The Clarinet in 19th Century Naples

Transcription

Ferdinando Sebastiani, Gennaro Bosa and the Clarinet in Nineteenth-Century Naples
Author(s): Ingrid Elizabeth Pearson
Source: The Galpin Society Journal, Vol. 60 (Apr., 2007), pp. 203-214, 112-115
Published by: Galpin Society
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INGRID ELIZABETH PEARSON
Ferdinando
Sebastiani,
the Clarinet
inNineteenth-Century
Gennaro
Until recently, the virtuoso
clarinettist
Ferdinando
Sebastiani
had
(1803-1860)
embouchure
the
of
reed-above,
confirms
existence
the
One area in which historical clarinettists have
been insufficiently assiduous is that of embouchure
or reed position. Described as 'themost important
since
the
playing
technique
eighteenth century' this subject has received only
scant
or
the
maxillary,
of a
'golden
by
a
standardisation
In the
of various
This
institute
the
became
institute
part
became
of the Collegio
Napoletano
as the Conservatorio
known
embouchure
of Niccol?
focus to Naples.5
source
and
aspects
of
in
connections
and
Italian
century,
between the
clarinettists.4
research
into the symphonic
1720 and 1840, particularly the
Zingarelli, narrows the Italian
the importance
Acknowledging
material
France
other
of the twentieth
explicit
works
of
with
development.3
Rey M. Longyear's
repertoire between
in earlier epochs. This state of affairs has arisen
partly as a result of the exigencies of globalisation
in 1826,
in comparison
latter part
reed-above
elements, which did not obtain at the appropriate
historical periods. For example, a limited range of
historical instruments is routinely copied, denying
the modern
listener the range of timbres evident
1
attention
instrument's
scholars made
The current vogue for historical performance has
characterised
in
development
age' of this technique amongst nineteenth-century
Italian players, particularly those from the south.
been
Naples
style.
di San Pietro a Majella).1
Sebastiani later held the
at the Teatro San Carlo
of
clarinet
positions
principal
as well as teaching
and Reale Cappella Palatina,
at the Conservatorio. He died in Naples, five years
after the publications of his M?todo per clarinetto?
use
and
and the discipline
imposed by the microphone.
These observations apply as much to instrumental
technique as to historical equipment and musical
been all but forgotten since his death. Born
in the southern Italian town of Capua, he studied at
the Real Collegio inNaples (later the Conservatorio
Sebastiani's
Bosa
from
outside
Austria,
an
constructing
Germany
understanding
of
the clarinet in the Romantic period, a later study by
Longyear provided the catalyst for research trips to
in 1817.
Moving
di San Pietro
a
to the monastery
of San Pietro
see Teresa
Chirico,
Majella-,
a
Majella
'La scuola
di m?sica
del Real Orfanotrofio
e le istituzioni
Provinciale
di Reggio
Calabria
musicali
Nuova
Rivista
napoletane',
Musicale
XXII
Italiana
(1988), p. 482.
2
Ferdinando
M?todo
Sebastiani,
per clarinetto
1855).
(Naples,
3
Nicholas
ofWestern
art music;
Shackleton,
?11, 4 (ii): The clarinet
The mouthpiece
'Clarinet,
and reed', The New
Grove Dictionary
and Musicians
ed. S. Sadie and J.Tyrrell
ofMusic
(2001).
4
See Raymond
du d?veloppement
'? propos
au d?but du dix-neuvi?me
de l'instrumentation
Meylan,
si?cle', Acta
42 (1970), p. 71, n. 1.
had held the position
of principal
flute in the orchestra
of the Pomeriggi
musicologica
Meylan
inMilan
Musicali
between
November
1954 and October
1958. At that time the
was
clarinettist
Ferruccio
principal
also Professor
at the Conservatorio
in Parma.
Gonizzi
Gonizzi,
reed-above
and Meylan
remembers
his soft
played
staccato
in the finale ofMendelssohn's
No. 4 in A [Italian],
with Raymond Meylan,
Symphony
private correspondence
January 1999.
5
Rey M. Longyear,
'Introduction',
The Symphony
1720-1840.
Series
A
(New York,
1980)
VIII:
203
p. xviii.
204 The Galpin Society Journal
Naples in 1996 and 1998.6 The present author's PhD
research into organological,
and
iconographical
near
documentary evidence confirms that despite its
extinction
the
today,
reed-above
was
embouchure
REED
formative
the
years.7
to
wishing
reconstruct
the
collaboration with the Neapolitan maker Gennaro
Bosa, probably during the 1830s.8 The appearance of
various types of clarinet with thirteen keys marked
a significant stage in the instrument's organological
development. Iwan M?ller's
thirteen-keyed clarinet
a
certainly
achieved
pioneering
eventual
such
century,
were
A
made
In
well-documented.10
nineteenth-century
7
'Clarinet
Longyear,
Pearson,
Ingrid
of Sheffield,
University
8
Sebastiani,
Sonorities
Clarinet
Romantic
that
the
for
either method.
to
obliged
presents
subsequently
preferring
the
amongst
these
Chief
Therefore
being
than on top.13
rather
reed-below
lip. It is only a matter
a beautiful
timbre and
well without
less, M?ller
reasons
embouchure.14
embouchure
assists
reed-below
is the claim
the player
in operating the key-work for the right thumb
which enabled the player to slur between f/c" and
g#/d#", and between
Times
The Musical
Music',
in Theory
the
of
to rest
and
Practice:
e/b' and f/c#",possibly
CXXIV
the Forgotten
(1983),
Art
the
p. 225.
of Reed-Above,
PhD
thesis,
2001.
M?todo,
in my
in Early
Embouchure
the reed below
three
century.
6
put
from
the clarinet
play
the way
whether
or lower
produce
articulation
can
None
sources in the light of the Bosa/
organological
Sebastiani
this article offers some
collaboration,
remarks concerning a hitherto neglected aspect of
the development of the clarinet in the nineteenth
can
one
that the quality
in the mouth,
the upper
for one
excellent
and
documentary
advanced
upon
depends
tonguing
the mouthpiece
of habit,
material
evaluating
are mistaken
of people
and
the reed near
in Lyons, J.G.C. Bischoff in Darmstadt,
in Mainz
B. Schotts S?hne
and Griessling and
Schlott in Berlin. The organological development
of M?ller's
thirteen-keyed clarinet, however, has
from
timbre
holding
Brelet
been
more
a
on
embouchure
with
players12.
large number
of
in Paris,
of Gentellet
reed-below
of clarinets
pour la nouvelle Clarinette ? 13
of cl821, M?ller
himself
Clefs et Clarinette-Alto
offers the following comments on the issue of clarinet
reed position:
the M?ller
instruments
in the 1820s in the workshops
THIRTEEN-KEYED
In his M?thode
prominence
during the early part of the
system.9 Developed
nineteenth
as
the
number
dilettante
and
accomplishment,
THE
keywork suggests that this technique found favour
more quickly with professional players.11 This thesis
is confirmed in reports by Christian
Friedrich
Michaelis
and Gottfried Weber which call for the
adoption of the reed-below technique amongst
reed-above
embouchure, Sebastiani's M?todo provides evidence
of his use of a clarinet with thirteen keys.Moreover,
this instrument was
the result of Sebastiani's
was
of
portrayal
far greater
In addition to functioning as an important source
for players
AND
Beginning with the publication ofM?llers Gamme
pour la nouvelle Clarinette invent?e par lui in cl812,
in
fact themore popular of the two reed positions used
in the clarinet's
POSITION
CLARINET
17-26.
pp.
historical
A reproduction
in The
clarinets'
chapter
'Playing
2000),
p. 46.
9
of this clarinet
The earliest
depiction
lui (Bonn, cl812).
See also Martin
Harlow,
of the
illustration
Early
in Iwan M?ller,
appears
'Two Early
Concertos
of Sebastiani
A Practical
Clarinet:
Gamme
and
Guide
pour
his
la nouvelle
for Iwan M?ller's
clarinet
first appeared
Lawson
by Colin
Clarinette
Thirteen-Keyed
(Cambridge,
invent?e
Clarinet',
par
Galpin
(2006),
pp. 29-42.
Society Journal LIX
10
See Nicholas
Shackleton
and Albert
France',
(cl812)
11
See
in
of M?ller's
clarinet
'C?sar
Rice,
Janssen and the transmission
13-keyed
De La Clarinette
and more
'M?ller's Gamme
Galpin
Society Journal LII (1999), pp. 183-194
recently Albert Rice
of The Thirteen-key
and the Development
Clarinet',
pp. 181-184.
Galpin
Society Journal LVI (2003),
those
charts
cet
cl814);
(London,
avec facilit?
instrument
Bassetthorn', Caecilia
within
contained
the Clarinet
Franz
et perfection...
Gamme-,
c.
(Mainz,
A New
John Hopkinson,
de
Blatt, Methode
complete
Gottfried
1827-28);
and
clarinette
Weber,
Preceptor
for
? jouer de
apprendre
?ber Clarinett
und
'Einiges
Complete
pour
11/41 (1829), pp. 35-57 and Philippe Berr,M?thode de Clarinette ? 6 et ? 13 Clefs d'apr?s celle
de Vanderhagen...
1831).
(Paris,
12
Friedrich Michaelis,
Christian
'?ber
?ber
Clarinett
385-391
and Weber
13
M?ller, M?thode
14
'For preferring
M?ller,
Thadd?us
'Einiges
pour
the reed
la nouvelle
supported
die Klarinette',
und
Clarinette
Allgemeine
musikalische
Zeitung
10 (1808),
Bassetthorn.
? 13 Clefs
by the lower
et Clarinette-Alto
lip', M?ller,
(Paris,
cl821),
M?thode.
p. 23.
cols.
369-375,
Pearson?
most
infers
of his
feature
controversial
He
design.15
reed-above
that
more
are
players
reliant on the thumb of the right hand to support
the instrument, and therefore have difficulty in
a reliable playing posture whilst
maintaining
this
negotiating the use of such keys.16 Despite
the
opinion,
reed-above
confirms
example,
capable
certainly
In this light,M?llers
below
of
practitioners,
salient
were
thumb-keys
in nineteenth-century
documented
is a
of
presence
of
is somewhat
embouchure
Sebastiani's
that
existing
by
these
features
and
reed-below
the
similar
not by then as widespread
century provides
embouchure
feature
is well
as has been previously
illustrated
player
experienced
(Paris,
16
A
by practitioners
1836), p. 2.
in his method,
Fr?d?ric
of either
Berr
provides
reed position;
C?sar
makers,
was
Janssen
particularly
of the keys, controlled by the little fingers of both
hands, to assist the little fingers in sliding between
these
keys.
This
Baumann.23
in a clarinet
was
Possibly themost sophisticated use of thumb-keys
was made by the Simiot firmwith their 'hinge' keys
for the notes f#/c#"and less often, e/b'. The presence
later, the reed-below
incorporating
to the M?ller-system
Janssen's modifications
instrument included removing the thumb-keys. He
replaced them with moving rollers at the extremity
by
assumed.18
15
This
the
the thirteen-keyed clarinet
important
viable, the subject of a study by Nicholas Shackleton
and Albert Rice.22
and operate the thumb-keys.17 His remark that at
least half of all German clarinettists were still using
the reed-above embouchure at the beginning of the
that
resemble
however,
in making
cites the supposed problem of reed-above players
being unable properly to both support the clarinet
evidence
tutor,
the placement
and configuration of the
thirteen keys and their tone holes, or the use of the
key and branch for the right-hand thumb.21Amongst
himself. Backofen
second quarter of the nineteenth
reed-above
either
and may
draws
inM?ller's
instrument
Backofens discussion
Johann Georg Heinrich
of reed position in his 1824 tutor also centres on
instrument,
the
advocated
depicted in Sebastiani's M?todo.
clarinets
Not all M?ller-system
by less-experienced
to those of M?ller
were
players
confirmation of this
embouchure.20 Organological
is manifest in the thirteen-keyed clarinet by Bosa
clarinet
the M?ller-system
sources
documentary
clarinettists.
conclusions
reed-above
able to cope with keywork thus positioned, given
that the majority of contemporary French-language
simultaneously.
ambiguous
that
suggests
workshop
clarinets
methods
which
of a thumb-lever for the e/b' key on amid-nineteenth
century clarinet in B\> from the Simiot and Brelet
plea for the use of the reed
have been heeded most
well
on
205
GennaroBosa
see M?ller,
evidence
on
survives
feature
two
clarinets
is also
influence
Janssen's
evident
in B^ by Gentellet.24 Granted that
evidence by M?ller himself clarifies
documentary
his intention that these thumb-keys be used with
reed-below
the
was
embouchure,
was
Janssen
catering for players who still used the reed-above
embouchure? In the light of his period of study with
the less, some
p. 1, figs. 1-2. None
that the difficulties
associated
M?thode,
see Fr?d?ric
Berr, Trait?
Complet
de
with
these
la Clarinette
fifteen
keys had
? quatorze
years
been
Clefs
tutor published
in Paris
in c. 1836 suggests
that M?ller
himself may have had to bite into the mouthpiece
in
to support
see
the clarinet whilst
these
8.
Berr,
Trait?,
p.
operating
thumb-keys,
zur Klarinette,
Heinrich
nebst kurzen Abhandlung
?ber das Basset-Horn
Backofen,
Johann Georg
Anweisung
1824), p. 6.
(Leipzig,
18
see T. Eric
in the 18th century', Early
'Clarinet
reed position
Backofen,
1824);
Anweisung
(Leipzig,
Hoeprich,
order
17
Music
19
12/1
(1984),
See Nicholas
pp. 48-55.
Shackleton
and Albert
'C?sar
of M?ller's
in
clarinet
Rice,
Janssen and the transmission
13-keyed
France', Galpin
Society Journal LII (1999), pp. 183-194.
20
Shackleton
collection,
UK, NJS 206.
Cambridge/Edinburgh,
21
Private
with Albert
In fact very few specimens
Rice.
survive with this last feature, see Shackleton
correspondence
and Rice,
'C?sar Janssen', p. 189. It should
also be mentioned
here that with the advent of the
clarinet,
thirteen-keyed
arose the
of the thumb-rest,
which was added
to the back of the lower joint to assist the
popularity
player in supporting
the instrument's
extra key-work.
An
on the
of the thumb-keys
illustration
in his
clarinet
appears
M?ller-system
see Iwan M?ller, M?thode,
method,
p. 1, figs. 1-2.
22
and Rice, op.cit,
Shackleton
pp. 189-190.
23
Shackleton
collection,
Cambridge/Edinburgh,
No. W201.
24
No. 70:605.
Edwardsville,
Illinois, U.S.A.,
U.K.,
NJS
473
and
Fiske Museum,
Claremont,
California,
U.S.A.,
Xavier Lef?vre at the Paris Conservatoire, it is highly
probable that Janssen was himself a reed-above
practitioner. Given this proclivity, his version of the
use
to other
makers
made
reed-above
players.
Other
century
Italy,
embouchure
Italian
the reed-below embouchure from the 1830s by players
trained at the Paris Conservatoire,
particularly
more flexibility inmoving between registers, a more
precise staccato, better projection of sound and the
ability to control the altissimo registerwith accuracy.
Whilst
tongued articulation was clearly the most
used
as occasional
The
during the tenure of Fr?d?ric Berr, professor of
clarinet, between 1831 and 1838.30 The subsequent
popularity of the reed-below position is reflected
in French-language methods
also
subsequent
earliest
Italian-language mention of reed
to this writer is found in the
anonymous M?todo Facilissimo per Imparare a ben
in Florence in
Suonare
il Clarinette..,
published
known
position
clearly illustrates the reed
in both fingering charts. In
embouchure
details
are
articulation
concerning
implies
25
M?todo
26
M?todo
Facilissimo
per
Imparare
pp. 2-5.
Facilissimo,
bear
replication
of Lef?vre's
for the reed-above
preference
instructions
embouchure.33
Italian editions of Lef?vre's tutor were
to
witness
Busoni,
il Clarinetto,
sources
documentary
too literally. Only works with
of embouchure
practices.
and Romeo Orsi, and
this
of
preservation
the
father of the composer/pianist
reed-above
con Quelle
Intelligenze
Necessarie...
Ferruccio,
(Florence,
1816).
one should avoid taking
reed position,
to reed position
and illustrative
reference
to ascertain
both textual
representations
as indicators
reliable
truly
27
et Raisonn?e
la clarinette...
Nouvelle
Amand
M?thode
pour
Vanderhagen,
28
en deux parties
Methode
de
Clarinette
Nouvelle
Vanderhagen,
Including
von A. Vanderhagen
and Claude-Fran?ois
in zwei Abtheilungen
cl836)
(Leipzig,
LeF?vre
celle compos?e
(Paris, 1836).
par Xavier
29
de Clarinette
Xavier
Lef?vre, M?thode
(Paris, 1802).
illustrative
with
Contemporary
technique amongst a predominantly Italian body
of players.34 Later advocates included Ferdinando
from
a ben Suonare
for clarinet published
of Berr.31
published by Benedetto Carulli
etRaison?e
In using
a
Subsequent
explicit
translated
Amand Vanderhagen's M?thode Nouvelle
his
However,
support of this embouchure, the text instructs the
player to cover the teeth with the lips, 'the upper
lip should be more folded over the teeth since it is
required to control and press the reed'.26More
those
charts forboth six- and eleven-keyed clarinets and his
text refrains from explicitlymentioning reed position.
1816.25 This document
above
to
Sebastiani's M?todo, Luigi Bassi published possibly
the earliest Italian-language
edition of Lef?vre.32
Bassi's depiction of reed position is ambiguous on the
means.
articulatory
players.29
The decline of the use of the reed-above technique
in French-speaking areas began with the adoption of
allowed
the chest and throat were
above.27
particularly in Italy, suggesting something of the
lineage of reed-above playing passing from French to
practitioners more closely to imitate the human
voice. Advocates of the technique claimed it gave
the player a greater variety of tongued articulation,
desirable method,
methods,
be published throughout the nineteenth century,
in French issued during the
including sources
1830s.28 The influence of Lef?vre's 1802 M?thode
de Clarinette was felt throughout the century,
French
CLARINET
REED-POSITION
IN ITALY
From a purely theoretical standpoint, in nineteenth
reed-above
in 1785, including the
mentioned
in the use of the technique,
Despite
works for the reed-above embouchure continued to
including Lef?vre, Baumann and Simiot also
thirteen-keyed clarinets without thumb-keys.
the
of mixed
a decrease
thirteen-keyed clarinet may well have been motivated
by a deliberate attempt tomake the instrument more
accessible
la clarinette, published
pour
(Paris,
par
A.
cl785),
pp.
Vanderhagen/
M?thode
Buteux,
any
are
ii-iii.
Clarinettenschule
de
clarinette
d'apr?s
30See Fr?d?ric
Berr, Trait? (1836) andM?thode Compl?te de Clarinette (Paris, c. 1836).
31
Enn?s
Berr,Nouvelle M?thode de Clarinette ? 6 et 13 Clefs (Paris, 1839); X. Schneider and Detouches,
Including J.
M?thode
Nouvelle
? anneaux
(Paris,
mobiles;
1844)
de Clarinette
et de
and Klos?,
celle
M?thode
(Paris,
c. 1840);
? 13 cl?s...
(Paris,
de Clarinette
Hyacinthe
Klos?, M?thode
pour
servir ? l'enseignement
de la Clarinette
la Clarinette
?l?mentaire
pour
Kastner, M?thode
Jean Georges
mobiles
? 6 et ? 13 cl?s, et ? anneaux
1843);
d'apr?s
F. Berr.
Revue
et
modifi?e
par H. Klos?
(Paris, cl880).
augment?e
32
per clarinetto
espressamente
composto
Luigi Bassi, M?todo
di Milano
R. Conservatorio
(Milan, cl855).
33
Bassi, M?todo,
p. 6.
34
Benedetto
Carulli, M?todo
cl860)
(Milan,
per Clarinetto
per
il Conservatorio
and Romeo
di Parigi
Orsi, M?todo
per
da Lef?vre
Clarinetto
e adottato
(Milan,
dal
cl890).
motion
pivot
medium
f#/c#"
fixed
in and
flatter
in
of hole,
joint
e/b'keys,
separate
isrelocated
than
touchpiece
back
of
to lower
touchpiece
lower
down
key
which
but
and
4 metal,
place
key than
horizontal between
for
RH
3
and mount,
e/b' f#/c#"
shorter
length
rod
longer
pillar
C
in
531
No.
13
boxwood
style
cursive
No.
C
in
530
13 S
boxwood
style
cursive
hole
raised
flatter
separate
in
A
No.
529
13 S
boxwood
style
cursive
flatter
separate
hole
raised
in
Bb
528
No.
No.
in
527 Bb
No.
Eb
in
522
boxwood
13 S
flatter
including
style
side
mouthpiece
beak separate hole
cursive
raised
motion
pivot
andkeys,
in e/b'
touchpiece and
key
f#/c#"
but than
than
rod
key
medium
horizontal betweenf#/c#"
e/b'longer NA
mount,
length
shorter
pillar
motion
pivot
medium
andkeys,shorter
between
in e/b'
than
touchpiece and
key
but than
rod
horizontal
f#/c#"key
NA
e/b' f#/c#"
mount,
length
longer
pillar
medium-length
touchpiece,
branch
plus
for
by RH
thumb
rod
operationand
mount,
key
than
e/b'but
between
e/b'
f#/c#"
and shorter
longer
than
motion
pivotin
key
keys,
f#/c#" NA
NA
medium
mount,
andf#/c#"
keys,
in e/b'
touchpiece and
motion
pivot
horizontal
key
but than
rod
key
between than
NA
e/b'longer
f#/c#"
pillar
length
shorter
NA
cursive
style
boxwood
12 S
joint
profile,motion
little
LH
profile
into
mounted
cursive
style,
mouthpiece flatter
holeintegrated
including
side
joint
into
expanded
finger
pivot
operation
NA
beak separate
longtouchpiece,
lower
vertical
expanded
A
No.
in
263
11
boxwood
No.
A
in
136
y/
13
boxwood
style
cursive
style
cursive
medium
touchpiece
length
ebony
13
No.
Bb
in
21
upper-case
style
NA
NA
NA
NA
NA
f#/c#"
NA
NA
NA
NA
NA
joint
profile,
little
LH
profile
into
mounted
motion
flatter integrated
lower
joint
pivot
vertical
integral
into
expanded
operation
NA
hole
longtouchpiece,
expanded
finger
flatter
separate
hole
raised
NA
horizontal
pillar
boxwood
13 S
flatter
integral
hole
raised
NA
and
between
e/b'keys,shorter
than than
motion
pivotin
key
f#/c#"key longer
mount,
andpillar
rod
horizontal
but
e/b'
joint
profile,motion
profile
touchpiece,
into
mounted
short
andf#/c#"
lower
joint
keys,operated
in e/b'
holeintegrated
separate
thumb
pivot
vertical between
saltspoon
byRH
into
expanded
for
use
by
RHthumb
expanded
ebony
13
specimen
NA
joint
profile,motion
profile
into
mounted
touchpiece,
short
andkeys,
in e/b'
f#/c#"
thumb
joint
integral holeintegrated
pivot
vertical between
operated
byRH
into
expanded
RH
for
by
usethumb
lower
saltspoon
expanded
M?todo
feature
material
keys
mouthpiece
stamps
design
pad
barrel
f/c"
modus
operandi
key
f#/c#"
front
g#/d#"
key
thumb
rest
g#/d#"
side
brille
key
whose
'LASCUOLANAPOLETANA AND FERDINANDO
SEBASTIANI
Scuola
di Perfezionamento per il Clarinetto
appeared in 1883, and Carlo Delia Giacoma, who, in
1904 published hisM?todo per clarinetto.35
One of the earliest monographs
to the clarinet was published
Gandolfi.36 Aware of Fr?d?ric Berr's reform of reed
position in France, Gandolfi suggests that Giovanni
Bimboni was amongst the first Italian clarinettists
to
the German
system of the inverted
mouthpiece with the reed below', conforming to
evidence presented by Bimboni's tutor.37 Likewise
'adopt
Charles
Day's
of musical
catalogue
instruments
in 1890 at the Royal Musical Exhibition,
mentions both reed positions, remarking thatmany
Italian and Spanish players were still employing the
exhibited
reed-above
In
on
1943
Temistocle
and
the clarinet
a
providing
A
link between
articulation
and reed-position
was firstmade by Roeser in 1764, then implied by
Lef?vre in 1802 and some eight years later by Joseph
Fr?hlich.44
In
extensive
Pace's
saxophone
source
This
overview
reliable
of
the
reed-above
accounts
He
clarinets.40
the
for
Ferdinando
M?todo
per
Scuola
Busoni,
clarinetto
Gandolfi,
Busoni
the
Appunti
1887).
(Florence,
37
Gandolfi,
Appunti
cl850).
(Florence,
38
Charles
Russell
Intorno,
Clarinetto
not
unlike
Day, Descriptive
1890 (London,
(Naples,
edn, Offenbach,
that
of his
1886),
pp.
al Clarinetto
considerable
the
12-13.
See
own
demonstrate
associations
ad Uso
Bimboni,
M?todo
delle
as
abilities
and
1883)
24
Tibia
Delia
pp. 605-611.
(1999),
e Progressivo
recently
exhibited
di Firenze
Clarinetto
per
at
Giacoma,
?ber
Vater
seines
del R. Istituto Musicale
Scuole
clarinet
a player were
Carlo
der Klarinette
Graduato
Instruments
for
compositions
that his
embouchure,
Carl
although
Baermann.
he
a more
portrays
See
Labanchi,
Sib,
the Royal Military
Clarinett-Schule...
Vollst?ndige
and Temistocle
Pace, Ancie Battenti,
Baermann,
chart
were a concerto
and
he performed
the works
8; p. 1. Amongst
F?tis, Biographie,
see Weston,
More
Clarinet
Virtuosi,
Rossini;
p. 236.
47
Universale
dei Musicisti
See Carlo
1938), p. 491.
Schmidl, Dizionario
(Milan,
advanced
M?todo
thumb
per
rev.
1864-75;
lever on this
Musikschule
f?r
'An historical
note
a set of variations
of
model
Progressivo
(Frankfurt,
p. 42. The
1917), unpaginated
fingering
an alternative
for f#/c#".
instrument
fingering
provides
43
7.
M?todo,
Sebastiani,
p.
44
and Fr?hlich,
'Clarinett-Schule',
Lef?vre, M?thode
Theoretisch-praktische
Vollst?ndige
Joseph,
2: pp. 7-35.
Instrumente...
alle beym Orchester
(Bonn, 1810-11),
wichtigere
gebr?uchliche
45
in Rey M. Longyear,
in 1830 appears
of Naples
to the musical
climate
An excellent
background
247-254.
Man
II
Music
and
from a musical
backwater:
1830',
(1978),
pp.
Naples
46
his
performance.47
Sebastiani's
Compilati
contemporary
Carl
Sebastiani's
1943).
reed-above
reed-below
reed-above
However,
In addition,
acclaim.46
for Sebastiani's
of the Musical
Catalogue
1891), p. 102.
(Florence,
famous
are
with the composers Fioravanti and Mercadante
to
their
of
solos
have
composition
inspired
reported
increasing
p. 7, see Giovanni
London,
Exhibition,
39
Temistocle
Pace, Ancie Battenti
40
Pace, Ancie Battenti,
p. 113.
41
Pace,
ibid., p. 114.
42
tutor also
favours
Labanchi's
clarinet,
north.45
prosperous
il Clarinetto
di Perfezionamento
per
(Hamburg,
von
See Ingrid Pearson,
'Verfolgt
Klang
im Italien des 19. Jahrhunderts',
und die Klarinette
Intorno
more
his
1904/R1998).
(Todi,
Ferruccio
Blatt-Position,
36
Riccardo
to
in Paris and Vienna
in 1828, during
appearances
which he performed his own compositions, met with
popularity of the reed-below embouchure during the
nineteenth century in terms of aesthetics.41
35
contrast
contemporary Ernesto Cavallini, Sebastiani made
few tours, spending most of his career in the south
of Italy, where opportunities were fewer than in
commentary
appeared.39
technique as used in Italy. Pace cites the launeddas,
with itsupward-facing idioglot reed, as the historical
inclination of the
precedent for the reed-above
earliest
Teatro San Carlo and the Conservatorio di San
Pietro a Majella.42 Whilst Sebastiani mentions both
reed positions, he links the use of the reed-above
embouchure with a greater degree of 'colouring (of
articulation) that gives the clarinet its beauty'.43
embouchure.38
contains themost thorough biographical account of
the various schools of Italian clarinet playing during
the eighteenth and nineteenth centuries, as well
as
of a 'golden age' of reed-above playing
is reflected in those didactic works published by
the Neapolitan
virtuoso clarinettists Sebastiani,
and Gaetano Labanchi, his successor at both the
Evidence
devoted exclusively
in 1887 by Riccardo
on a theme
by
Pearson?
certainly on a par with those of Cavallini.
a
composing
his
most
remains
in manuscript.
includes
three
uvre
His
concertos
with
for solo
for
clarinet
the reed below, the tongue
and quick execution. With
comes
to play only on the tip of the mouthpiece,
and
acts on the tip of the reed with hardship
and without
works
other
orchestra,
and
music
clarinet
of Sebastiani's
stable
is certainly
the upper
lip, more
lips, which
to any movement.
It is clear that the
not subject
role in the sound
tip of the tongue plays an important
a more
natural
its flexibility
enables
of the clarinet,
the
Despite
of works
numbers
considerable
instrument,
with orchestra based on themes by Rossini, operatic
fantasias on works by Rossini, Verdi and Bellini with
and
for clarinet
as
as well
accompaniment
piano
several
one can
the reed below
only achieve
staccato
not picchettato,
and the other types
of colourings
of articulation
which
give the clarinet
piano.
to continuing the legacy of Lef?vre,
legacy reed position is possibly the most
M?todo
Sebastiani's
part,
important
its beauty.
oscillations
a
marks
significant and deliberate attempt to preserve his
pedagogical beliefs, as well as a codification of the
reed-above technique. At the time of its publication,
in 1855, Sebastiani's M?todo reports thatmany of his
pupils 'have, both in public and in private, shown that
the standard of playing ... in Naples is in a state of
splendour, comparable with that of other European
conservatoires'.48
of his
Much
Amongst
the
concerning
the mouthpiece
the wear
and
but
tear
explicit
are
that
it is a big mistake
on your
teeth
both
Besides,
mouthpiece.
the
because
and
the
for a good
vocal
timbre
teeth touch neither
the
reed
it is
above
clear
or below.
I am persuaded
for
by the reed above
I present
the most
reasons....It
is
convincing
that the reed
is weaker
than the mouthpiece,
therefore
itmust
be consigned
48
Sebastiani,
M?todo,
49
cit. p. 5.
Op.
50
cit., p. 7
Op.
51
cit. p. 5.
Op.
52
Raffaele
Liberatore,
1836), p. 79.
53
William
Waterhouse,
(London,
1993),
to the strongest
part of
and when
by anything
the reed
to
allowed
means
below
leaning
the entire
be placed
in which
of the palate
Therefore
impediment.
without
cavity
the reed
above.50
espousal of a clarinet with thirteen
keys is conservative for its time. In recounting the
Sebastiani's
the
number
of
design
to deal with
To
method.
added.
of
this
care
I take
he writes:
history,
Finally
clarinets
these
and
thirteen,
keys became
are now quite
used.
widely
in the present
this model
thirteen
these
However,
of the thirteen
would
some
keys
not be
aforementioned
which
show
will
I have
appear
the advantages
advised
can
others
be
the equivalent
serve
and would
keys,
In fact, I directed
the execution...
only to facilitate
G. Bosa
manufacturer
of Naples
the
indispensable
nor the
on the
to decide
It is necessary
mouthpiece.
best method
of holding
the mouthpiece,
with the reed
which
it has
of clarinets,
The mouthpiece,
covered
by the reed is introduced
cover both sets of teeth,
between
the lips, which must
or
them
from
the mouthpiece
preventing
touching
I have known
rest
the reed.
who
their
teeth
people
of
freely. Having
should
directions
following remarks:
on
obstructed
to oscillate
of other clarinettists,
embouchure
reed-above
are not
vibrate
above
profit from this passive instruction; when then they
will be acknowledged, also as masters, I they try to
teach in a way to be sure the people can learn, to still
Sebastiani's
become
on the fleshybits of the mouth but if the reed is
others to play the clarinet can be gleaned from the
following remark: 'For the time being I am satisfied
by the enjoyment of my beloved pupils, to whom I
dedicate the present method. I am sure that theywill
consult the optimal methods
especially that of Lef?vre'.49
a sound with
its
the reed produces
more
sonorous
when
they
Finally,
which
instrument's
to teaching
approach
With
speed....
battuto
miniatures
In addition
of whose
209
GennaroBosa
the
in the construction
him
of the modifications
in the fingering
charts, where
I obtained
them.51
with
Iwill
GENNARO BOSA AND HIS CLARINETS FOR
SEBASTIANI
evidence
Documentary
activities
the
concerning
of the musical-instrument
maker
life and
Gennaro
is scant. According
to the 1836 edition of
Liber atores De'saggi
delle Manifatture
Napolitane
Esposti nella Solenne Mostra Bosa was
Bosa
Raffaele
active
as
a maker
in Naples,
at 9 Calata di S. Tommaso
from
working
premises
d'Aquino.52 His reputation
extended further south, as the 1836 consignment of
wind instruments for the Royal Orphanage inReggio
Calabria
testifies.53 The 1834 edition of Liberatore's
commentary
on
Neapolitan
manufacturers
equates
p. 4.
De'saggi
The New
d?lie
Manifatture
Napolitane
Index:
A Dictionary
Langwill
Esposti
ofMusical
nella
Wind
Solenne
Mostra
Instrument
p. 41.
del
Makers
1836
(Naples,
and
Inventors
210
The Galpin Society Journal
r**4
Figure
1. Sebastiani's
M?todo
the quality of clarinets by Bosa with
in Vienna,
London
or
Paris.54
Given
Forma
those made
Liberatore's
mention
in clarinet design by
of developments
M?ller,
Janssen and Guerre, it could be assumed
that Bosa had been making
clarinets since the
1820s. Bosa's collaboration with Sebastiani, known
at the time as a clarinettist of repute, was certainly
at the time of Liberatore's report.55
well-established
Liberatore also describes a clarinet in B|, by Bosa
54
55
56
Liberatore,
Liberatore,
Instruments
57
Waterhouse,
58
Waterhouse,
De'saggi
delle Manifatture
op. cit., p. 88. This
by Bosa
Napolitane
are rare, but a flute with
The New
ibid.. The
Langwill
cor
Index,
anglais
similar
e composto',
pezzi
p. 26.
from ebony with an ivory mouthpiece,
ivory rings and shell-shaped keys made of silver.56
Another player to influence Bosa's craftsmanship
was the oboist Giovanni Battista Belpasso, one of
made
performing and teaching colleagues in
more is known about Bosa although
Little
Naples.57
other surviving instruments include flutes, an oboe
Sebastiani's
and
a cor
anglais.58
Documentary
Esposti
nella
is also mentioned
collaboration
e di questi
del Clarinetto
shell-like
Solenne
in Pace
keywork was
Mostra
Ancie
in
evidence
del
1834
(Naples,
1834),
of
p. 87.
p. 41.
Battenti,
offered
support
for sale
in the U.S.A.
inMay
2006.
loc.cit..
is in the collection
of the Royal
College
of Music,
London;
RCM
326 CA/2.
the
Pearson?
survival in Naples of clarinets by Bosa appears in
Ettore Santagata's 1930 catalogue //Museo Storica
di San Pietro a Majella.59
Musicale
Santagata lists
origin,
from
specimens
the
is an
four Neapolitan
these
and
Capuana
The
thesis
Santa
offered
few obstacles
presented
that
above,
Entitled
thumb-keys
the use
parts.
of a metal
'The structure of the clarinet and
M?ller's
ligature.
In contrast
with
on
a
59
Ettore
information
1960,
60
61
visit
Renato
Meucci
Sebastiani,
reports
practices
stamping
Given
time.64
of reed-above
the
clarinet
various
amongst
status
playing
as a
of Naples
in nineteenth
collaboration
such
marks
were
more
commercially
e/b',
produce
the middle
one
is an
alternative
key
for
The instrument
g#/d#",and the other a key for f#/c#"
on
were
3rd edn,
a cursive
instrument,
driven than indicators of performing practices.
Figure 6 (see colour section) presents three views
of the keys operated by the left-hand little finger
and right-hand thumb. From left to right, the keys
the material
several
//Museo
Storico Musicale
Santagata,
is also appears
in Lyndesay
Graham
rev., enlarged
the shorter
century Italy, the presence of a stamp on the beak side
of two of themouthpieces
(Nos. 522 in E^ and 528 in
B^) confirms that by the time of the Bosa/Sebastiani
in themid 1830s.62
to Naples
in
at this
centre
the ad hoc selection of clarinets examined
recent
to the previous
irregularities
makers
THE NAPLES CLARINETS
Amongst
also
in C. Herbert Heyde has suggested something of the
of this development, the clarinet depicted in the
M?todo leaves the hole E.61 Sebastiani's preference for
mouthpieces made fromwood, ebony or grenadilla,
contrasts
notice
clarinets,
style stamp appears on the other eight instruments
examined. Figure 5 (see colour section) shows this
design of stamp as it appears on the bell of a clarinet
The majority of thirteen-keyed clarinets from
the mid-nineteenth century include a key for f/c".
Although both Bosa and Sebastiani were aware
reportedly used by Bosa
Bosa
M?todo,
therefore, intended primarily for students
or players with less need to utilise the tuning
adjustments facilitated by a separate barrel?
finger. This design enables the player to slur between
e/b' and f#/c#",
using keys A (left-hand little finger)
and B (right-hand thumb), as well as between f/c"
and g#/d#"by alternating hole E (rh little finger) and
key C (lh little finger). Sebastiani also recommends
the use of key C, rather than key D, as a trill key.
of ivory or metal,
remarks.
preliminary
theM?todo
touchpiece for the f#/c#"key.Whilst
an
an
instrument
with
depicts
integral barrel, only
two of the surviving Naples instruments display this
characteristic. Is the instrument portrayed in the
Bosa's design includes a shortened touchpiece so
that the right-hand thumb can operate the key for f#/
c#" (B in Fig. 1) as well as an additional key forg#/d#"
(C), which appears to have been able to be operated
either by the right-hand thumb or the left-hand little
instead
as
thirteen-keyed
in
is noticeable
influence
detailed
second holes. Figure 3 (see colour section) presents
a similar view of the lower joint, showing clearly the
extra g#/d#"key, a feature on all of the surviving
the four pieces ofwhich it is composed', the clarinet
is shown, from left to right, in superior, posterior and
lateral views, followed by superior views of the four
component
more
occasion,
Figure 2 (see colour section)
shows the frontview of this instrument's lower joint,
including the maker's stamp between the first and
evidence of the Bosa/
Sebastiani collaboration. Figure 1 is from Sebastiani's
M?todo.
this
Sebastiani's M?todo.63
practitioners,
in the organological
ismanifest
On
Itwas somewhat surprising to find, inNaples, only
one instrument corresponding to that portrayed in
di Loreto.
to reed-above
instruments.
offered
conservatoires;
Maria
examined;
observations are not possible due to the shortage
of time spent with the instruments as well as their
current condition. None the less, the following are
Poveri di Ges? Cristo, Piet? dei Turchini, San Onofrio
a Porta
were
clarinets
in EK two in C, and three each in B^ and A.
Table 1 presents a summary of the features of
of
amalgam
of nine
total
one
the Naples Conservatorio.60 Founded in 1925, the
collection houses about 140 instruments, mainly
and
A
designs.
eleven clarinets, including eight with thirteen keys.
Of these instruments, nine survive in the recently
collection at
reconditioned Museo Storico Musicale
of Western-European
211
GennaroBosa
1972),
different
di San
the
left,
also
shown
previously,
Pietro
An
Langwill's
a
(Gianinni,
Majella
Index ofMusical
Wind
1930), pp.
Naples,
Instrument Makers,
p. 16.
that a fire in 1976 destroyed
part
of the Naples
collection.
Personal
124-6.
Conservatorio
in The New
Di
San
Langwill
Pietro
a Majella,
Index, W. Waterhouse
No.
communication.
21.
(London,
1993),
This
(Edinburgh,
op. cit., p. 26.
62
Sebastiani,
op. cit., p. 6.
63
Museo
Storico Musicale,
Naples,
64
Herbert
'Makers'
Heyde,
stamps'
to
corresponds
the depiction in Sebastiani's M?todo. The similarity
between the length of the touchpieces on the two
pp. xiii-xxviii.
boxwood specimens suggests that all three keys can
be operated by the left-hand little finger. The middle
specimen has a thumb branch on the f#/c#"key, the
only Naples instrument with this feature, shown in
Figure 7 (see colour section).
A change in the design of keywork is evident by
comparing the 'saltspoon' pads on Nos. 21 in B^
(Figure 4, see colour section) and 263 inA and 522
in E^ with the remaining clarinets, which seem to be
more
aware
of
of the
espousal
reed-above
contemporary
this
elusive
practice.
remains whether, within
the
question
context of performing practices of the nineteenth
the
century,
its
developments
in clarinet manufacture,
see Figure 9 (see colour
section). The inclusion of this feature contrasts
Sebastiani's preference for the use of the f/c" hole.
conscious
technique
is
retrospection
in
conservative
merely
or whether
it permits
expressive possibilities which would
unavailable.
above
Such
evidence
to
remind
current fetish for standardisation
climate of historically-informed
Bosa? Or is the variety amongst the Bosa instruments
indicative of a similar diversity amongst themaker's
client base?
eras?
instrument, despite it being made from boxwood,
lighter than ebony? Does the sophistication of the
keywork suggest that this is the latest clarinet by
the
us,
with
be
reed
our
located within
a
performance, of
the richness and diversity we seem all too willing to
jettison. Indeed, what degree of historical awareness
informs our music making ifwe are rigidly selective
in our willingness to embrace the techniques of past
ACKNOWLEDGEMENTS
CONCLUSION
the well-documented
survival of the
Considering
reed-above embouchure in Italy into the nineteenth
century, the Bosa/Sebastiani
relationship provides
vital organological
evidence. The significance of
their collaboration inheres in its position as one of
few extant
otherwise
concerning
serves
embouchure
Is the thumb rest contemporary with the keywork
or was it added to help the
player in supporting the
very
embouchure
can only fullybe understood
through an investigation
of the instrument he used, which brings us closer to
an understanding, in both
theory and practice, of
specimens.
recently-made
was
Sebastiani's
The
A brille on the lower joint of one of the C clarinets
provides confirmation of Liberatore's report that
Bosa
associated with a known virtuoso player. The use of
thumb-keys by Italian reed-above virtuosi such as
Sebastiani contradicts beliefs that this embouchure
was not compatible with such
keywork. Indeed,
clarinets
Italian
nineteenth-century
Iwish to thank The Galpin Society for the Research
Award which enabled me to undertake this research.
Thanks
also
to
Tiziana
Grande,
Mauro
Amato,
Francesco Melisi, Maestro Vincenzo De Gregorio,
AI Rice, William Waterhouse
and Colin Lawson.
This article isdedicated to thememory of Professor
Sir Nicholas
Shackleton.
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112
INGRID ELIZABETH PEARSON
Ferdinando Sebastiani, Gennaro Bosa and theClarinet inNineteenth-Century Naples.
Figure
2. Clarinet
showing maker's
the illustration
in Er, no. 21,
stamp. This
in Sebastiani's
lower joint, frontal
view
to
instrument
corresponds
1855 tutor.
Figure
g#/d#
"
3. Clarinet
key and
in Fr, no. 21,
shorter
lower joint,
touchpiece
forf#/c#
showing
"
key.
extra
Colour Section
Figure
4. Clarinet
note
in Er, no. 21, upper
joint, frontal
view,
'saltspoon'pads.
113
114
Figure
Figure
6 (above).
5. Clarinet
stamp
L
to R, Clarinets
in Er, nos.
21, 528
and 527, showing,from left to right,
"
keysfor e/b',g#/d# andf#/c#".
in C,
no. 530,
on bell.
cursive-style
115
Colour Section
Figure
8. L to R, Clarinets
in C, nos. 530
and
531,
comparing
lower joint key work.

The Clarinet in 19th Century Naples

Transcription

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