CLARINET ORIGINS AND DEVELOPMENT

Preteca  In its origin, the clarinet is the youngest woodwind instrument. Even in ancient times and Middle Ages there were different types of woodwind instruments. The immediate forerunner of the clarinet was the medieval woodwind instrument in Germany called schalmei, and in France chalumeau. These words are most likely derived from the ancient Greek term “kalamos” and the Latin one “calamus” meaning reed or pipe.
    The invention of the first clarinet is attributed to the German flute maker Johann Christoph Denner of Nuremberg sometime between 1690 and 1700. He improved the chalumeau by extending its sound volume and  adding two holes and two keys.
    The clarinet got its name after a long-tube baroque trumpet called clarino that produced bright sounds and whose role in the orchestra it took over after that.
    Further development of the clarinet is related to many names of instrument makers and performers who, over time, added some keys to it. Certainly the most revolutionary development was the “Boehm” (Böhm)clarinet model that appeared about 1840.
      In the past, clarinets were built in various sizes and scales: A, B, C, E flat, A flat. The most frequently used ones nowadays are the B flat and A clarinets, rarely the E flat and the bass clarinet.
     Among the first composers who used the clarinet in  the orchestra were Rameau and the members of the Mannheim School (K. Stamitz and others). The instrument was especially favoured by Mozart. Since his time, it has regularly found its place in a symphonic orchestra. It is also used as a solo instrument.

From my School
I Am Studying Clarinet I

2 responses to “CLARINET ORIGINS AND DEVELOPMENT

  1. Kako sam igrom slučaja šef etnomuzikološkog odseka, Vaš me je novi tekst odmah asocirao na našeg “deda Srećka” koji predaje frulu, okarinu i dvojnice u osnovnoj muzičkoj školi. Radi se od retkom primeru “srpskih neotkrivenih bisera”, koji, iako samouk, toliko zna o graditeljstvu, poreklu, razvoju i primeni klarineta, da je to neverovatno (sam tragao, sam pronalazio, živi u Veluću između Kraljeva i Trstenika). Verujem da bi Vam prijao razgovor sa njim, pogotovo u slučaju da vas interesuju etnološke predispozicije Srba za svirku na karinetu, kako, kada i od kuda ta veza i ljubav. A svaki se veliki umetnik oslanja na svoj izvor i koren, bez obzira koliko toga bio svestan. Igrom slučaja, ili nekim višim promislom,. njegov unuk, Darko Perčević, sada je zaista sjajan mladi klarinetista, upisao postdiplomske studije u Švajcarskoj. A upoznao je muziku sa svojim dedom uz frulu. Uz sve to, Srećko dosta zna i o “klanetu”, ali to je već druga priča. U svakom slučaju, sviđa mi se Vaš novi članak i uvek se radujem da nešto novo saznam. Nadam se da Vas nisam umorila mojim paralelama i sklonošću da tragam za najdubljim slojevima jer se tamo kriju “univerzalije” iliti suština. Veliki pozdrav i svako dobro.

    • Pre svega, hvala Vam sto ste se javili. Zaista imate vrlo istančan smisao za suštinu stvari. Predlozi su vrlo interesantni, bez obzira što se ne bavim etnomuzikologijom. Uvek je dobro nešto naučiti. Lepo bi bilo da „prikačimo“ neki tekst i „deda Srećka“ i kolege Darka Perčevića. Šta mislite? Mislim da bi ovakav način bio odličan za nove spoznaje svih ljudi „žednih“ znanja. Mnogo pozdrava i srećni Vam predstojeći praznici!

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