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The Boehm system for the clarinet is a system of clarinet keywork, developed between 1839 and 1843 by Hyacinthe Klosé and Auguste Buffet jeune.The name is somewhat deceptive; the system was inspired by Theobald Boehm's system for the flute, but necessarily differs from it, since the clarinet overblows at the twelfth rather than the flute's octave.
In 1949 he sent the first Reform Boehm clarinet to a clarinetist of the Concertgebouw Orchestra in Amsterdam. [3] A Reform Boehm clarinet looks similar to an original Boehm clarinet, although some brands or models exhibit some of these differences: The right-hand little finger C and E♭ keys have rollers as on a German clarinet.
In March 2006, the newly developed basset horn was awarded the Bavarian State Prize, after S & S already received a design award in 2004. [12] Instead of the usual metal bow between the mouthpiece and the upper joint, the instrument is equipped with a normal barrel and a bent connecting piece between the barrel and the upper joint each made of wood.
The orchestra frequently includes two clarinetists, each usually equipped with a B ♭ and an A clarinet, and clarinet parts commonly alternate between the instruments. [91] In the 20th century, Igor Stravinsky , Richard Strauss , and Gustav Mahler employed many different clarinets, including the E ♭ or D soprano clarinets, basset horn , bass ...
(Another family member, Auguste Buffet jeune, who worked with famous clarinetist Hyacinthe Klosé to develop the Boehm system for clarinet, had his own business separate from BC.) In 1850, BC established its headquarters at Mantes-la-Ville. The company continued to expand its range and quality in instrument production, beginning saxophone ...
The invention of the alto clarinet has been attributed to Iwan Müller and to Heinrich Grenser, [2] and to both working together. [3] Müller was performing on an alto clarinet in F by 1809, one with sixteen keys at a time when soprano clarinets generally had no more than 10–12 keys; Müller's revolutionary thirteen-key soprano clarinet was developed soon after. [3]
In its early development, the clarinet could not be tuned across the range of the instrument, so the chalumeau was still used for music in the lower range. Later developments in the key work allowed better intonation throughout the range of the clarinet, and the chalumeau register on the clarinet eventually rendered the chalumeau itself ...
The contra-alto clarinet [2] is largely a development of the 2nd half of the 20th century, although there were some precursors in the 19th century: . In 1829, Johann Heinrich Gottlieb Streitwolf [], an instrument maker in Göttingen, introduced an instrument tuned in F in the shape and fingering of a basset horn, which could be called a contrabasset horn because it played an octave lower than it.