| Date |
Clarinets, makers, clarinettists |
Other instruments; pitch levels |
Musical works |
| < ca. 1685 |
Various idioglot single reed cylindrical
bore instruments |
|
|
| > ca. 1685 |
Chalumeau: separate single reed,
wide mouthpiece, recorder-style foot joint, two keys with (usually) opposed
holes |
|
|
| ca. 1685-1707 |
Career of J. C. Denner |
|
|
| ca. 1700-10 |
Transformation of back key into register
key (J. C. Denner?) |
|
|
| ca. 1710-1735 |
Career of I. Denner |
|
|
| 1712-15 |
|
|
E. Roger: Duos for chalumeaux or
clarinets |
| 1716 |
|
|
Vivaldi: Juditha Triumphans
(involving clarinets?) |
| > 1718 |
|
|
Telemann: various works involving
chalumeau |
| > 1721 |
|
|
Telemann: various works involving
clarinet |
| ca. 1720 |
Typical mid-Baroque clarinet: wide
mouthpiece integral with barrel, one-piece body, bell integral with section
carrying R4 hole; 2 keys; usually boxwood; usually in D or C |
|
|
| 1728 |
|
|
V. Rathgeber: concerti grossi (Chelys
Sonora) |
| ca. 1725-40 |
|
|
Vivaldi: concerti grossi (RV 556,
559, 560) |
| 1740-41 |
|
|
Handel: Ouverture for two
clarinets and horn |
| ca. 1740 |
3rd key (E/B), at this stage usually for
right thumb
(N.B.- some believe this dates from earlier) |
|
|
| ca. 1740-50 |
Narrow mouthpiece & reed (still integral
with barrel), smaller bore |
|
|
| ca. 1745 |
|
|
J. M. Molter: concerti (at least
4, probably 6) for clarinet and strings |
| 1749-51 |
|
|
J. P. Rameau: Zoroastre, Acante
et Céphise |
| 1751 |
|
Handel's tuning fork pitch A422.5 |
|
| < 1757 |
|
|
J. Stamitz: Concerto? |
| ca. 1760 |
4th key (Ab/Eb or F#/C#); E/B key
now for L4 |
|
|
| ca. 1770 |
Typical Classical clarinet: separate
mouthpiece & barrel, separate upper & middle joints, separate bell;
5 keys; usually boxwood; Bb and A, secondarily C, most common pitches |
|
|
| ca. 1767-1812 |
Career of J. Beer |
|
|
| ca. 1770-1792 |
Career of T. Lotz |
|
|
| 1770-79 |
|
|
C. Stamitz: Concerti |
| ca. 1775 |
|
J. A. Stein fortepiano: range 5
octaves (F'-f'''), knee levers,
Prellmechanik with escapement, small
leather covered hammers, two/three strings per note
J. A. Stein's tuning fork pitch A421.6 |
|
| ca. 1775-1806 |
Career of A. Stadler |
|
|
| ca. 1776-1817 |
Career of F. Tausch |
|
|
| 1781-82 |
|
|
Mozart: Serenades K361, 375, 388 |
| 1783-85 |
|
|
Mozart: Divertimenti K439a, Adagios
K484 & K440, Duos K496a |
| 1784 |
|
|
Mozart: Quintet K452 |
| 1786 |
|
|
Mozart: Trio K498 |
| 1788 |
|
|
Mozart: Symphonies Nos. 39, 40,
41 |
| 1789 |
|
|
Mozart: Quintet K581 |
| 1791 |
|
|
Mozart: Concerto K622, Tito,
Zauberflöte,
Requiem |
| ca. 1785-1813 |
Career of H. Grenser |
|
|
| 1792-3 |
|
|
Beethoven: Octet Op. 103 |
| 1793-1838 |
Career of Crusell |
|
|
| 1794 |
|
|
Haydn: Symphonies Nos. 99-104 |
| 1796 |
|
|
Beethoven: Quintet Op. 16 |
| 1797 |
|
|
Pleyel: Concerto |
| 1798 |
|
|
Beethoven: Trio Op. 11
Haydn: Creation |
| 1799 |
|
|
Beethoven: Symphony No. 1, Septet
Op. 20 |
| ca. 1800 |
|
Modern violin established: longer,
angled neck; higher bridge; stronger soundpost and bass bar; heavier strings
(wound G, possibly wound D and A, plain gut E); Tourte style bow
First use of metal bracing on piano frame |
|
| ca 1800-01 |
|
|
Crusell: Concerti Nos. 1, 2 |
| 1801-3 |
|
|
Vanhal: Sonata |
| 1802 |
|
|
Beethoven: Symphony No. 2 |
| 1803 |
Simiot 12 key clarinet |
|
Beethoven: Symphony No. 3 |
| 1806 |
|
Laurent flute: metal posts, steel
flat springs |
Beethoven: Symphony No. 4, Violin
Concerto |
| 1807 |
|
|
Beethoven: Symphony No. 5
Crusell: Concerto No. 3? |
| 1807-1834 |
Career of H. Bärmann |
|
|
| 1808 |
|
|
Beethoven: Symphony No. 6
Spohr: Concerto No. 1 |
| 1810 |
Müller clarinet: 12-13 keys
inc. low F/C, stuffed pads, metal posts |
Paris Opera pitch A423 |
Spohr: Concerto No. 2 |
| ca. 1810 |
H. Bärmann plays 10 key clarinet
by Griessling & Schlott |
|
|
| 1811 |
|
|
Weber: Concertino, Concerti Nos.
1, 2 |
| 1812 |
|
|
Beethoven: Symphonies Nos. 7, 8 |
| 1813 |
|
London Philharmonic pitch A423.3 |
Spohr: Nonet |
| 1815 |
T. Willman plays 13 key clarinet |
Mälzel patents metronome |
Weber: Quintet, Grand Duo
Schubert: Symphony No. 3 |
| 1815-21 |
|
Dresden Opera pitch A423 |
|
| 1816 |
|
|
Schubert: Symphonies Nos. 4, 5
Rossini: Barber of Seville |
| 1819 |
|
|
Mercadente: Concerto |
| ca. 1820 |
|
Violin chinrest popularized (over tailpiece;
Spohr)
London Philharmonic pitch A433
Typical Viennese piano, e.g. Graf:
wood frame, ~2.5m long, 6-6½ octave range, leather over felt hammers,
pedals |
|
| 1821 |
|
S. Erard patents repetition action for
piano |
Spohr: Concerto No. 3
Weber: Der Freischütz |
| 1822 |
|
|
Schubert: Unfinished Symphony |
| 1822-30 |
|
Paris Opera pitch A432, down to 426, back
up to 431 |
|
| 1823 |
|
|
Beethoven: Symphony No. 9 |
| 1824 |
|
|
Mendelssohn: Sonata
Schubert: Octet |
| 1825 |
Schott catalogue: clarinets in boxwood,
ebony, cocus, with brass or silver keys |
|
|
| 1826 |
|
Dresden Opera pitch A435
London Philharmonic pitch A433 |
|
| 1828 |
|
|
Spohr: Concerto No. 4
Schubert: Der Hirt auf dem Felsen
Schubert: Great C Major Symphony |
| 1829 |
|
|
Berlioz: Symphonie Fantastique |
| 1832 |
L.-A. Buffet: long hinge rods on
clarinet |
T. Boehm flute (conical bore) |
Mendelssohn: Concertstücke
Mendelssohn: Hebrides Overture |
| 1833 |
|
|
Mendelssohn: Italian Symphony |
| 1834 |
|
Baillot: L'art du violon;
lays basis for modern violin technique |
(Wagner begins conducting) |
| 1837 |
L.-A. Buffet: needle springs on
clarinet |
|
|
| 1840 |
A. Sax- ring keys on clarinet (R2, R3) |
|
|
| ca. 1840-79 |
Career of G. Ottensteiner |
|
|
| 1841 |
|
|
Schumann: Symphonies Nos. 1, 4 |
| 1842 |
|
|
Mendelssohn: Scottish Symphony |
| 1843 |
Klosé-Buffet system clarinet
patented (term "Boehm system" not used
until after ca. 1860) |
|
Mendelssohn: Midsummer Night's
Dream
Wagner: Der Fliegender Holländer |
| 1845 |
|
|
Liszt: Les Préludes |
| 1846 |
|
Saxophone patented
London Philharmonic pitch A436 |
Schumann: Symphony No. 2 |
| 1847 |
|
T. Boehm flute (cylindrical bore) |
|
| 1849 |
|
|
Schumann: Phantasiestücke |
| 1849-54 |
|
London Philharmonic Pitch A445.9 |
|
| 1851 |
|
|
(Wagner: Oper und Drama) |
| 1852 |
|
|
Reinecke: Fantasiestücke |
| 1853 |
|
Bechstein, Blüthner, Steinway companies
founded |
Schumann: Märchenerzählungen |
| 1855 |
|
Paris Opera pitch A449 |
|
| 1858 |
|
|
Brahms: Serenade No. 1 (original
nonet version) |
| 1859 |
|
French law sets pitch at A435 (diapason
normal)
Steinway grand piano: cast iron frame,
modern range; volume and mechanical proportions |
Wagner: Tristan und Isolde |
| 1860 |
Bärmann system clarinet patented |
|
|
| 1861 |
"Patent C# key" invented |
|
|
| 1862 |
|
London Philharmonic pitch A451.5 |
|
| 1864 |
|
|
Gade: Fantasiestykker |
| 1864-1873 |
|
|
C. Bärmann: Vollständige
Clarinett-Schule |