The Clarinet in D: History, Literature, and Disappearance from Current Repertoire

• Other Authors: Smith, Corinne Alyssa (author)
• Format: Others
• Language: English; English
• Published: Florida State University
• Subjects: Music; Performing arts
• Online Access: http://purl.flvc.org/fsu/fd/FSU_FALL2017_Smith_fsu_0071E_14172

In its early years, composers often treated the clarinet as if it were a brass instrument, particularly a trumpet, by writing bugle-like lines for the instrument. By the end of the 18th century, the word ‘clarinet’ was used to denote a woodwind instrument played with a single reed and included a bell attachment. As advancements were made by instrument-makers, the clarinet developed into an instrument that was no longer compared strictly to the trumpet. D clarinets were used by many composers between approximately 1710 and 1750. However, a few composers continued to write for the instrument after 1750. Some of the most well-known orchestral excerpts for E-flat clarinet were originally written for the D clarinet, including: Strauss’s Till Eulenspiegel, Stravinsky’s Rite of Spring and Firebird, Bartok’s Miraculous Mandarin, and Mahler’s fifth and sixth symphonies. The D clarinet has steadily declined in popularity after its peak in the middle of the eighteenth century, possibly due to the rise in popularity of the military band, which used the E-flat clarinet. However, some orchestral works are still being performed regularly that utilize the D clarinet, including those previously mentioned. Most orchestras will substitute the E-flat clarinet for these performances even though the score was written for D clarinet. Often times, the parts are in a more challenging key due to transposition and would be better suited for the D clarinet. The instrument blends particularly well with the strings in the orchestra, and has a darker sound than its E-flat counterpart. Major orchestras spend a large amount of money locating specific instruments to fulfill the needs of the original score, yet the E-flat clarinet is still allowed to substitute for the instrument the scores were originally intended for. While D clarinets are no longer regularly produced in most countries, it is still possible to acquire one. The focus is to provide a detailed history of the D clarinet, including its appearances and development throughout the world. Because there is limited material dedicated to the D clarinet, the treatise aims to provide a list of solo, chamber and orchestral repertoire utilizing the instrument. In combining the collection of repertoire, historical research and interviews with D clarinet specialists, it is my hope to highlight the repertoire of an instrument that rarely receives attention in lesson and performance settings and articulate a practical application of the D clarinet in current music. === A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. === Fall Semester 2017. === November 3, 2017. === Clarinet, D Clarinet, Molter === Includes bibliographical references. === Deborah Bish, Professor Directing Treatise; William Fredrickson, University Representative; Anne R. Hodges, Committee Member; Jonathan Holden, Committee Member.