Clarinet Partnerships Flashcards
Johann Melchior Molter’s (Durlach Kapellmeister, Germany) 6 concertos from the late 1740’s
Johann Reusch (1710-1787). Then a flutist who only doubled on clarinet and oboe. Later moved to Karlsruhe as a bona fide clarinetist.
Jean-Phillipe Rameau’s Zoroastre (1749) and Acante et Céphise (1751)
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.
Johann Stamitz’s (1717-1757) clarinet concerto in Bb (Mannheim’s Kapellmiester)
Not known for sure, but maybe Gaspard Procksch. Mannheim had no clarinets in its orchestra until after Johann Stamitz died.
Carl Stamitz’s (1745-1801) 12ish clarinet concertos
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”.
Wolfgang Amadeus Mozart first was inspired by the clarinet after hearing these clarinetists in Mannheim in 1777:
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.
Mozart’s clarinet works: Quintet K581 (1789) Concerto K622 (1791) La clemenza di Tito (1791)
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.
Ferdinando Paer (1771-1839, Italian composer of German descent) Sargino (1801) opera
Anton Stadler (1753-1812) played his basset clarinet in this piece. His performances of Mozart’s works for the instrument inspired this composer.
Süssmayr
Wrote obbligato arias and a concerto movement in 1792 for Anton Stadler’s basset clarinet
Beethoven’s Prometheus Ballet (1801)
At the premiere the basset horn part was played by Johann Stadler.
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)
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.
Beethoven post-1719
After Bähr’s death, Beethoven got clarinet advice from Joseph Friedlowsky, Austrian clarinetist of Bohemian origin (1777-1859)
Spohr Octet Op. 32 (1814)
Joseph Friedlosky
Schubert’s Octet D803 (1824)
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.
Franz Schubert’s Offertorium D136 (c. 1815)
C clarinet part written for Josef Doppler- amateur player, manager of Diabelli (Schubert’s principal publisher)
Spohr Recitativo ed Adagio (1804-5)
(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)
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)
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.
Peter von Winter Concertino and Rondo (1808)
Peter von Lindpaintner Concerto and obbligato to aria in Der Vampyr
Heinrich Baermann (1784-1847) (the only serious rival to Hermstedt)
Carl Maria von Weber 1811
Concertino Op. 26
Concertos Op. 73, 74
Sylvana Variations Op. 33
Quintet Op. 34 (not completed until 1815
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.
Meyerbeer
Quintet (1812)
cantata Gli amori di Teolinda (1816)
Heinrich Baermann
Gli amori di Teolinda was written for Heinrich and his wife.
Felix Mendelssohn
Konzertstücke Op. 113, Op. 114 (1833)
Heinrich Baermann
Written for Heinrich to play with his son Carl (who was one year younger than Mendelssohn).
Introduction, Theme and Variations
Published as a work by Weber
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).
Christian Rummel (1787-1849) clarinetist/composer
Concertino Op. 58
Dedicated to Adam Schott as well (Baermann pupil)
Rummel also responsible for spurious works attributed to Wagner.
Weber’s Grand Duo Concertant (1815-16) may have been written for:
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.
Karl Reissiger works for clarinet
inspired by Johann Kotte
