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Historical Clarinets
Basler Clarinetten Consort:
Christian Leitherer, Ernst Schlader, Markus Springer (Chalumeau, Baroque-clarinet, Bassett horn, Classical clarinet)
Carlos Cerada Cuesta (Chalumeau - Pichler-Quartett)


 

amb 96952
EAN 4011392969529

Melchior Pichler (date unknown): Partita (1716) for Chalumeau Quartett
Georg Fr. Händel (1685–1759): Ouvertüre D-Dur (Baroque clarinets)
Georg Ph. Telemann (1681–1767): Ouvertüre F-Dur (Chalumeaux)
Wolfgang A. Mozart (1756–1791): Divertimento F-Dur (Bassett horns)
Jean Jacques Bouffil (1783–1868): Trio F-Dur op. 8 (Classical clarinets)

Fascination Clarinet
18th century instrument makers experimented time and again with new inventions. Two inventions, however, were to revolutionise the world of music at that time: the fortepiano and new types of single reed instruments, namely the clarinet and the chalumeau.
These woodwind instruments provided an expansion of the tonal spectrum of common instruments used in orchestras and chamber music at the beginning of the 18th century.
As you can hear on the CD, the chalumeau existed in five different sizes, as a treble, alto, tenor, and bass instrument, as well as the socalled ‘basson du chalumeau’. As the sparse descriptions found in the treatises of the time, as well as the style of writing employed by the composers make clear, the historical sound of the chalumeau would have been characterized by a rather soft tone.
With the first ever recording of the Parthie à 4 Chalumeaux by Melchior Pichler, the BaselClarinet Consort presents a work which, because of its highly unusual setting for four chalumeaux, is unparalleled in music history.

In contrast to the chalumeau, baroque clarinets were used for strong and loud sound effects. The clarinet was considered to be a suitable substitute for the trumpet, as can be clearly heard in George Frideric Handel’s (1685–1759) Overture in which this practice was cultivated. The clarinet was described at the time as ‘similar in sound to the trumpet’, which, provides us with an explanation for the instrument’s current name. Indeed, this new type of woodwind instrument, which imitated the sound of the upper range of the trumpet (‘clarin’), became known as a ‘little trumpet’ (clarineto).

With the basset horn, the Basel Clarinet Consort introduces another important and curious instrument of the clarinet family. The basset horn is not a horn in the traditional sense, but rather a low clarinet which, thanks to its remarkable sound, enjoyed a golden age in southern Germany, Bohemia and Austria in the last third of the 18th century. In contrast to the clarinet, the tone range reaches below written low e (E3), down to c (C3), making it possible to play over a range of four octaves. No wind instrument of the time had such a large range. This made it possible to play both low bass and high melody parts.

The Basel Clarinet Consort... ...was founded in 1993 by Christian Leitherer. His aim was to perform early clarinet music that was outside the usual repertoire as faithfully as possible. This led to the conception of different thematic programmes around the chalumeau, the baroque and classical clarinet.
Also published by ambitus: amb 96 872 „…so dient das Clarinet auf angenehme weiss…“