructing Classical practice; Appendix Chronological list of sources quoted they may have been precisely the opposite, and in any Asteriskedentries offer datings differing from those in Warner,An Annotated Instruction Books,1600-1830 of Woodwind Bibliography case regionaldifferencesmust have been considerable.
Il est temps .. que les ilkves apprennent d joueravecjustesse.d adoucir le et surtoutdiviterles son, respirer propos, phraser, d d d
404 EARLY MUSIC AUGUST 1988 V. Roeser, Essai d'instruction l'usagede ceux qui composent pourla clarinette et le cor (Paris, [c.1764]) Instructor (London, [c1780]) [Anon.],TheClarinet

Itis time... thatthepupils[ofthe EcoleRoyale] learn to play in tune,to breathe at the righttime,to phrase, to tone down their sound, and above all avoid accidentalsquawksby reeds. using weaker Milller [1825] also emphasized the shortcomings of the straight-filedreed, whose use distortedthe player's features through sheer effort;65 but we do not know at which school in particular(if any) his remarks were aimed. It would be quite wrong to conclude from the available evidence that there was one Frenchtradition opposed to one Germanone; an extroverted, strongtoned one as opposed to an introverted, mellifluous one. Whatmay be observed is the possible presence of the latter tendency embodied in Wachter in preRevolutionary Paris, and the widening appreciation everywherethat the clarinet should become versatile in its tone, articulation and technique. During the early Classical period, the evidence suggests diversity and change both in France and in Germany.To judge from the technique of Meissner, chest articulation appears to have been no stranger in Paris than in Wiirzburg; while Vanderhagen implies that mixed methods of articulation, including from the throat, were normal. ReadingBackofen,we may be impressed by the absence of chest articulation,as much as by the funny faces and throat sounds that were part and parcel of clarinet playing that he knew in the southeast. Scanningthe numberof Frenchtutors published, we may consider that not everyone went to the Conservatoire;the influences of Mfiller'splaying (as well as his instruments),of Baermann'sand of Berr's, form the most significant counterbalance to that of Lef vre ('morepowerfulthan mellow')afterabout 1817 in Paris. The end of the Napoleonic wars promoted exchange of ideas and experiences;the impactof such exchange is admirablyreflected in the empiricalway that Froehlich discussed clarinet technique when he revised his thoughts for publicationin 1829-thoughts that are only now readily available.66

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A. Van-Der-Hagen,Mithode nouvelleet raisonneepour la clarinette de Francein C. Johansson, (Paris, [1785]). Dating from Mercure FrenchMusic Publishers' (Stockholm, 1955), p.125 and Catalogues facs.91. Wrongly dated 1798 in the reprint (Geneva, 1972). Instuctions[sic]for the Clarinet [Anon.], Compleat (London, [c.1785]) 'F. Blasius, Nouvellemithode de clarinette (Paris, [1796]). Dated by des publisher's address in A. Devries and F. Lesure, Dictionnaire 6diteursde musiquefran~ais(Geneva, 1979), i, p. 129. *A. Van-Der-Hagen,Methodenouvelleet raisonneepour la clarinette (Paris, Naderman,[1797]).An expanded edition with 53 pages of the Boyer edition above, which had 37 pages. Copy in F-Pn, Ch.62. Dating by publisher's address from Devries and Lesure, Dictionnairedes 6diteurs, i, p.123. Not in Warner's Annotated Bibliography. *A. Vanderhagen,Nouvellemithodede clarinette divise'e en deuxparties (Paris, [1799]).Dating by plate number from Devri6s and Lesure, des iditeurs,i, p.129. Dictionnaire V. Michel, Mithodede clarinette (Paris, [c.1801]) S. Le F6vre,Mithodede clarinette (Paris,An XI). Date of announcement, 18 December 1802, in C. Pierre, Le magasinde musiqued l'usagedes fetes nationales(Paris, 1895), p. 158. *J. G. H. Backofen, Anweisung zur Klarinettenebst einer hurzen Abhandlungfiber das Basset-Horn(Leipzig, [18031). Date from TheNew Grove (London, 1984), Dictionaryof MusicalInstruments i, p.402. M., 'Ueber die Klarinette',AMZ,x (1807-8), issue 24 of 9 March, cols.[369]-375, and issue 25 of 16 March, cols.[385]-391. J. Froehlich, Vollstdndige Musikschule(Bonn, Theoretisch-pracktische

SimonMcVeigh, Michel Lawson, Ishouldliketo thankColin R.Ricefor their NoirayandAlbert generoushelp,as well as the University of East Angliafor the provisionof research funding. DavidCharlton is lecturer in musicat the University of East includethe bookGr6try Anglia,NorwichHis publications and the growth of opera-comique (Cambridge, 1986), and he has just prepared an English editionof E. T A. Musical Writings, includingKreisleriana. Hoffmann's

Instruction Bibliography of Woodwind 1T.E. Warner,An Annotated Books,1600-1830 (Detroit, 1967) a Pars en 1830-1831 (Paris,1983), 2F.Lesure et al, eds, La musique pp.187, 207 3Full bibliographical information in D. Charlton, 'The Berr ClarinetTutors', GSJ,xl (1987), 48-52. 4See the French foundation articles published 1903-19, concviii PRMA, veniently listed in G. Sadler,'Rameauand the Orchestra', (1981-2), p.60, n.47. Other details in B. S. Brook, La symphonie du XVIIIe siecle (Paris, 1962). frangaisedans la secondemoitie' du ConcertSpirituel sC.Pierre,Histoire (Paris,1975),p. 150. However, a'clarine' concerto was performedby the bassoonist Kermazin on 25 March 1750: see concert nos 396, 398, 401, 403 in ibid. 6V. Michel, Mdthode de clarinette (Paris, [c.1801]), p.2 [1810-11], IIe Abtheilung 'Beer played in London in 1772 and 1774, as noted in P. Weston, A. Vanderhagen, Nouvelle methodepour la clarinettemoderned Virtuosi douze cles (Paris, [1819]). Dating by plate number in Devries Clarinet of thePast(London, 1971),p.31. Recordsfrom 1774 in relevant daily papers contain no reviews of his concerts. des 6diteurs,i, p.129. and Lesure, Dictionnaire 8Mercure de France,Jan. 1779, i, pp.47-8. Other reviews in ibid, [G. B.] Gambaro, Mdthodefacile de clarinetted six clefs (Paris, March1772, p. 159;June 1772, p. 149;April1775, ii, p. 180;May 1775, [1820]). Dating by Conservatoire deposit annotation in copy in F-Pn Ch.24. p.164; Nov. 1779, p.33. de France, Nov. 1783, p.132, on the occasion of Lefevre's et clarinette-alto I. Mfiller,Mkthode (Paris, pour la nouvelleclarinette 9Mercure [c1821]).Dating from AlbertR. Rice, 'A History of the Clarinetto d6but. Weston, op cit, p.60, implies a ratherlater debut for Lef6vre, but an earlier one for Yost. 1820' (Ph.D. diss., ClaremontGraduateSchool, 1987) o1Mercure de France, June 1780, p.41. Report partially and F. Rybicki,Mithodepourla clarinette (Paris, Lyon, [c1825]).Dating from internal evidence: presence of metal ligature and 13-keyed incorrectly transcribed in Pierre,op cit, p.214. This book does not clarinet information, plus printing style. give complete references for reviews for either Journalde Paris or de Francein its programmesection. Instruction T. L. Willman, A Complete Bookfor the Clarinet (London, Mercure "Mercure de France,April 1781, p.32 [1826]) 12E. L. Gerber, de clarinette(Mayence, Paris, Anvers, NeuesHistorisch-Biographisches derTonktinstler, F. J. Blatt, MWthode Lexikon complette [c.1828]) The copy in the Hague Gemeentemuseum [NL-DHgm] ed. O. Wessely (Graz, 1966), iii, col.491; no biographical data shows this not to be the same as Blatt'smore common method of given. de France,Jan. 1787, pp.40-2 1841-2, issued by Schonenberger. "3Mercure de Paris,27 Dec. 1786, pp.1513-4. I drawno conclusion F. J. Fetis, 'De l'execution musicale', Revuemusicale(ed. F. J. Fetis), 14Joumrnal from the furtherremarks:'il a paru consoler le Public de la perte de iii (1828), pp.224-8 F. J. Fetis, obituary of J. X. Lefevre, Revuemusicale(ed. F. J. Fetis), Michel. vi (1829), pp.397-9 '5M.,'Ueber die Klarinette', Allgemeine Zeitung[AMZ], musikalische F. J. F6tis, 'Ecole Royale de Musique. Concours annuels' (suite), (1807-8), 16 March, col.385 Nouvellemithodede la clarinette moderne Revuemusicale(ed. F. J. F6tis), iv (1829), p.62 '6Carnaud, (Paris, 1829), moderne Carnaud,Nouvellemethodede la clarinette p.6 (Paris, 1829) "1See references to Louis-FranqoisLef6vreand Buteux in Lesure de clarinetted cinq et d treize clefs oP. Vaillant, Nouvelle me'thode (Paris, [c.1830]). Strictly speaking this publication lies before et al, eds, La musiqued Paris, op cit. de clarinette celle composee or after 1830, not appearing in the exhaustive data in Franqois 1sButeux,Mdthode par XavierLe d'apr&s Lesure et al, eds, La musiqued Paris en 1830-1831 (Paris, 1983). F&vre (Paris, [1836]), p.3 '9F.J. F6tis,'De l'ex6cution musicale',Revuemusicale(ed. F6tis),iii F. Berr, Trait. completde la clarinetted quatorzeclefs (Paris, 1836) F. Berr, Mithode complete de clarinette (Paris, [1836]). Dating by (1828), pp.224-8 20F.J. F6tis, obit. of J. X. Lefevre, Revuemusicale(ed. Fetis), vi Conservatoire deposit annotation in F-Pn copy Ch. 1. (1829), pp.397-9 [Claude-Franyois] Buteux, Mithode de clarinette d'apres celle composde 21Weston, ClarinetVirtuosi,op cit, p.156, adding that Gambaro par X Le Fvre (Paris, [1836]). Dating by Conservatoire deposit clarinet to Berr'. annotation in F-Pn copy Ch. 10. 'passed on his enthusiasm for Muiller's 22F. Bern,TraitW H. Klos6, Mithode pour servir d l'enseignement de la clarinette a completde la clarinette clefs(Paris, 1836), d quatorze anneaux mobiles (Paris, [1843]). Dated in P. Weston, More Clarinet p.8 23Ibid, Virtuosi of the Past (London, 1977), p.141. p.8 EARLY MUSIC AUGUST 1988 405

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24Weston,op cit, pp.133-4, mentions only the first two concerts. Reviewsappearedin JournaldeParis,26/7 Dec. 1817; 11 March1818; 22 March; Journal des d bats, 26/7 Dec. 1817; 31 Jan. 1818; announcements in these two and Le Moniteuruniversel and La Quotidienne. de Paris, 26/7 Dec. 1817, p.4. 25Journal 26Sievers'reviews are the most detailed by far, and deserve xx, issue 3 (21 Jan. 1818)cols.58-9, and issue 9 (4 scrutiny.See AMZ, March 1818), cols. 180-1 27F6tis,'De l'ex6cution musicale', op cit, p.226 a' de la clarinette 28H.Klos6, Mithodepour servird l'enseignement anneauxmobiles(Paris, [1843]), Introduction 29Berr, Trait, op cit, p.8 (Paris, [1836]), p.1. Berr's 30F.Berr,Methodecompletede clarinette assertion here that 'Des l'origine de la Clarinette, les Allemands jourerentI'anche en dessous' modifies an assertion in the important article by T. E. Hoeprich,'Clarinetreed position in the 18th century', EM, xii (1984), p.50: that Backofen [1803] was 'the only method which suggests that clarinettists in the 18th century played with the reed against the lower lip.' des musiciens universelle 31F.J. F6tis, 'Beer, Joseph', in Biographie (Brussels, 1837-41), ii, p.99 32H.Becker, 'ZurGeschichte der Klarinetteim 18e Jahrhundert, viii (1955), pp.271-92 Die Musihforschung, 330nthe date 1754 see Elaine Keillor,untitled communication in xxviii(1975), p.567. On the 1774 concert, see C. Pierre,Concert JAMS, op cit entry 921, p.303, 'Valentin'. Spirituel, la d lusage de ceuxquicomposentpour 34V. Roeser,Essaid'instruction et le cor (Paris, [c.1764], p.12 clarinette assertion that Meissnerplayed often at the ConcertSpirituel 35The he was not a wellstems from Gerber's (NG,based on MGG) Lexihon; known soloist there. So do the details in L. Bechstein's novel, Clarinette (Leipzig, 1840), i, pp.67-73. de clarinette (Paris, [1802]), p.10 36X.Lefivre, M6thode by W. Waterhouse in 'Joseph Fr6hlich on ClarinetReed 37Trans. xi (Sept. 1986),p.38. Thereaderwill andSaxophone, Position', Clarinet here find extended passages from Froehlich [1810-11] and its revision in the rarely-foundSystematischer Unterricht... (Wiirzburg, 1829). But Waterhouse did not include the technical information that follows. Musikschule 38J. Froehlich, VollstandigeTheoretisch-pracktische (Bonn, [1810-111), ii, p.14 p.20 39Ibid, 40M.,'Ueber die Klarinette',op cit, co1.385 41Froehlich, op cit, p.14; trans. W. Waterhouse de clarinette J. Blatt,M6thode (Mayence,Paris,Anvers, 42F. complette [c.18281),p.4 43Froehlich, op cit, p.14; trans. W. Waterhouse nouvelleet raisonniepour la clarinette 44A.Vanderhagen,Mdthode (Paris, [17851),p.9 op cit, p.10 45Lefwvre, nebst einer hurzen 46J.G. H. Backofen, Anweisungzur Klarinette pp.11-12 6iberdas Basset-Horn (Leipzig, 118031), Abhandlung raisonnee 47F.J. Garnier,Mdthode pourle haut-bois[1802]; G. Vogt, 'Methode de hautbois', F-PnCi.50

48P.Vaillant, Nouvellemethodede clarinette d cinq et d treizeclefs (Paris, [c.1830]),p.[5] 49Buteux,op cit, p.12 op cit, p.6. One can hardlyliterally concur with R. SoVanderhagen, 'breathstaccato gave wayto the tongue staccato ('ta'or M. Longyear: 'ti')early in the 19th century':'ClarinetSonorities in EarlyRomantic Music', MT,cxxiv (1983), pp.225-6. W. Waterhouse, op cit. These rapid leaps are indeed a 51Trans. hallmark of reed-above playing; Joseph Beer evidently however exploited them with his later technique, judging from the facsimile in Weston, op cit, pp.[32-3]. that is, took the solo style in Mozart'sConcerto and Quintet 52M., as evidence: 'Der unsterbliche Mozart, der die Klarinettesehr zu schatzen wusste, hat ... dieses bestitigt' (col.[386]). 'De l'execution musicale', op cit, p.226 53F6tis, 54Hoeprich,op cit, p.51 55Becker, op cit, p.283 Instructor 56Froehlich,op cit, p.13; [anon.], TheClarinet (London,

[c.17801)

Revuemusicale(ed. F6tis), iv (1829), p.62 et clarinette-alto clarinette Miller, M thodepourla nouvelle (Paris, 651I

reed-below itself, promoted playing. annuels' de Musique. Concours 64F. J. F6tis, 'EcoleRoyale (suite), pp.21-22 [c18211),

57M.,op cit, col.385 58Buteux, op cit, p.3 op cit, pp.2-3 59Vanderhagen, 60M.,op cit, col.385 61Carnaud, op cit, p.6 62Berr, Traits,op ct, p.2 63Becker, op cit, pp.285-6, arguesthat Mfiller'snew instrument,of

66Trans. Waterhouse, op cit (n.37)

3 Clarinet, p.12 of F. J. Froelich's Vollstindige theoretischpracktische Musikschule (1810-11), Ile Abtheilung 406 EARLY MUSIC AUGUST 1988

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