The Clarinet in the Classical Period.(Book review)

The Clarinet in the Classical Period. By Albert R. Rice. New York: Oxford University Press, 2003. [xx, 316 p. ISBN 019514483X. $74.] Music examples, illustrations, references, index.

Albert Rice, author of The Baroque Clarinet (New York: Oxford University Press, 1992), once again tackles the history of the clarinet, this time focusing on the instrument's role in the classical era. For many, this is when the modern clarinet came into existence, but what is not well known is the evolution of the instrument. Rice organizes a vast amount of data into a logical and coherent format with each chapter focusing on a particular topic (e.g., historical development, playing techniques, repertoire), and each topic is presented in a similar format broken down by country, year, and, in some instances, relevant individuals who made significant contributions. The amount of detail presented is at times overwhelming, and it is clearly evident that Rice, spent considerable time researching this book. He not only names specific pieces, composers and countries, he also provides details on clarinet makers and clarinetists along with historical and auxiliary information at every level.

In the first chapter "General design and construction," the clarinet is explored as a physical artifact. By 1840 the modern clarinet developed from a 4-key instrument to the 13-key form we associate with the present day. Early clarinets were loosely based on oboe and flute designs, one of the primary differences being the choice of wood. Mostly dark woods were used, such as ebony or African blackwood (p. 9). One manifestation that did not gain popularity was the corps de rechange which consists of "two additional finger hole sections that, when inserted, change the pitch by one-half step" (p. 13). The purpose of the corps de rechange was to improve intonation, but based on how many have survived to date, it is evident that this feature was not successful. There was much trial and error in the overall construction of the clarinet, including many variations in the lengths of the mouthpieces and barrel design. As the clarinet's basic structure improved (more keys and experimentation with their placement) the clarinet's range expanded leading to its greater popularity. It is interesting to note that even in the 1770s clarinet players used a mouthpiece cover to protect their reeds. Reeds were pre-made as early as the 1760s, and prior to the development of the ligature (a device used to keep the reed fixed in one place on the mouthpiece) the mouthpieces were "grooved below and around the window to guide the twine wound around the mouthpiece" (pp. 15-16). Beginning in 1803, detailed information on the preparation of reeds appeared in print. Starting with hard cane, soaking it in water to soften it and the use of a sharp knife, as well as the use of rush or green cane to further improve or enhance reeds (p. 20) are all techniques a clarinet player of the twenty-first century would find surprisingly similar.

The chapter entitled "Historical development" is the densest. The number of facts and depth of historical research that is presented is truly impressive, and one must pay careful attention in order to follow the narrative. Beginning with the clarinet's origins in Germany, Rice traces its popularity in both England and France, particularly describing its prominence in ...