Clarinet Partnerships

Question 1

Johann Melchior Molter’s (Durlach Kapellmeister, Germany) 6 concertos from the late 1740’s

Answer 1

Johann Reusch (1710-1787). Then a flutist who only doubled on clarinet and oboe. Later moved to Karlsruhe as a bona fide clarinetist.

Question 2

Jean-Phillipe Rameau’s Zoroastre (1749) and Acante et Céphise (1751)

Answer 2

Gaspard Procksch Simon FLieger Both hired in 1748 by tax-farmer Jean le Riche de la Poupliniére (a great patron for music) for his private orchestra in Paris.

Question 3

Johann Stamitz’s (1717-1757) clarinet concerto in Bb (Mannheim’s Kapellmiester)

Answer 3

Not known for sure, but maybe Gaspard Procksch. Mannheim had no clarinets in its orchestra until after Johann Stamitz died.

Question 4

Carl Stamitz’s (1745-1801) 12ish clarinet concertos

Answer 4

At least 6, and maybe all, were written for Joseph Beer (1744-1812). Internationally known virtuoso from Bohemia. First great clarinet soloist. Considered the founder of the French school of playing. Left Paris in 1780. Worked in St. Petersburg for 12 years. Lived last 20 years in Berlin.

Mozart met Beer in Paris in 1778 and apparently didn’t like him- referred to him as “a dissolute sort of fellow”.

Question 5

Wolfgang Amadeus Mozart first was inspired by the clarinet after hearing these clarinetists in Mannheim in 1777:

Answer 5

Johannes Hampel Michael Quallenberg Jacob Tausch Franz Tausch (Jacob’s son 1762-1817)- credited with establishing the German style of playing, member of Berlin court orchestra 1789-1817). No famous composers wrote for him, but he wrote for himself and led others to be able to successfully push the boundaries of technique for the clarinet.

Question 6

Mozart’s clarinet works: Quintet K581 (1789) Concerto K622 (1791) La clemenza di Tito (1791)

Answer 6

Anton Stadler (1753-1812), and his brother Johann (1755-1804, who played basset horn) were the first clarinetists employed in the Viennese court. The invention of the basset clarinet (likely designed and built by Theodore Lotz) was important for this collaboration. Süssmayr also used the instrument in obbligato arias and a concerto movement in 1792.

Question 7

Ferdinando Paer (1771-1839, Italian composer of German descent) Sargino (1801) opera

Answer 7

Anton Stadler (1753-1812) played his basset clarinet in this piece. His performances of Mozart’s works for the instrument inspired this composer.

Question 8

Süssmayr

Answer 8

Wrote obbligato arias and a concerto movement in 1792 for Anton Stadler’s basset clarinet

Question 9

Beethoven’s Prometheus Ballet (1801)

Answer 9

At the premiere the basset horn part was played by Johann Stadler.

Question 10

Beethoven’s Quintet Op. 16 for piano and winds (1796, premiered 1801)

Trio Op. 11 (1797, premiered 1800)

Sextet Op. 71 (1796)

Septet Op. 20 (1799-1800)

Answer 10

Joseph Bähr (1770-1819)

Had worked at the Wallerstein court where Friedrich Witt (1770-1836, German cellist, composer who studied with Antonio Rosetti) wrote him several chamber works and a concerto (1794).

Arrived in Vienna in 1796.

Suggested to Beethoven to use the popular aria “Pria ch’io impegno” -“before I commit” from Weigl’s popular opera “L’amor marianaro” as theme for last movement of Trio Op. 11.

Question 11

Beethoven post-1719

Answer 11

After Bähr’s death, Beethoven got clarinet advice from Joseph Friedlowsky, Austrian clarinetist of Bohemian origin (1777-1859)

Question 12

Spohr Octet Op. 32 (1814)

Answer 12

Joseph Friedlosky

Question 13

Schubert’s Octet D803 (1824)

Answer 13

Commissioned by Count Ferdinand Troyer (1780-1851) (chief steward to Beethoven’s patron and pupil Archduke Rudolph of Austria), who was taught by Joseph Friedlowsky.

Question 14

Franz Schubert’s Offertorium D136 (c. 1815)

Answer 14

C clarinet part written for Josef Doppler- amateur player, manager of Diabelli (Schubert’s principal publisher)

Question 15

Spohr Recitativo ed Adagio (1804-5)

Answer 15

(Before Spohr met Friedlowsky or Hermstedt)

This piece was written for Brunswick clarinetist Tretbach.

This piece was not published, but reused in Spohr’s violin concerto No. 6 Op. 28 (1809)

Question 16

Luis Spohr

Concerto No. 1 Op. 26 (1808)

Alruna Variations (1809)

Concerto No. 2, Opt. 57 (1810)

Potpourri Op. 80 (1811)

Fantasie und Variationen Op. 81 (1814)

Concerto No. 3, WoO 19 (1821)

Concerto No. 4, WoO 20 (1828)

Answer 16

Simon Hermstedt (1778-1846)

Previously employed at court of Duke Günther I of Sondershausen. Taught the duke clarinet (who was actually pretty good). Duke sent Hermstedt to Spohr with commission for concerto in 1808. This relationship led to 7 works.

Question 17

Peter von Winter Concertino and Rondo (1808)

Peter von Lindpaintner Concerto and obbligato to aria in Der Vampyr

Answer 17

Heinrich Baermann (1784-1847) (the only serious rival to Hermstedt)

Question 18

Carl Maria von Weber 1811

Concertino Op. 26

Concertos Op. 73, 74

Sylvana Variations Op. 33

Quintet Op. 34 (not completed until 1815

Answer 18

Heinrich Baermann (1784-1847) Born in Potsdam, studied with Joseph Beer. Was an early proponent of playing with the reed down instead of up. Had more than the traditional 5 keys on his clarinet so he could play chromatically more easily.

Question 19

Meyerbeer

Quintet (1812)

cantata Gli amori di Teolinda (1816)

Answer 19

Heinrich Baermann

Gli amori di Teolinda was written for Heinrich and his wife.

Question 20

Felix Mendelssohn

Konzertstücke Op. 113, Op. 114 (1833)

Answer 20

Heinrich Baermann

Written for Heinrich to play with his son Carl (who was one year younger than Mendelssohn).

Question 21

Introduction, Theme and Variations

Published as a work by Weber

Answer 21

Actually written by clarinetist Josef Küffner (1776-1856) who dedicated it, along with Serenade Op. 21 (c. 1814) to Baermann’s pupil Adam Schott (1794-1864).

Question 22

Christian Rummel (1787-1849) clarinetist/composer

Concertino Op. 58

Answer 22

Dedicated to Adam Schott as well (Baermann pupil)

Rummel also responsible for spurious works attributed to Wagner.

Question 23

Weber’s Grand Duo Concertant (1815-16) may have been written for:

Answer 23

Hermstedt (who is known to have offered a commission)

Johann Kotte (1797-1857), Weber’s principal clarinet in Dresden orchestra, who gave the first known performance of the work. Kotte influenced Weber and Wagner’s (who was also Kapellmeister from 1843 onward in Dresden) writing for clarinet.

Question 24

Karl Reissiger works for clarinet

Answer 24

inspired by Johann Kotte

Question 25

Robert Schumann

Phantasiestücke Op. 73 (1849)

Märchenerzählungen Op. 132 (1853)

Answer 25

Neither work dedicated to a clarinetist (Op. 73 is dedicated to cellist Andreas Grabau, and Op. 132 to music director Albert Dietrich)

Schumann invited clarinetist Herr Kroth to perform Op. 73 with Clara in Dresden, and Herr Kochner to perform Op. 132 with Clara in Düsseldorf.

Question 26

Marie-Pierre Petit (stockbroker)

Previously had been clarinet student at Paris Conservatoire. Had recieved dedication of duets by composers Aléxis de Garaudé, and Etienne Gebauer.

Answer 26

Iwan Müller (1786-1854) found this sponsor for his thirteen-keyed clarinette omnitonique in 1810.

In 1812 Müller submitted his clarinet for review by a jury of COnservatoire professors, and it was rejected. Xavier Lefévre, on the jury, had just added a 6th key to the standard 5-key clarinet.

Question 27

Riotte Concerto (1809)

Abraham Schneider 3 Concertos (1809), 2 for basset horn.

Reicha concerto (1815)

Answer 27

written for and inspired by Iwan Müller and his new thirteen-key clarinet, as well as his improved basset horn.

Question 28

Anton Reicha (Czech-born French composer 1770-1736)

Clarinet Quintet Op. 89

24 Woodwind Quintets (1810-1820)

Answer 28

Jacques-Jules Bouffil (1783-1868).

Clarinetist who studied composition with Anton. Was the player in all first performances of the quintets, and was the dedicatee of the Op. 89 (the quintet)

Question 29

Adolphe Sax (1814-94)

Answer 29

Inspired by Iwan Müller’s clarinet, he created the bass clarinet, which wouldn’t have been possible without more keys. This new bass clarinet attracted attention of Berlioz, Donizetti, and Meyerbeer.

Question 31

Verdi

Answer 31

Romeo Orsi (1843-1918) clarinetist/manufacturer.

Clarinetto a doppia tonalitá

Also inspired solo Improviso (c.1880) by Cesare Dominiceti.

Question 32

Rossini’s Introduction, Theme and Variations (1809)

Answer 32

Alessandro Abate was the dedicatee of this one.

Question 33

Giuseppe Verdi’s clarinet solo in La forza del destino (1862)

Answer 33

Inspired by Ernesto Cavallini (1807-74)

Cavallini’s contemporary Italian clarinetists were Labnchi, Liverani, and Sebastiani.

Question 34

Donizetti’s (1797-1848) Studio primo (1821) a student work was written for:

Answer 34

Benigni.

Question 35

Mikhail Glinka’s (1804-57) Trio pathétique

Answer 35

written for clarinetist Mossitro and bassoonist Conti to premiere it with him at Milan’s La Scala

Glinka had first fallen in love with music when at the age of 10 when he heard Finnish clarinettist Bernhard Crusell’s (1775-1838) Quartet Op. 2 (1812)

Question 36

Niels Gade’s

Fantasiestücke Op. 43

Answer 36

inspired and played by Mozart Petersen (1817-74)

Question 37

Carl Nielsen

Fantasistykke (c. 1885)

Answer 37

Written for Hans Marius Hansen

Question 38

Carl Nielsen

Wind quintet (1922)

Clarinet Concerto (1928)

Answer 38

Clarinet part written specially for Aage Oxenvad (1884-1944)

Concerto dedicated to him.

Question 39

Brahms

Trio Op. 114 (1891)

Quintet Op. 115 (1891)

Two sonatas Op. 120 (1894)

Answer 39

Richard Mülfeld (1856-1907)

Brahms first heard him in Meiningen in the spring of 1891.