Emancipation of the Clarinet (1720-1760)

Adrianna van Leeuwen-Steghaus

Name: Adrianna van Leeuwen-Steghaus Main Subject: Historical Clarinet Research Supervisor: Inês de Avena Braga Title of Research: Emancipation of the Clarinet 1720-1760 The transforming role of the two and three keyed clarinet in Sacred Music of the Late Baroque Period Research Question: Can we trace the Baroque Clarinet's role in Sacred Music and is there an obvious progression in the way composers wrote for the instrument beginning in the early 18th century to the instruments demise in the mid 18th century? What was the Baroque Clarinet's role in Sacred Music? Did composers intentioanlly use this instrument and if so for what purpose? Summary of Results: When speaking about the clarinet, the first period of music we naturally associate with it is the Classical. However, few realise that the history of the clarinet begins much earlier in the Baroque, with an instrument that we would today describe as ‘primitive’. The Baroque clarinet was developed around 1700 in Germany. It's repertoire and legacy is confined to about 50 years of music history. Colloquially called the 'Mock Trumpet', the Baroque Clarinet is characterized by a bright and brilliant sound. Some research has been done on the instrument already, particularily on its general history and repertoire. However what remains missing is uncovering the Baroque Clarinet's role in sacred music. Sacred music, particularily cantatas dominated musical life in the 18th century. Cantatas were performed every Sunday as well as on special feasts throughout the ecclesiastical calendar. Over the past two years, I have discovered a trove of cantatas containing parts specifically written for the Baroque Clarinet, some by well-known composers such as Telemann and Graupner and others unknown until now, such as Seibert and Kurz. Coincidentally, most of the composers are of German origin, employed by various cities and/or courts across the German-speaking lands. This research examines the repertoire and attempts to find a progression in the clarinet's use and role. The instruments characteristic timbre meant it shared a symbiotic relationship with the trumpet, but did it ever shed its trumpet association and find its own voice? Through analysis of the various cantata parts, I uncover that the clarinet was in some ways the 'perfect compromise'; able to sound brassy and brilliant when required, while also able to produce a sweet and singing tone. The clarinet was also techinically more capable then its trumpet counterpart, because it was less confined to the harmonic series and able to play quicker notes melodically with more stepwise intervals. In November 2017, the Royal Consrvatorie's Early Music Department premiered two of Telemann's cantatas with clarient parts; Lobet den Herrn TWV 1:1061 and Der Tod ist verschlungen in den Sieg TWV 1:320. Biography: Adrianna van Leeuwen-Steghaus, is a Canadian clarinettist specialising in historical instrument performance. She is a member of two successful chamber ensembles, the Swedish based trio Boxwood & Bows and the Dutch based duo The Küffner Gals. Adrianna graduated with distinction from the University Of Calgary (CAN), obtaining her Bachelor’s degree in modern clarinet performance. She moved to the Netherlands in 2012, to complete a second Bachelor’s degree in Historical Clarinet and Chalumeaux at the Koninklijk Conservatorium in Den Haag. Currently, she is busy completing her Master’s degree and thesis under the tutelage of Professor Eric Hoeprich in the Netherlands.

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Name: Adrianna van Leeuwen-Steghaus Main Subject: Historical Clarinet Research Supervisor: Inês de Avena Braga Title of Research: Emancipation of the Clarinet 1720-1760 The transforming role of the two and three keyed clarinet in Sacred Music of the Late Baroque Period Research Question: Can we trace the Baroque Clarinet's role in Sacred Music and is there an obvious progression in the way composers wrote for the instrument beginning in the early 18th century to the instruments demise in the mid 18th century? What was the Baroque Clarinet's role in Sacred Music? Did composers intentioanlly use this instrument and if so for what purpose? Summary of Results: When speaking about the clarinet, the first period of music we naturally associate with it is the Classical. However, few realise that the history of the clarinet begins much earlier in the Baroque, with an instrument that we would today describe as ‘primitive’. The Baroque clarinet was developed around 1700 in Germany. It's repertoire and legacy is confined to about 50 years of music history. Colloquially called the 'Mock Trumpet', the Baroque Clarinet is characterized by a bright and brilliant sound. Some research has been done on the instrument already, particularily on its general history and repertoire. However what remains missing is uncovering the Baroque Clarinet's role in sacred music. Sacred music, particularily cantatas dominated musical life in the 18th century. Cantatas were performed every Sunday as well as on special feasts throughout the ecclesiastical calendar. Over the past two years, I have discovered a trove of cantatas containing parts specifically written for the Baroque Clarinet, some by well-known composers such as Telemann and Graupner and others unknown until now, such as Seibert and Kurz. Coincidentally, most of the composers are of German origin, employed by various cities and/or courts across the German-speaking lands. This research examines the repertoire and attempts to find a progression in the clarinet's use and role. The instruments characteristic timbre meant it shared a symbiotic relationship with the trumpet, but did it ever shed its trumpet association and find its own voice? Through analysis of the various cantata parts, I uncover that the clarinet was in some ways the 'perfect compromise'; able to sound brassy and brilliant when required, while also able to produce a sweet and singing tone. The clarinet was also techinically more capable then its trumpet counterpart, because it was less confined to the harmonic series and able to play quicker notes melodically with more stepwise intervals. In November 2017, the Royal Consrvatorie's Early Music Department premiered two of Telemann's cantatas with clarient parts; Lobet den Herrn TWV 1:1061 and Der Tod ist verschlungen in den Sieg TWV 1:320. Biography: Adrianna van Leeuwen-Steghaus, is a Canadian clarinettist specialising in historical instrument performance. She is a member of two successful chamber ensembles, the Swedish based trio Boxwood & Bows and the Dutch based duo The Küffner Gals. Adrianna graduated with distinction from the University Of Calgary (CAN), obtaining her Bachelor’s degree in modern clarinet performance. She moved to the Netherlands in 2012, to complete a second Bachelor’s degree in Historical Clarinet and Chalumeaux at the Koninklijk Conservatorium in Den Haag. Currently, she is busy completing her Master’s degree and thesis under the tutelage of Professor Eric Hoeprich in the Netherlands.
Adrianna van Leeuwen-Steghaus - Emancipation of the Clarinet (1720-1760) - 2018
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Terms

Note to the Reader

Definition of terms

Introduction

Motivation of research topic

Research question
The Baroque Clarinet

Defining what is a Baroque Clarinet vs. Chalumeaux

Historical development and well-known makers

Descriptions from historical sources
Courts and Clarinettists
Who played the clarinet? (Doublers vs. ‘Clarinettists’)

Important musicians by name

Court orchestras with access to clarinets
Overview of the Repertoire
Opera

Concerto
Sacred Music Repertoire

Jean-Adam Joseph Faber

Missa Assumpta

Georg Philip Telemann

Jesu, wirst du bald erscheinen

Wie teuer ist deine Gute, Gott das

Der Tod ist verschlungen in den Sieg

Wer mich liebet, wird mein Wort halten

Christus ist um unsrer Missetat willen

Lobet den Herrn, alle seine Heerscharen

Johann Simon Caspar

Freide sei mit dir

Ich suchte den Freund im Hause des Herrn

[Andreas?] Kurz

Wie Wohl ist doch ein Mensch

Fahrt hin ihr zorgnigen Gedanken

Der Sieges Fürst komet

Mein Jesus alles und in allem geht heute

Ertönet ihr Lüfte vom Jubelgeschrei

Erfreuet euch ihr Zions Schwetern

O Anfang sonder Ende du grosses A und O

Stern aus Jacob Licht der Heiden

Dunkle wolken weicht verschwindet

Gnädiger Regen himmlischer Segen

Missa in B

Johann Conrad Seibert

Cantata auf die Geburt des Prinzen Ferdinand

Christoph Graupner

Lasset unsere Bitte

Carl Heinrich Graun

Der Tod Jesu

Johann Wendelin Glaser

Alles was Odem hat, lobe den Herrn

Ihr müsset gehasset warden

Johann Stamitz

Salutaris Hostia
Conclusion
Bibliography

Appendix A: Table of Music with links to the manuscripts

Appendix B: Audio Examples

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