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CLARINET. History of creation Dmitriev M.A. teacher of St. Petersburg State Budgetary Educational Institution of Children's Education "Children's Art School No. 13 of Kurortny District"
Was invented at the end of the XVII - early XVIII century (some reference books indicate 1690 as the year of invention of the clarinet, other researchers dispute this date and indicate that the first mention of the clarinet dates back to 1710) Nuremberg music master Johann Christoph Denner (1655-1707). Clarinet is a reed woodwind instrument with a single reed.
Johann Christoph Denner (August 13, 1655, Leipzig - April 20, 1707, Nuremberg) - German musical master, considered the inventor of the clarinet Denner was born into the family of turner Heinrich Denner, who was also involved in the manufacture and tuning of wind musical instruments. In 1666, father and son moved to Nuremberg, where in 1678 young Denner opened the first tool factory. Subsequently, the family business was continued by the sons of Johann Denner - Jacob and Johann David. 68 instruments, the author of which is considered to be Denner, have survived to this day.
Denner is best known as the inventor of the clarinet. From the 1680s he worked to improve the design of the ancient wind instrument- Chalumeau, and around 1690, as a result of various experiments, a new instrument was obtained, called the clarinet. Some researchers dispute both the date of the clarinet's appearance and Denner's priority in the authorship of this invention. The only surviving clarinet believed to be the work of Denner himself is kept at the University of California at Berkeley; the second existing instrument was lost during World War II. The first surviving mention of the clarinet in print dates back to 1710, that is, three years after Denner’s death.
Chalumeau ́ (French chalumeau, from Greek κάλαμος - “reed”) - woodwind musical instrument eras of the Middle Ages, Baroque and early classicism. Considered the forerunner of the modern clarinet. The Chalumeau scale is mainly diatonic. Since the instrument is not equipped with valves, chromatic notes on it sound unclear and sometimes inaccurate in pitch. The range of the Chalumeau did not exceed one and a half octaves, so there were several varieties of this instrument, tuned in different registers. In the 16th-17th centuries, chalumeaus were periodically included in orchestras. Various solo works for this instrument were created until the 1730s (concerto by Johann Friedrich Fasch, double concerto by Telemann). Eight examples of ancient Chalumeau have survived to this day. Attempts are being made to recreate modern copies of instruments based on them. The word chalumeau was found in French since the 12th century and was originally used to refer to different types wind instruments. By design, the chalumeau occupies an intermediate position between the recorder and clarinet. Like the clarinet, the chalumeau has a cylindrical tube and a single reed.
The main innovation, allowing a clear distinction between the Chalumeau and the clarinet, was the valve on back side instrument, controlled with the thumb of the left hand and helping to transition to the second octave. In this register, the sound of the first samples of the new instrument (originally called simply “improved chalumeau”) resembled the timbre of the trumpet in use at that time, called “clarino”, the name of which, in turn, comes from the Latin. clarus - “clear” (sound). This trumpet gave its name first to the register, and then to the entire instrument - clarinetto (Italian name for clarinet) literally means “little clarino”. clarinet range
For some time, Chalumeau and clarinet were used on equal terms, but already in the second quarter of the 18th century, Chalumeau practically disappeared from musical practice. Denner's work was continued by his son Jacob (1681-1735); three instruments of his work are kept in museums in Nuremberg, Berlin and Brussels. All these clarinets had two valves.
Instruments of this design were very common until the 19th century, but the Austrian master Paur around 1760 added a third to the already existing two valves, the Belgian master Rottenburg - the fourth, the Englishman John Hale in 1785 - the fifth, and finally, the famous French clarinetist and composer Jean- Xavier Lefebvre created the classic six-valve clarinet around 1790.
Lefebvre taught at the Paris Conservatoire from its founding (1795) until 1824. Among his students were many famous clarinettists of his time, including Bernhard Henrik Crusell. In 1802, his “School of Clarinet Playing” was published, which enjoyed great popularity and was translated into Italian and German languages. Jean-Xavier Lefebvre Lefebvre was the first to expand the clarinet's range to modern limits (E minor octave to the fourth octave) and use trills throughout its entire range. He is also credited with creating the classic "Doboehm" model of the instrument with six valves (adding a valve for the note C-sharp of the first octave/G-sharp of the second), but along with this there is an opinion that Lefebvre only adopted the idea of a six-valve instrument, the first examples of which appeared in Germany.
By the end of the 18th century, the clarinet became a full-fledged instrument. classical music. Virtuoso performers appear who improve not only the technique of performing the clarinet, but also its design. Among them, Ivan Muller should be noted, who changed the design of the mouthpiece, which significantly influenced the timbre, simplified overblowing and expanded the range of the instrument, essentially creating a new model of it. From this time on, the “golden age” of the clarinet began. IN early XIX centuries, the clarinet was a rather technically imperfect instrument. Some chromatic sounds were not intonationally pure enough, and composers had to take into account the characteristics of the instrument when writing music.
Ivan Muller By 1809, he finally designed a new model of the instrument and, with the support of the Parisian banker M. Petit, founded a factory where such clarinets were produced. Müller's first solo performance on the new instrument made a strong impression on the musical community, and the Müller system clarinet quickly began to gain popularity among musicians, including Heinrich Berman and Johann Herstedt. In 1810, Müller wrote The School for the Improved Clarinet. Müller clarified the location of the sound holes on the clarinet body, invented new uniform valves (instead of the previously used flat valves with a leather lining, he designed three-dimensional “tablet-shaped” valves), proposed a new arrangement of the mouthpiece (reed down) and made a number of other improvements. Müller's other inventions included the ligature, a special device for attaching a reed to a mouthpiece. Until this time, a special cord was used as a ligature (on German and Austrian clarinet models, the cord is still used today).
Other prominent masters who took part in further improving the design of the clarinet include Adolphe Sax (inventor of the saxophone and wide-bore brass instruments) and Eugene Albert. Improvement of the clarinet continued in the 19th century: Professor of the Paris Conservatory Hyacinthe Klose and music master Louis-Auguste Buffet (brother of the founder of the Buffet-Crampon company, Denis Buffet) successfully adapted to the clarinet a system of ring valves, invented by the flutist of the Munich Court Chapel Theobald Böhm and originally used only on the flute. This model was called the “Boehm clarinet” or “French clarinet”.
In Germany and Austria, the so-called “German” and “Austrian” clarinets became widespread, originating from an instrument with a valve system designed by Johann Georg Ottensteiner (1815-1879) together with clarinetist Karl Berman, who published the “School of Clarinet Playing” for this system. In the 1900s Berlin master Oskar Ehler (German: Oehler; 1858-1936) made minor improvements to it. Traditionally, such a system is called the “Ehler system”.
Having opened his own workshop for the manufacture of instruments in 1887, Ehler set about improving the design of the Heinrich Berman clarinet model that then existed in Germany. The master added additional holes (expanding their number to 28), without, however, changing the number of control valves (there are 22 left). Thus, without complicating the fingering, it became possible to produce sounds of a wider range and cleaner intonation. In addition, Ehler made some notes easier to play and proposed a new mouthpiece design with a slightly concave facet (the surface adjacent to the reed). Ehler's ideas were adopted and developed by German masters of the 20th century, among whom the most famous were Arthur Uebel (1888-1963) and Ludwig Warszewski (1888-1950). Instruments designed by Ehler were widespread until the middle of the 20th century, when they began to be replaced by clarinets of the French system; however, in our time, “German” clarinets are actively used in Germany and Austria. Oscar Ehler
The mechanism of the German clarinet differs from the French one and is less suitable for fluent virtuoso playing. The mouthpieces and reeds of these clarinets are also made using technology that differs from the French one. It is believed, however, that instruments of the German system provide greater expressiveness and power of sound. For quite a long period, clarinets of the German system were widespread throughout the world, but around the 1950s, musicians began to switch to clarinets of the French system, and now German clarinets Basically only Austrian, German and Dutch play, and also, maintaining a tribute to tradition, some Russian clarinettists. In addition to the Boehm and Ehler systems, there are several other options for the arrangement of valves on the instrument, in particular, at the beginning of the 20th century, the Selmer company produced “Alber clarinets” (reminiscent in structure of instruments of the mid-19th century), and in the 1960-70s - "Marque's clarinets". The range of the latter could be extended up an octave. However, these tools are not widely used.
Among the experimental samples of various designers, it is necessary to note the quarter-tone clarinet of Fritz Schüller, intended for performance modern music. The modern clarinet is a technically quite complex mechanism. The instrument has about 20 valves, many axles, springs, rods and screws. Leading musical instrument manufacturers are constantly improving the design of the clarinet and creating new models.
With a single cane.
Wooden body of cylindrical cross-section, double-jointed, with a small bell. The cane is a rectangular plate of a special type of reed (Arundo donax) - attached to the cut of a beak-shaped mouthpiece (the latter connected with the body through the short transitional pipe - “bo-chon-ka”).
The total length of a typical clarinet in B is 66 cm. Most playing holes (total number 24-27) are closed with metal valves. The clarinet is a transposing instrument. IN modern practice the most commonly used clarinet is in B (sounds a major second lower than the musical notation); in an orchestra (the clarinet is part of the group of woodwind instruments), the clarinet in A is also used (sounds a minor third lower than the musical notation). A characteristic acoustic feature of the clarinet is the formation of blows on the duo-de-tsi-mu (and not on the octave, like other woodwinds); This is associated with the use of a complex valve system.
The range is about 4 octaves: from “E” minor to “C” 4th octave (as written). Notated mainly in treble clef. The nature of the sound varies greatly in different registers: in the low it is thick and juicy, in the middle it is clear and brilliant, in the high it is sharp. The rich virtuoso capabilities of the instrument are combined with a wide dynamic amplitude (from pp to ff).
The clarinet was designed based on the chalumeau by I. C. Denner from Nuremberg (circa 1700). Fingering difficulties when playing in keys with a large number of key signs led to the appearance in the mid-18th century of clarinets of different tunings, and the need to change the instrument during playing, in turn, led to the improvement of the valve system (for example, the son of the inventor J. Denner designed the duodecima valve ). In 1809, the German company Griesling und Schlott built a clarinet with 10 valves, which, thanks to the German virtuoso G. Berman, established itself as a solo instrument.
Around 1812, Russian clarinetist I. Müller designed an in B clarinet with 13 valves and an improved lever system for fingering combinations. This clarinet, modified by Berman, established itself as the main instrument of the family and became known as the "Berman" or "German" system clarinet; V XIX-XX centuries it continued to be used and improved. IN mid-19th century, the valve-lever mechanism of the German flutist T. Boehm was used in the design of the clarinet. In 1889, the French company Evette & Schaeffer created a new model of the “Böhm” instrument - the clarinet of the “French” system, which became widespread throughout the world and practically replaced the “German” clarinet.
Since the middle of the 18th century, the clarinet began to be used in the opera orchestra of many European countries(France, Germany, Russia). A big role in his development as orchestral instrument played by composers of the Mannheim school. K. Stamitz, F. Pokoryai, K. F. Abel created concerts for clarinet and orchestra. J. Haydn used the clarinet in the “Paris” and “London” symphonies, W. A. Mozart - in operas (starting from “Idomeneo”, 1781) and several symphonies (No. 39 Es-dur, 1788, etc.).
Masterpieces of the clarinet repertoire are the Quintet with Clarinet in A major (1789) and the Concerto in A major (1791), created by Mozart for clarinetist A. Stadler. L. van Beethoven approved the clarinet in symphony orchestra and created ensembles with him. Romantic composers significantly expanded the timbre-colorful and technical capabilities of the clarinet, especially K. M. von Weber (2 concerts with orchestra, 1811; Great concert duet for clarinet and piano, 1816), I. Brahms (2 sonatas for clarinet with piano, 1894; Trio and Quintet with clarinet, both 1891).
Concertos were also written by L. Spohr, I. Pleyel, S. Mercadante. Examples of the vivid use of the clarinet in the orchestra include the works of F. Mendelssohn, G. Rossini, F. Liszt, G. Berlioz (“Fantastic Symphony”, 1830), M. I. Glinka (“Ka-ma-rin-skaya” ", 1848; dances from operas), A. P. Bo-ro-di-na, P. I. Chai-kov-go, N. A. Rim-sko-go-kor-sa- ko-va, R. Vag-ne-ra, R. Strau-sa. Pa-te-ti-che-skoe trio for clare-not-ta, fa-go-ta and Glinka piano (1832) is known. In the music of the 20th century, the clarinet is used in different ways by K. De-bus-si (Rhapsody for clarinet and piano or string orchestra, 1910), M. Ravel, G. Mahler, A. Schoenberg, S. S. Prokofiev, D. D. Shostakovich, A. I. Khachaturian (Trio for piano, violin and clarinet, 1932) and other composers.
In the 20th century, the clarinet also spread as a jazz instrument. One of the world's greatest clarinetists, B. Goodman became famous in jazz and academic music; concerts were created for him by I. F. Stravinsky (“Black Concerto” for clarinet with jazz band, 1945), P. Hindemith (1947), A. Copland (1948); ensemble with clarinet “Contrasts” - B. Bartok (1938). The founder of the domestic clarinet school is S. V. Rozanov.
A symphony orchestra usually uses 2 clarinets and a bass clarinet. Among the many varieties of historical instruments are the small clarinet, or piccolo clarinet (in high Es tuning), and the basset horn.
Illustration:
Modern cla-no. BRE Archive.
One of the few musical instruments whose date of appearance can be said more or less definitely. Researchers agree that it was created in 1701 by the Nuremberg woodwind instrument maker Johann Christoph Denner (1655-1707), who improved the ancient French Chalumeau pipe.
Two fundamental differences allow us to talk about the birth of a new instrument: First, Denner replaced the tube with a notched tongue with a reed plate - a cane attached to a wooden mouthpiece, and removed the chamber in which it was located ( characteristic feature instruments of the Renaissance), which made it possible, by changing the pressure of the performer’s lips on the reed, to influence the quality of the resulting sound. Secondly, he introduced a doudecima valve, which facilitates overblowing, and thereby expanded the range of the new instrument. The sounds of the upper range of the clarinet reminded contemporaries of the timbre high pipe- clarino (clar - light, clear), which gave the instrument its name - the diminutive Italian clarinetto.
By the middle of the 13th century, isolated cases of using the new instrument in orchestral scores were known, and in 1755 clarinets were introduced into all French military bands. Through the efforts of many musical masters, among whom should be named Denner's son Jacob, Berthold Fritz, Joseph Beer and Xavier Lefebvre, the clarinet was improved, and by the end of the century it had taken a strong place in European orchestras. However, the fingering difficulties inherent in the design of the clarinet (see “a little physics”) did not allow free play in all keys.
Performers and craftsmen found a way out of this situation by creating instruments different sizes, sounding in one key or another depending on their length. This problem has not been completely solved to this day, and modern professional clarinetists carry two instruments in their cases: “in B,” which transposes a major second down, and “in A,” which transposes a minor third down. Other varieties (see gallery) are used, rather, not for ease of play, but because of their different timbre. (Although composers, starting with W.-A. Mozart, also use the difference in the timbres of the “in B” and “in A” clarinets)
A LITTLE PHYSICS
The clarinet belongs to the woodwind instrument family. Instruments are grouped into a group not based on the material from which they are made, although most of them are indeed wooden, but based on design features: the pitch of the sound is changed by opening and closing holes drilled in the barrel of the instrument. The group in a modern orchestra includes, in addition to the clarinet, flute, oboe, bassoon and saxophone (all with their own varieties). Also, according to the indicated criterion, it can include the recorder and numerous folk instruments: zhaleika, zurna, nai, etc.
But among its fellows, the clarinet has several unique differences, determined by the acoustic characteristics of sound formation. The main design difference that defines all others is that the clarinet is an instrument that has a cylindrical, rather than conical, bore bore. (The flute, also a cylindrical instrument, has both ends of the channel open.) Thanks to this, the sound in the channel appears as in a “closed pipe”, i.e. There is only one node and one antinode.
sound wave in an open pipe
sound wave in a closed pipe
Along the length of the sounding part of the channel, only half fits sound wave, the second half is formed by reflection from the closed end, so the clarinet sounds an octave lower than an “open pipe” of the same length (cf. flute). This same acoustic feature determines that there are no even overtones in the spectrum of the clarinet sound, and the so-called “overblowing” occurs not by an octave, as in other instruments, but by a duodecimus. Therefore, the clarinet’s fingering, compared to other wooden ones, is complicated (additional valves were required to fill the “extra” fifth), and the range is almost four octaves (here, only the horn can compete with the clarinet among wind instruments). For the same reason, the sound of a clarinet differs so greatly in timbre in different registers.
Instrument of beautiful sounds of musicFrom the history of the clarinet.
The clarinet was invented at the end of the 17th - beginning of the 18th century by the Nuremberg music master Johann Christoph Denner (1655-1707), who at that time was working on improving the design of an ancient French wind instrument - the Chalumeau.
The main innovation, allowing a clear distinction between the Chalumeau and the clarinet, was the valve on the back of the instrument, controlled by the left thumb and helping to transition to the second octave. In this register, the sound of the first samples of the new instrument (initially called simply “improved chalumeau”) resembled the timbre of the trumpet in use at that time, called “clarino.” This trumpet gave its name first to the register, and then to the entire instrument clarinetto (Italian name for clarinet) During For some time, Chalumeau and clarinet were used on equal terms, but already in the second quarter of the 18th century, Chalumeau practically disappeared from musical practice. Denner's work was continued by his son Jacob; three instruments of his work are kept in museums in Nuremberg, Berlin and Brussels. By the end of the 18th century, the clarinet became a full-fledged instrument of classical music.
Virtuoso performers appear who improve not only the technique of performing the clarinet, but also its design. Among them, Ivan Muller should be noted, who changed the design of the mouthpiece, which significantly influenced the timbre, simplified overblowing and expanded the range of the instrument, essentially creating a new model of it. From this time on, the “golden age” of the clarinet began. In the first half of the 18th century, the clarinet, being a technically very imperfect instrument with a small range and uneven sound, appeared in the orchestra only sporadically. Among such works are the mass of Jean-Casimir Fabre, the operas Tamerlane and Richard the First by George Frideric Handel, and a number of works by Reinhard Kaiser. Solo performances clarinettists have been known since the beginning of the second half of the 18th century. At the end of the 1740s, clarinets appeared in the orchestra of Alexandre La Pupliniere in France. Among the clarinettists of this orchestra, Gaspar Proksch stood out for his skill, for whom the Concerto of Johann Stamitz, who conducted this orchestra, was presumably written. Stamitz's concerto was the first in history written for a “large” clarinet. Wolfgang Amadeus Mozart played a significant role in the development of the clarinet as a full-fledged instrument and the expansion of its repertoire. He became acquainted with the clarinet, presumably in 1764, while working on the score of one of C. F. Abel's symphonies, and he himself first used clarinets in 1771 in Divertimento KV113, and then in two more in 1773. In these works, the clarinet parts are relatively simple. Only from the early 1780s did he begin to use this instrument more actively: all operas, starting with Idomeneo, involve the use of clarinets. The clarinet also appears in chamber music Mozart: in serenades for winds. Trio with viola and piano. For Stadler, Mozart wrote the Concerto for Clarinet and Orchestra; my last one orchestral composition, completed a few months before his death.
This concerto, considered one of the best in the clarinet repertoire in its entire history, was first performed by Stadler on September 16, 1791 in Prague.
Mozart. Concerto for clarinet and orchestra.
The advent of the era of romanticism in music was marked not only by a change musical style, but also by improving the capabilities of musical instruments, including the clarinet. Composers turned their attention to the improved instrument and created a number of works that are still included in the repertoire of clarinetists. The timbre of the clarinet immediately attracted the attention of composers and became a kind of musical symbol of romanticism. Clarinet solos are heard in the operas of Weber and Wagner, in the symphonies of Berlioz and Tchaikovsky, and in the symphonic poems of Liszt.
It is difficult to name the exact date of birth of the clarinet. It can be assumed with some degree of obviousness that in last decade The 17th century Nuremberg master Johann Christoph Denner improved his model of a new wind instrument so much that one could talk about the birth of the clarinet.
Some German reference books offer a more precise date: January 14, 1700. Others lean towards 1696 when dating the invention. But no one seems to dispute Denner’s authorship.
"Lefty" from Nuremberg
Johann Christoph Denner was born in 1655 in Leipzig. His father was a turner and at the same time a tuner of musical instruments. Denner Sr. worked with wood and ivory as well as copper. In 1663, the Denner family moved to Nuremberg. A workshop was opened in 1676. Orders came from all over Germany.
A student of his father, Johann Christoph Denner was, as one biographer put it, “not only diligent, but also musically gifted.” His particular passion was improving the design and sound of instruments. Thus, flutes from the workshop of the Denner dynasty still serve as standards for masters. Denner's name is associated with the improvement of oboes and bassoons. But, perhaps, the main and fundamentally new achievement of the hereditary inventor was the clarinet, which improved the ancient pipe.
The first clarinet was developed by Denner based on an ancient French wind instrument - the Chalumeau. Denner's main revolutionary innovation was the valve on the back of the instrument. With the help of this valve, the transition to the second octave became possible. Johann Christoph Denner worked on improving his brainchild until his comparatively early death in 1707. There are suggestions that the author of the clarinet with two or even three valves is Denner himself. It is known for certain that transposing instruments with two valves were made by his sons and heirs.
Clarinet as an engine of musical progress
Thanks to the valves, which make it possible to transpose and expand the sound palette, the clarinet has become one of the most interesting musical instruments for performers and composers. By the end of the 18th century, a model with six valves had become established, the creator of which was the famous French musician Jean-Xavier Lefebvre. The family of clarinets began to grow rapidly - from coloratura piccolos to bass ones.
"Lady's" instrument
True, clarinets found their way into prestigious orchestras with difficulty at first, precisely because of their novelty. So, working in Mannheim with the princely orchestra, one of the best in Europe, Mozart wrote to his father: “Oh, if only there were clarinets! You can’t imagine what a wonderful effect the combination of flutes, oboes and clarinets gives in a symphony!” Soon his wish came true, clarinets appeared in Mannheim and in other European orchestras.
Context
A significant role in the development of the instrument and its repertoire already in XIX century played by Iwan Müller, a German virtuoso clarinetist. The name of Müller and his improvements are associated with the “golden age” of the clarinet.
Heroes of our time
Probably only the violin and piano can surpass the clarinet in terms of the number of outstanding soloists and soloists. The queens of the modern classical clarinet scene are two ladies: the German Sabine Meyer and the Israeli Sharon Kam. There is generally a lot of femininity in this instrument, it is no coincidence that in German the clarinet is feminine, A Johannes Brahms(Johannes Brahms) even called the instrument “Fräulein Clarinet”.
However, men also pay tribute to this instrument. Jörg Widmann, one of Germany's most important composers, is inseparable from his clarinet, and the instrument's capabilities serve as a source of inspiration for him. Israeli virtuoso clarinetist Giora Feidman amazes audiences with her improvisations. A jazz clarinet with roots in Sidney Bechet, Benny Goodman and Eric Dolphy, recent years experiencing another surge in popularity.
