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Classical Clarinet Technique: Documentary Approaches
Author(s): David Charlton
Reviewed work(s):
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 .
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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 AnnotatedBibliographyof Woodwind InstructionBooks,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.
The first generation of clarinettiststo arrivein Paris, soundsfromits upperandmiddlerange;butthevolumeand
around 1748, comprised Gaspard Proksch, Flieger, qualityof thelowsoundsareso ill-matchedwiththerestthat
Schenker and Louis. The first pair became especially one would think they issued from a differentkind of
active in orchestral work.4They did not perform as instrument.
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 ...
Le l er Virtuosequi se distinguail y a 30 ans dans le Concertode
Against the background of a style perhaps notable
Clarinette
fut un AllemandnommdBaur; il joiioit touttesortede equally for strength and agility as for tone (one can be
en Ut,ce quimeportea croirequecelleen
musiquesurla Clarinette
no more specific) was heard the playing of a presumed
Si Bemolest d'inventionpostirieurea cet Artiste.. .6
Teutonic visitor named Wachter. Wachter remains a
The first virtuoso who became famous 30 years ago in shadowy figure: he appeared in seven concerts
clarinetconcertoswasa GermannamedBauer;he playedall between 1782 and
1790, and only Gerber'sdictionary
kindsof musicon the C clarinet,whichleadsme to believe
he was picked out for special
notices
But
him.12
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.
Leson qu'iltirede cet Instrumentest d'uneforce& d'unebeautd
Beer played solos in at least 26 concerts given in
surprenantes.II a une grande volubilit6avec infinimentd'exParis between Christmas Eve 1771 and 1 November
pression.Ona sur-toutadmirdl'artaveclequelil nuancesonjeu,&
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 instrumenthas a surprising
]performancestend towards epithets such as 'brillante' strength and beauty. He combines great fluency with
and 'precise', when not preferringimponderables like immenseexpression.One aboveall admiredthe 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 instrumentressemblentsouventd ceuxde
qu'il
An examination of the surviving press reviews of
dont
ont la puret6...14
ils
relevant concerts provides some further clues about l'harmonica
sounds he draws from this instrument often resemble
The
solo performance. Rathe was vividly described in the
those of the glass harmonica,whose puritythey have ...
Mercurede France,repository of the fullest critiques.
CetArtisteparoitavoirune vivechaleurde t&te&unegrandeforce
de poitrine.II parcourtavec une agilit6 merveilleusetoutes les
dimensionspossibles de son instrument,ii en tire des sons fort
maisle volume&la qualitides
agrdablesdans l'aigu&le mddium,;
sons gravessont une telledisparateavecle reste,qu'onles croiroit
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,
gleicht
gutgetragen,sehroftvollkommendemTonederHarmonika
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
du c6tede la levresuperieurequi doit tredans
... lanche tournme
ce cas recourbieet appuydefortementsur les dents: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
following extract from Berr's1836 Traitemust refer to
Ceprincipe... a lavantagedefaire obtenirde la mobilit6et de la 1820-25; Pamela Weston has shown that the only
was in Pariswas before 1815,
sensibilit6dans I'execution,
plus de netteteet de mordantdans les other period that MUiller
sons detachesetgne'ralementplus de vigueurdanstouteletendue too early for his new instrument to have been
de l'instrument
18
accepted, and not a time when Berr was present.
Plusieursartistesdel'ecolefranfaise,
apresavoirentendule cklebre
dont
le
talent
la
pour
difficult6
n'avaitpoint dcegal,ont
Miiller
vouluchangerleurembouchureetjouerl'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
les artistesallemandes.. . visentdunegrandedouceurde son ... they had been taught the incorrect method of biting into the
dans l'6colede M XavierLefbvre, mouthpiece.
Parminous,et particulierement
on vise a un grandson ... on ne peutjouerpiano .. .19
This habit of Miller's, wrote Berr,'existed above all in
Lefevreposs6daitun beau son, et cela est incontestablesous le
Germany', 'gave a bad tone quality; and harmed
rapportdu volume:mais ce son 6taitce qu'onpeut appelerle son
flexibility of 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
1816, says in the BiographieUniverselle
large sound . . . one cannot play piano ...
he
had
learned
that
clarinet during his earliermilitary
Lefevre had a beautiful tone, unquestionably so from the
it to the bassoon aftergoing
but
service,
only
preferred
point of view of volume; but this was what one might call the
in
This
date
to
Paris
'1819'.
may be misleading: Berr's
mellow.
is
more
than
Frenchtone, since it
powerful
was
is
that
he
there the year before to
own
evidence
F6tis ascribed one cause of the 'French tone', as it was hear Baermann
therefore, that it was
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
dieschreitundeinensteifen,nichtangenehmen L'avantage jouerI'anche
dieersteClarinette,
Tousles artistesreconnaissent
habilesclarinettistes.
quenullepart
Vortragund Tonhat...
on ne peut obtenir les piano et les pianissimo comme en
The first clarinet[I. F. Dacosta,a pupil of Lefevre],who Allemagne.Le celhbreBaermannnous a fait entendreen 1818 d
shrieks and has a stiff, unpleasant delivery and tone...
Paris des sons pianissimo qui etaient tout-ai-faitinconnusen
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
Theadvantageof playingwiththe reedbelowis provenby
the most skilledclarinettists.All artistsadmitthatnowhere
can one obtain piano and pianissimolike Germany.The
famous Baermanngave 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.24Although reed position was never mentioned, the very earliest report showed in full measure
an appreciation of his very unfamiliar style.
de son
Cetartiste6trangertireune qualit6de son touteparticulibre
instrument,et l'extremedouceurde son executionlaisseraitpeutetrequelquechose acdesirersous le rapportde la vigueurmais,
il est difficilede songerd le critiquer.25
lorsqu'onl'&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.
virtuoseau serviceduRoide Prusse,avaitfondevers
JosephBEER,
la fin du 18esidcleune &colede clarinettequi a produiteplusieurs
artistes... [y compris]Baermann.30
JosephBeer,a virtuosoin the serviceof the Kingof Prussia,
foundeda schoolof clarinetplayingnearthe endof the 18th
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
investigation.Nevertheless, extraordinaryas it sounds,
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
instrument,and the extremesoftnessof his playingwould the tongue. Chest articulation was briefly mentioned
possiblyleave somethingto be desiredas regardsenergy; in Heinz Becker's wide-ranging article in 1955;32throat
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
Ils ont entenduBaermannet Miller; ils sont t6moinsdes heureux Lenten concerts of 1774.33
en suivant les principesde
resultatsobtenuspar M Beer
Beaucoupde doublesCrochesdansle modeparallelene sontpoint
[Bert],
dans
leurroutine... Lariforme en
et
sobstinent
ils
allemande,
l'&cole
attenduquela Poitrrne
doitsubstituerau
usagesurla Clarinette,
est urgente.27
coupdeLangue,a causedela positionde lAnchequise trouvesous
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',28and it is worth
This is not isolated evidence. Also in Paris at this
period was the Wiirzburgclarinettist Philipp Meissner
EARLY MUSIC AUGUST 1988
399
(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:
Die 2te Art,dieNotenhurz,undfest abzustossen,muss mit vieler
Gleichheitausgefiihrtwerden... UmdemStossedie ndthigeKraft
zu geben,muss man die Lippenetwas zusammenhalten.
Second type, the notes must be performed short, pushed
Enjouantde la clarinette,ilfaut eviterdefaireagirparsecousse,le
gosierou la poitrine,pourdonnerI'airnecessaireauxarticulations
... 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 3teArt,das Staccato,wirdweitgelinderausgeffihrt,dieNoten
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,sprechemanin dasInstrumentein
UmdiesenVortheil
leichtesh (ha)welchesnurbey tiefernT6nenhdrterangesprochen
mansich auchetwas Vorschub
durchdas
wird,beyderenVortrage
mit
den
Nachhelfen
Lippenverschafft.38
To obtainthis advantageone speaksa lighth (ha)into the
instrument,more firmlyspoken only in lower notes, in
whoseperformance
one also gets supportthroughthe help
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:
firmly,andwithmuchevenness... Togivethe impulsesthe
necessarypower,the lips mustbe somewhatheld together:
notesonlylightlystruck,the lipsno morefirmlyclosedthan
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
Wdrees einmaleingefiihrt,
legen... wodurchausserdemjedeArtderZunge,wie beyderFl6te,
nicht nur m6glich,sondernleicht wird...40
Werethe practiceof placingthe reedon the soft lowerlipto
be introduced ... whereby,besides, everytype of tonguing-
as on the flute-would become not simplypossible but
easy ...
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
unddieandern mentioning two reasons why the tongue should not
BeyderBindungwirddieersteNoteangesprochen,
werdendarangeschleift
necessarily be used in reed-above playing:extraneous
In slursthe firstnote is spoken,andthe othersslurredfrom noise, and lyrical style.
it:
ha
400
EARLY MUSIC AUGUST 1988
Cettederniremkthode[ancheau-dessous]a l'avantagedepouvoir
appliquerle coup de langue en articulanttu ou tou, ce qui de
I'autremanidrea des inconvdniens,puisqu'il en rdsulte un
au son. Cependant
le coupde languen'est
sifflementprdjudiciable
n6cessairepourun instrument gorge.Carenmarquanttropla premibre
pas une chose indispensablement
parun coupdelangue,cela
comme la Clarinette,dont la tache est d'imiter la voix ressemblerait
positivement :
humaine.42
to mark
themoff threeby three,one mustmakethe firstfelt
The latter [reed-below]method has the advantageof by a smallexpressionfromthe throat,not by a smalltongue
allowingthetongue-stroke,
bypronouncingtuortou;certain stroke.Forthe first [note],over-emphasisedby a tongue
drawbacksarise in applyingthis to the other[reed-above] stroke,wouldpositivelysoundlike:
manner,since it producesa hissingwhichis detrimental
to
thetone.However,the tongue-stroke
is notindispensableto
an instrumentlike 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 executerdes morceaux
[1820], Vaillant [c1830] and Buteux [1836].
The first French tutor [1785] to describe the vifs, parcequ'ilsne trouventjamais dans cet organeassez de
'orthodox' tongued articulation was that of Amand mouvementet d'agilitepour &tred'accordavec les doigts. . .45
Vanderhagen(1753-1822), who was in fact trained in those who play fromthe throatcannotplay lively pieces,
the Netherlands. It is tempting to speculate from the becausethey neverfind enoughrhythmand agilityin that
evidence so far produced that players in France like organto agreewith theirfingers...
]Roeserand Meissner, and perhapsJoseph Beerand his The notion of a kind of coughing action, obviously
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
brauchendreyerley
MitteldieNotenabzustossen,
'produceall the types of articulationthat the [tonguing die Zunge,die LippenoderdieKehle.Die erste.Artist die beste. ..
clarinettist]is able to', the singer's art,the true goal of denn sie bindenalle Noten,eben so wie diejenigen,die mit der
all instrumental performance, could still be more Kehle stossen. Fallen auch bey diesen die G(rimassenweg so
habensie wiedereine andreUnannehmlichheitnehmlichdiese,
closely emulated.
seineArtzu schattiren,alleNuancenimAusdruchezu geben... ist
weit einfacher,mehrwahr,und dahereigentlichesMittelzu der
seelenvollenDarstellungeines Ganzenvon Empfindungen.43
dass manleden Stoss derKehleh6rt46
Clarinettistsuse threeways of articulatingnotes, with the
tongue,lipsorthroat.Thefirstwayis thebest... forthey[i.e.
the way he can give shade and expression to every playersusingtheirlips,who also makedreadfulfaces]slur
nuance... is far simpler,moretrue, and thus the means everything,just as do thosewhopushwiththethroat.Andif
the latter do not make grimaces,they yet have another
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
pourles distinguertroispartrois,ilfautfairesentirla
non
premiere,
par un petitcoupde Languemais par une petiteexpressionde la
und gruindlicher Unterricht (1791), chapters 8 and 9,
bears eloquent witness to that. For reed-above
EARLY MUSIC AUGUST 1988
401
Table 1 Tongued articulation: reed above
Source
Vanderhagen[1785]
Ibid
Complete Instuctions [c.1785]
Vanderhagen[1799]
Name of
stroke
Description
ordinaire
articule
ou d6tache
staccato
modleux
liaison entre toutes les notes
petit repos entre chaque note
Ibid
Michel [c.1801]
Ibid
Lefevre [1802]
sec
mo6lleux
sec
detache ou
coupe
Ibid
Backofen [1803]
(also applying to reedbelow playing)
pique
-
none
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
/
Notation
slurred dot
dot
Syllable
dash
D
T
'
/
TU
'
TE
TU
T
TU
TO
[shorterthan the above]
schwachen Zungenstoss ...
der Ton keineswegs ganz
unterbrochen
Willman [1826]
doux
sec
sec
pique
staccato
Ibid
legato
Rybicki [c.1825]
Ibid
Ibid
Mfiller [c1821]
v
/
[not explained]
DI
TU
TI
DI
press the lips and tongue each
note with promptitude and
vigour
with less force and the notes
... blown with a looser lip
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 touchantl'extrimitW
de l'ancheaveccelle
de la langue,de manibreacboucherl'intervalleexistantentrele bec
et lanche. . .49
this actionis achievedby touchingthe tip of the reedwith
that of the tongue,
so as to block the space between
mouthpieceand reed...
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 &tretropenfoncedans la bouche,autrementil 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
retirantensuite,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
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'.51Precisely 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.52For the tongue had ratherfurther to travel in
the reed-above style, a point that F6tis adduced in
favour of the Germanic practice:
... la languen'tant point obligeede remonter,commedans la
manierefranCaise,agit bien plus librement53
... 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
articulated, but the point6-lidwas tongued in a softer
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.55Neither 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:
2 The EnglishclarinettistT. L Willman.A lithographfrom his
clarinettutor(c.1826):note the lever for rightthumb.As can be
seen, Willmanplayedwith reed above.
'be carefull that the Teeth do not touch the Reed in
blowing'.56Later sources provided reasons why this
advice was necessary:
Alleinwie ist es m6glich,einensanftenundzartenTonzu bilden,
Hierdurch
wennmandasfibrirendeBlattmit denZdhnenberiihrt?
mussganz unvermeidlich...einscharferTonheraushommen...5s
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
Contactof the teeth on the reed producesa hissingwhich
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
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.
.. unddie harteRindedesSchnabelsmitdemZahnevorsichtigzu
beriihren...60
... andtouchthehardsurfaceof themouthpiecewarilywith
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'autremaniere,qui est celle que les Allemandsont introduite
depuis peu en France,l'ancheest toumrnedu c6tOde la lvre
infirieurequi pince seule et les dents de la machoiresuperieure
sont appuy'essur le boisdu bec,ce quidonnebeaucoupdesolidit6
a l'embouchure. .
.61
accidens qu'on nomme couacs, en se servant d'anchesplus
faibles.64
Itis time... thatthepupils[ofthe EcoleRoyale]learnto play
in tune,to breatheat the righttime,to phrase,to tone down
their sound, and above all avoid accidentalsquawksby
using weakerreeds.
Milller [1825] also emphasized the shortcomings of
the straight-filedreed, whose use distortedthe player's
features through sheer effort;65but 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
in the otherway,thatwhichthe Germansintroduceda short
while ago in France,the reed is turnedto the side of the
lowerlip,whichalonegrips,andthe upperteethleanon the
wood of the mouthpiece,giving much solidity to the
embouchure...
Berrclaimed that Miullerand Germansin
In his TraitW,
bit
into
the mouthpiece. Here he provides
general
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
AnnotatedBibliographyof WoodwindInstructionBooks,1600-1830
case regionaldifferencesmust have been considerable.
Il est temps .. que les ilkves apprennentd joueravecjustesse.d
respirerd propos,d phraser,d adoucirle son, et surtoutdiviterles
404
EARLY MUSIC AUGUST 1988
V. Roeser, Essai d'instruction l'usagede ceux qui composentpourla
clarinetteet le cor (Paris, [c.1764])
[Anon.],TheClarinetInstructor(London, [c1780])
A. Van-Der-Hagen,Mithode nouvelleet raisonneepour la clarinette
(Paris, [1785]). Dating from Mercurede Francein C. Johansson,
FrenchMusic Publishers'Catalogues(Stockholm, 1955), p.125 and
facs.91. Wrongly dated 1798 in the reprint (Geneva, 1972).
[Anon.], CompleatInstuctions[sic]for the Clarinet(London, [c.1785])
'F. Blasius, Nouvellemithode de clarinette(Paris, [1796]). Dated by
publisher's address in A. Devries and F. Lesure, Dictionnairedes
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 clarinettedivise'een deuxparties
(Paris, [1799]).Dating by plate number from Devri6s and Lesure,
Dictionnairedes iditeurs,i, p.129.
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 GroveDictionaryof MusicalInstruments(London, 1984),
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, VollstdndigeTheoretisch-pracktische
Musikschule(Bonn,
Michel
Ishouldliketo thankColinLawson,SimonMcVeigh,
NoirayandAlbertR.Ricefor theirgeneroushelp,as well as
the Universityof East Angliafor the provisionof research
funding.
DavidCharltonis lecturerin musicat the Universityof East
Anglia,NorwichHis publicationsincludethe bookGr6try
and the growth of opera-comique (Cambridge,
1986),
and he has just preparedan English editionof E. T A.
Hoffmann'sMusical Writings, includingKreisleriana.
1T.E. Warner,An AnnotatedBibliographyof WoodwindInstruction
Books,1600-1830 (Detroit, 1967)
2F.Lesure et al, eds, La musiquea Pars en 1830-1831 (Paris,1983),
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, conveniently listed in G. Sadler,'Rameauand the Orchestra',PRMA,cviii
(1981-2), p.60, n.47. Other details in B. S. Brook, La symphonie
frangaisedans la secondemoitie'du XVIIIesiecle (Paris, 1962).
sC.Pierre,Histoiredu ConcertSpirituel
(Paris,1975),p. 150. However,
a'clarine' concerto was performedby the bassoonist Kermazinon 25
March 1750: see concert nos 396, 398, 401, 403 in ibid.
6V. Michel, Mdthodede 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
douze cles (Paris, [1819]). Dating by plate number in Devries ClarinetVirtuosiof thePast(London, 1971),p.31. Recordsfrom 1774 in
relevant daily papers contain no reviews of his concerts.
and Lesure, Dictionnairedes 6diteurs,i, p.129.
8Mercurede 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
I. Mfiller,Mkthodepour la nouvelleclarinetteet clarinette-alto(Paris,
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
T. L. Willman, A CompleteInstructionBookfor the Clarinet(London, Mercurede Francein its programmesection.
"Mercurede France,April 1781, p.32
[1826])
12E.L. Gerber,NeuesHistorisch-Biographisches
derTonktinstler,
F. J. Blatt, MWthode
Lexikon
complettede clarinette(Mayence, Paris, Anvers,
[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',AllgemeinemusikalischeZeitung[AMZ],
F. J. F6tis, 'Ecole Royale de Musique. Concours annuels' (suite), (1807-8), 16 March, col.385
Revuemusicale(ed. F. J. F6tis), iv (1829), p.62
'6Carnaud,Nouvellemithodede la clarinettemoderne(Paris, 1829),
Carnaud,Nouvellemethodede la clarinettemoderne(Paris, 1829)
p.6
"1See references to Louis-FranqoisLef6vreand Buteux in Lesure
oP. Vaillant, Nouvelle me'thodede clarinetted cinq et d treize clefs
(Paris, [c.1830]). Strictly speaking this publication lies before et al, eds, La musiqued Paris, op cit.
celle composeepar XavierLe
or after 1830, not appearing in the exhaustive data in Franqois
1sButeux,Mdthodede clarinetted'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
annotation in F-Pn copy Ch. 10.
'passed on his enthusiasm for Muiller'sclarinet to Berr'.
22F. Bern,TraitW
H. Klos6, Mithode pour servir d l'enseignement de la clarinette a
completde la clarinetted quatorzeclefs(Paris, 1836),
anneaux mobiles (Paris, [1843]). Dated in P. Weston, More Clarinet
p.8
23Ibid,p.8
Virtuosi of the Past (London, 1977), p.141.
EARLY MUSIC AUGUST 1988
405
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.
25Journalde Paris, 26/7 Dec. 1817, p.4.
26Sievers'reviews are the most detailed by far, and deserve
scrutiny.See AMZ,xx, issue 3 (21 Jan. 1818)cols.58-9, and issue 9 (4
March 1818), cols. 180-1
27F6tis,'De l'ex6cution musicale', op cit, p.226
28H.Klos6, Mithodepour servird l'enseignementde la clarinettea'
anneauxmobiles(Paris, [1843]), Introduction
29Berr,Trait, op cit, p.8
30F.Berr,Methodecompletede clarinette(Paris, [1836]), p.1. Berr's
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.'
31F.J. F6tis, 'Beer, Joseph', in Biographieuniverselledes musiciens
(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
JAMS,xxviii(1975), p.567. On the 1774 concert, see C. Pierre,Concert
Spirituel,op cit entry 921, p.303, 'Valentin'.
la
d lusage de ceuxquicomposentpour
34V.Roeser,Essaid'instruction
clarinetteet le cor (Paris, [c.1764], p.12
35Theassertion that Meissnerplayed often at the ConcertSpirituel
(NG,based on MGG)stems from Gerber'sLexihon;he was not a wellknown soloist there. So do the details in L. Bechstein's novel,
Clarinette(Leipzig, 1840), i, pp.67-73.
36X.Lefivre, M6thodede clarinette(Paris, [1802]), p.10
37Trans.by W. Waterhouse in 'Joseph Fr6hlich on ClarinetReed
Position', ClarinetandSaxophone,xi (Sept. 1986),p.38. Thereaderwill
here find extended passages from Froehlich [1810-11] and its
revision in the rarely-foundSystematischerUnterricht... (Wiirzburg,
1829). But Waterhouse did not include the technical information
that follows.
Musikschule
38J. Froehlich, VollstandigeTheoretisch-pracktische
(Bonn, [1810-111), ii, p.14
39Ibid,p.20
40M.,'Ueber die Klarinette',op cit, co1.385
41Froehlich,op cit, p.14; trans. W. Waterhouse
42F.J. Blatt,M6thodecomplettede clarinette(Mayence,Paris,Anvers,
[c.18281),p.4
43Froehlich,op cit, p.14; trans. W. Waterhouse
44A.Vanderhagen,Mdthodenouvelleet raisonniepour la clarinette
(Paris, [17851),p.9
45Lefwvre,op cit, p.10
46J.G. H. Backofen, Anweisungzur Klarinettenebst einer hurzen
Abhandlung6iberdas Basset-Horn(Leipzig, 118031),pp.11-12
47F.J. Garnier,Mdthoderaisonneepourle haut-bois[1802]; G. Vogt,
'Methode de hautbois', F-PnCi.50
48P.Vaillant, Nouvellemethodede clarinetted 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,
M. Longyear:'breathstaccato gave wayto the tongue staccato ('ta'or
'ti')early in the 19th century':'ClarinetSonorities in EarlyRomantic
Music', MT,cxxiv (1983), pp.225-6.
51Trans.W. Waterhouse, op cit. These rapid leaps are indeed a
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].
52M.,that is, took the solo style in Mozart'sConcerto and Quintet
as evidence: 'Der unsterbliche Mozart, der die Klarinettesehr zu
schatzen wusste, hat ... dieses bestitigt' (col.[386]).
53F6tis,'De l'execution musicale', op cit, p.226
54Hoeprich,op cit, p.51
55Becker,op cit, p.283
56Froehlich,op cit, p.13; [anon.], TheClarinetInstructor(London,
[c.17801)
57M.,op cit, col.385
58Buteux, op cit, p.3
59Vanderhagen,op cit, pp.2-3
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
itself, promotedreed-belowplaying.
64F.J. F6tis,'EcoleRoyalede Musique.Concoursannuels'(suite),
Revuemusicale(ed. F6tis), iv (1829), p.62
(Paris,
651IMiller, M thodepourla nouvelleclarinetteet clarinette-alto
pp.21-22
[c18211),
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