MENC: The National Association for Music Education

The Early Clarinet Concertos Author(s): Robert A. Titus Source: Journal of Research in Music Education, Vol. 13, No. 3 (Autumn, 1965), pp. 169-176 Published by: Sage Publications, Inc. on behalf of MENC: The National Association for Music Education Stable URL: http://www.jstor.org/stable/3343671 . Accessed: 20/09/2013 21:30
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The EarlyClarinet Concertos

ROBERT A. TITUS
A

of solo worksfor clagrinet appearedin the Spring1962 issue of this journalin an articleentitled"TheConcertos for Clarinet," by Mr. Burnet C. Tuthill.Althoughhis list was quite extensive,much moreso, as he relates, than he had surmised beforebeginning to gatherhis materials, Mr. Tuthill recognizedthat probably manymoreconcertos had beenwritten, andhe encouraged readersto contribute to the list. It is in this spirit,therefore, that the presentwriterbringsattentionto a number of clarinetsolo works,all concertos for one or two clarinetswith orchestral accompaniment, whichare properly part of the list offeredby Mr. Tuthill. The additional itemsnotedhere,however,includeonly worksbelievedto have been composed in the eighteenth century,as nearlyas can be determined in view of the difficultyof establishing dates of composition for worksby obscurecomposersand also for workswhichhave not survived. Of the hundredor more names listed here as composersof concertosand doubleconcertosfor clarinet,only about one-thirdare represented by extant works,almostall of whichhave been identified and discussedelsewhere by the writer.l Approximately two-thirds of the names listed below are those whose clairnetconcertoshave not survived,or have not becomeaccessible.2 This listing,unlikeMr. Tuthill's,includesonly concertos writtenspecifically for clarinet. No arrangements for clarinetof worksoriginallycomposed for a different solo instrument are included.3 Nor are therekinds of solo worksother thansolo and doubleconcertos.Omittedfromthis accountare the concertantes for clarinetand one or moredifferent solo instruments with orchestra, potpourris or occasional piecesfor clarinetand orchestra, solo compositions for clarinet with keyboard,4 chamber musicin whichthe clarinethas a soloisticrole, etc.
LIST 1 See Robert A. Titus, The Solo Mussc for the ClaroJoet in the Eightecnth Century, unpublished dissertation, State University of Iowa, 1962. Research directed by Professor Himie Voxman, Head of Department of Music, State University of Iowa. 2 Further research may yet turn up other early clarinet concertos presently unknoxvn or inacocssible. For instance, copies of three eighteenth-centuryclarinet concertos not available for study by the writer, one by Simon Kalous (1715-1786) and two by Leopold Rozeluch (17S7-1818), have been reported in Prague, according to a letter received by Professor Himie Xosman from Jiri lRratochvil, Professor for History and Literature of Wind Instruments at the Music High School in Prague. 3 Two concertos by Karl F. Baumgartenand William T. Parke, specify a choice of solo instrument: oboe, flute, or clarinet. Adalbert Gyrowetz indicates either oboe or clarinet as solo instrument. And two of Rarl Stamitz's clarinet concertos were apparently arranged for other instmments in the eighteenth century, one for flute and one for oboe. I,'nquestionablythey were originally written for clarinet. See Titus, op. cit., 198, 202. 4 Only three eighteenth-centurst composersare known to have left extant sonatas for clarinet and keyboard: Johann Baptist Wanhal (Vianhall) (1739-1813), Fransois Devienne (1759-1803), and Jean-Xavier Lefbvre (1763-1829). Ibod., Chap. VIII. 169

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A few of these survivingeighteenth-century concertosare still very much worth study, and perhapsan occasionalperformance.Though by no means masterpieces of musical ewression, and far from rivallingthe incomparable concertoby Mozart,the concertosof FranzAnton Rosetti (Roessler),Johann Stamitz,Karl Stamitz,Franzllrommer,and FranzAntonHoffmeister certainly possessmeritand deserveclarinetists' attention. Of morethan passinginterest are the concertosby JohannMelchiorMolter and Frans Tausch, but certain impracticalities probablyprecludeperformance of these works. Molter'sfour concertos are all scoredfor the nearlyobsoleteD clarinet,and with suchan uncommonly high tessiturathat, even thoughperhapsnot unplayable on the E-flat instrument, the resultmust be morethan a little shrill. Tausch'stwo concertos, which combineextremesof virtuosityand high registerwritingwith considerablemusicalworth,wouldbe interesting to hear in performance. Unfortunately, however, the orchestral partsare lost; only the solo part of eachhas survived. By and large, the solo materialin the followinglists does not represent an especiallyfruitfuladditionto the modernclarinetist's practicalsolo repertory. The obscurityinto which the great majorityof these ephemeral compositions havelapsed,in the opinionof this writer,is well deserved.As is readilyrealized, in any epoch the really significant worksare in the vast minority;the musical giantsof any periodare greatlyoutnumbered by the lesserspirits. And surely lt is primarily the latter,the secondand thirdratecomposers of theirday, whose namespredominate in this list of clarinetconcertocomposers. Many of these workswere locatedby visiting and examining collectionsof instrumental music in a numberof European librariesand archives,especially those referred to by Eitneras containing one or moreeighteenth-century clarinet concertos. Fewer than half of the survivinO concertosexist in published editionsprintedin the eighteenth century. The majorityare manuscript copies, of whicha few are autographs.Someproblems of composer identification arose and will be mentioned below. A few of the concertos, both single and double, are anonymous. Attentionshouldbe called to one such work,the seconditem listed by WIr. Tuthill,5a concerto manuscript in the Libraryof Congress identified as AnonymousII, shelf-mark M1024.A(2)P. The writerhas been able to establishthat this is not a solo concertofor clarinetbut rather a concertante for clarinet, taille,6and orchestra by the oboist-composer JosephFiala (1751-1816).7 The manuscript copy of this work in the Libraryof Congressis, therefore, incomplete since it is lackingnot only the composer's namebut also the concertante part for the taille. Identification of this workwas madepossibleby comparison
5 Burnet C. Tuthi]l, "The Concertos for Clarinet," Jouralalof Researsk i7t Musss Educstion, X (Spring 1962), 49. 6Taille, originally the French name for the tenor voice, was occasionally used in the eighteenth century to denote the tenor viol or viola. It was also used for wind instruments, most commonlv for a double-reedrelative of the oboe, but may have been applied to a single-reed type of instrument. In this case, since the concertante taille part is written in treble clef for a transposing instrument sounding a fifth lozrer than the written notes, the instrument intended must bave tJeena wind instrument,probably a double-reedone as Fiala himself was an oboistX 7 Fiala, an excellent oboist and later a cellist, was at one time a member of the Archbishop's orchestra at Salzburg. He is also reported to have been at Mannheimand other courts.

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with a complete ma*luscriptcopy of-the same work preserved in the archive of the former court of Thurn und Taxis at Regensburg, Germany. In passing, it may be mentioned that this archive is the repository for the most considerablecollection of early clarinet solo music found anywhere by the writer during his research travels, an indication that the clarinet must have been a favored so]o instrument in this court during the last two decades of the eighteenth centurv. Court records show that clarinetists were first introduced into the orchestra as regular members in 1784, not 1755 as has been erroneously proposed by the eminent German authority on clarinet history, Heinz Becker.8 Nearly fifty compositions using the clarinet in a solo capacity are preserved at Regensburg. Most are manuscriptcopies of concertos by little known composers who were membersof the Thurn und Taxis court orchestra,but a few composers of wider fame are also represented. Besides Fiala these include Johann Stamitz,9 Karl Stamitz, Franz Anton Rosetti (Roessler), and Franz Anton Hoffmeister. Another question of identity is posed by one of the concertos in the Library of Congress, the manuscript copy of wvhich shows only the composer's surname, Pfeiffer. Mr. Tuthill has credited this concerto to a Karl A. Pfeiffer (18331897), who, according to these dates, was the exact contemporaryof Johannes Brahms and at least a generation later than the early Romantic clarinet concerto composers Weber, Spohr, and Crusell. A concerto composed as late as these dates indicate might well have been performedby such virtuosos as Henry Lazarus, Hyacinthe Klose, Cyrille Rose, or Ernesto Cavallini, although by this time clarinet concerto performancehad passed out of fashion. Then too, the character of this unknown PfeiSer's work is such that these artists, or any of their contemporaries,would probably not have deigned to play it. Its simplicity and lack of sophistication both in structure and technical demand strongly suggest that it must have been written long before the dates indicated above. Add to this the corroborativeevidence of the composer's use of the eighteenth-century practice of notating low notes with the word chulumeau (or chal., or as Pfeiffer has it, schal.) placed before a passage to indicate transposition an octave lonver and it becomes quite apparent that this concerto must have been written before 1800. Therefore it is treated here as the composition of Franz Anton Pfeiffer (1754l792), a contrabassist in Mannheim at one time (probably before 1777) and then a bassoonist at Mainz from 1779 to 1786 and at Ludwigslust from 1786 to 1792. This Pfeiffer is known to have composed concertos for bassoon and for flute, as well as other works for woodwind instruments. Since there were clarinet
8Heinz Becker, "Zur Geschichte der Klarinette im 18 Jahrhundert"Die MgsitforscAung VIII (l9SS), 271-92. The error was repeated in this same author's "Vorsort," Klssinetten-Konzertedes 18. Jahohunderts.Dss Erbe Dcgtschco Musak, Series I, XLI. Wiesbaden: Breitiopf & Hartel, 19S7, vii-xi, and again in his fine article, "Die europaische Rlarinette. I. Allgemeine Geschichte," M2;sskin Gcschichtc sndf Gcgen?usot VII (19S8), 100S-1027. For a more complete discussion, see Titus, op. cit., pp. S7-S8. 9 Thc manuscriptof the concerto here attributed to Johann bears only the surnameStamitz. However, although some rriters have insisted that it must be by his son Ksrl (in part because another concerto manuscriptat Regensburgalso identified only by the surname has profired to be the work of Karl), this writer concurs wvithPeter Gradensitz in accepting it as Johann's on the strength of internal evidence (see "The Beginnings of Clarinet Literature," Music & Letters XVII (1936), 147-49)

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playersat ith Mannheim and Ludwigslust it appearsvery likely it Franz AntonPfeiSermighthave written a concerto for clarinet.10 livo very prolificeighteenth-century cErinetconcertocomposers mentioned by Mr. Tuthillare Rarl Stamitz(1745-1801),11 threeof whoseelevenconcertos were discussed by Mr. Tuthill,and MichelYost (1754-1786),12 six of whose fourteen virtuosovehiclesMr. Tuthillmentioned.Actually,nine concertos are extant for each of these composers, all of whichwill be presented in the list below. Anotherprolificbut almostunknown composer of clarinetsolo works was Iheodor Freiherrn von Schacht(1148-1823),one of the composers at the courtof ThurnandTagismentioned above(see page171). His tsvelve concertos haveall survived in manuscript at Regensburg. Although KarlStamitzis not recognized as a majorcomposer, he was a leading representative of the so-calledMannheim composers, and his concertos for clarinet, as mentioned above,do constitute an important contribution to clarinet solorepertory, muchmoreso thando the concertos by the virtuoso playerMichel Yost.As Mr. Tuthillsuggests, the latterare musically quiteshallow. They were writtenprimarily for Yost'sownperformance and are largelygivenoverto dazzlingtechnical display. The concertos numbered X andXI in the Sieber edition are the mostimposing in floridity.This writerdoesnot concur with Mr.Tuthill that any of the nineextantconcertos areworthreviving in modern performance. A correction shouldperhaps be maderegarding the key of one or two of the surviving concertos by Yost. Mr. Tuthillstates that all are in B-flat. One of the concertosmentioned in his article,Concerto S7o.XIV, is in the key of E-flat,as is one othernot listed by him, Concerto No. V. Of the extantconcertosthe latteris the only one not printed.The manuscript copyin the British Museumhas no numberand possessesno identification other than the name M. Michell. Careful studywas necessary to establish that it was indeedYost's work,for a manuscript copy of the sameworkpresetwed at Regensburg is there attributed to the composer Paul M;inneberger (1758-1821),who is also representedby anotherclarinetconcertoin the same collection. Distinct style ities to otherYost concertos ratherthan to the otherWinneberger concerto permitthe conclusion that it is Yost'swork.It is identifiable as his Concerto No. V by its key of E-flatsincea listingby Meysel13 of all fourteen concertos showsthat only Nos. V and XIV are in this key. Meysel'slistingalso gives a clue to the popularity of Yost'sconcertos in his day. No less than threepublishers printedall fourteen, and sevenother firms published someof the concertos.Further evidence of this popularity exists irl
This concerto is discussed more fully in Titus, op. cit., pp. 370-74. 11 There are implicationsthat other composerscollaboratedwith btamitz on some of the clarinet concertos. The name of Ernst Eichner is associatedwith the second of tbe publishedconcertos,and Joseph Beer, the virtuoso for whom Stamitz wrote his clarinet solo works, is creditedwith participation in the writing of one or more of them. 12Some of Yost's published concerto6,all of which appeared under the name Michel, indicate collaborationwith the composerJohann ChristophVogel (1756-1788). 13See Anton Meysel, compiler,Handbuchder musikalischenLitteratur (Leipzig: Snton Meysel, 1.817), 196.

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the reports of performances of Yost workselsewhere besidesParis,in fact, even in this country. Sonneckcites performances in Charleston,Baltimore,and Philadelphia in the 1790's.14 The knownand availableextanteighteenth-century concertos and doubleconcertoslisted below includethose mentioned by Mr. Tuthill as well as the addenda. The followinginformation will be presentedfor each concertowhen known:composer, his dates,key of the concerto, opus number,key of claxinet if other than ffie B-at instrument, publisherof survivingmusic or indication if manuscript, location of same, and information on moderneditions. Those itemswhichappeared on Mr. Tuthill'slist will be so indicated.Question marks signifydoubtas to positiveidentityof composer or uncertainty as to his dates. A key to the abbreviations usedwill be foundat the end of this article.
EXTANT EIGETEENT CENTURY CLARINET SOLO CONCERTOS AnonymousConcertoin E-flat (MS clar.) part only WDB AnonymousConcerto in D (A clar.) MS TTR Anonymous Concerto in B-flat MS 1TR Backofen,J. G. H. (1768-1830) Concertoin E-flat, Opus 16. B &H Mentioned by BCT TTR, GMF Baumgarten,Earl Friedrich (1740-1824) Concerto in B-flat for Oboe, FIute or Clannet. Longmanand Brodenp BM Blasius,Matthieu-Frederic(1758-1829) Concertoin C (C clar.) Cochet BN Concertoin F (C clar.) Girard. Parts in Biblioteca Nazionale, Naples. The Free Library of Philadelphiaalso has a copy of the parts from which a MS score has been compiled. Discussedby BCT Dacosta, Isaac-Franco (1778-1866). Concerto in B-flat, Opus 1. Chapelle BN De Croes, Heinrichthe younger (1758-1842). Concertoin B-flat MS TTR Demar, Johann Sebastian (1763-1832). BN Concertoin B-flat Imbault Dimler, Anton Sr. (1763-after 1815). 3 Concertos,2 in B-flat, 1 in E-flat. MS BC Fuchs, Georg Friedrich(1752-1821). Concertoin B-flat, Opus 14. Andre GMF Grenser, Johann Friedrich (?) (1758-1807). Concertoin B-at. MS BM Gyrowetz, Adalbert (1763-1850). Sinfonie a Oboe ou Clarinette in F. (C clar.) Schmitt Brussels Conservatory. Hanisch,Franz (1749-?). Concertoin B-flat. MS TTR Hoffmeister,Franz Anton (1754-1812). Concerto in B-flat. MS TTR BM Knischek,Wenzel (1743-1806). 6 Concertos,5 in B-flat, 1 in E-flat MS TTR Krommer,Franz (or Kramar, Frantisek Vincenc) (1759-1831). Concerto in E-flat, Opus 36 Andre Modern edition for clannet and piano, in Series Musica Antiqua Bohemica, No. 13, ed. Jan Racek. Statni Nakladatelstui, Prague, 1953. Discussedby BCT Lefevre,Jean-Xa^iier (1763-1829). ConcertoNo. 6 in B-flat Jouve GMF Mahon, John (1746-1834). Concertoin F. Band parts BM Molter, Johann Melchior (ca. 1695-1765).4 Concertos,2 in D, 1 in A and 1 in G, all for D clar. all MS, presumably autographs. Modern edition, ed. Heinz Becker, EDM XLI, 1957. Discussedby BCT BLK Mozart, Wolfgang Amadeus (1756-1791). Concerto in A, K. 622 for A Clarinet, MS (2 copies) PSB Gesamtausgabe (Leipzig: B & H, 1877-1905). Series 12, No. 20. Many moderneditions for clarinetand piano. Discussedby BCT Parke, William Thomas (1762-1847). Concertofor Oboe, Flute or Clarinetin C (C clar.) Fentum BM
14 O. G. Sonneck, Early Concert Life in America 1731-1800. (Leipzig: Breitkopf & Hartel 1907; reprinted New York: Musurgia Publishers, 1949), 32, S6, 148, et passim.

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PfeiSer, FranzAnton(?) (1754-1792). Concerto in E-flat. Discussed by BCT. MS LC Pfeilsticker, Nicholas (?-?). Concerto in B-flat.Pleyel. GMF Pleyel,Ignaz(1757-1831). Concerto irxC (C clar.). 2 sets (f parts,Bummel and Faltcr, in BM,another copyof Cappi partsin VNB. hIentioned by SCT Pokorny, Franz Xaver(1729-1794). 2 Concertos, in E-flatand B-flat,bothMS autographs (B-flat concerto dated 1765,earliestknowndated autograph of a clarinet concerto). Modern edition, ed. HeinzBecker, EDM XLI lgS7. Discussed by BCT Rosetti(Roessler), FransAnton(1750-1792). Concerto No. 1 in E-flat,MS partsin TTR andSieber parts(except clarinet solo part,whichis missing) in BC Contrto No. II in E-at, Sieber BM. Modern edition for clarinet and piano cdition HimieVowman, Rubank, Inc., 1959.Mentioned by BCT Schacht, Theodor Freiherrn von (1748-1823). 12 Concertos, 3 for A clarinet, othersfor B-at clarinet.All MS, somewith scores, probably autographs, 3 of which are dated1790,1790,and 1792. TTR Schenk, JohannII (1761-1836). "Andante zu einemClarinetten-conzert," in E-flat. MS autograph. March, 1784,one movemcnt only GMF Schierll, Joseph(1757-1797). 2 Concertos, in E-at and B-flat. MS TTR Stamitz, Johann(?) (1717-1757). Concerto in B-flat.MS TIR. Modern editionfor clarinet and pianoedition, PeterGradenwitz, Leeds,1953.Discussed by BCT Stamitz, Karl (1745-1801). Concerto in E-flat. MS formerly at Darmstadt destroyed in World WarII. Modern editionfor clarinet and pianoeditionHelmutBoese (whohas a copyof the Darmstadt parts),Hofmeister, 1956 Concerto m B-flat. MS,VNB. Modern edition for clarinet andpiano.Johann Wojciechowski, C. F. Peters,1957.Discussed by BCT Concerto in F (C clar.)Sieber BC Concerto in E-flat (possibly by ErnstEichner?).Sieber BC Concerto in B-it. Sieber BC, MS partsirl TTR Concerto in B-Sat. Sieber partsin BC, MS partsin SNB Concerto in E-flat. MS TTR. Modern edition for clarinet and pianoedition. Johann Wojciechowski, Silsorski, Hamburg, 1933.Discussed by BCT Concerto in B-flat. MS in VNB. Modern editionfor clarinet and pianoedition. JostMichaels, Sikorski, Hamburg, 1958.Discussed by BCT Concerto in E-flat.NISparts \m-B (possible collaboration withJoseph Beer?). Tausch, Frank(1762-1817). 2 Concertos in E-flat,bothMS clarinet partonly. No. 1 in BM,No. 2 in WI)B Yogel,Johann Cbristoph (17i6-1788). Concerto in B-flat. MS in Sachsische Landesbibliothelz, Dresden.la Wilmeberger, Paul( 17S8-182 1) . Concerto in B-flat.MS TTR Yost,hlichel(1754-1786). Concerts No. II in B-flat.Seiber partsBC Concerto No. III in B-flat. Sieber partsBC - Concerto No. V in E-flat. MS BM. A MS cops of the sameconcerto attributedto PaulWinneberger is at TTR. Concerto No. VIII in B-flat. Imbault partsLC. I:)iscussed by BCT Concerto No. IX in B-flatBM. Pleyelparts.Mentioned by BCT Concerto No. X in B-flat. Pleyelparts. BM Concerto No. XI in B-Rat BM. Pleyel parts tpossible collaboration with Johann C. Vogel?).Mentioned by BCT Concerto No. XII in B-flat.PleyelpartsBM,mentioned by BCT s MS copy of essentially thesamcconcerto, with somealteration and attributed to Franz Haxuschl is in TTR. Conecrto No. XIY }n i:-flat,Pleyelparts in BM, Cochet partsin VNB. (Possiblecollaboration with JohannC. Vogel?). Mentioned by BCT,thoughhe erroneously specifies the key as B-flat.
15 For informationon this concerto the author is indebted to Professor Himie Voxman.

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EXTANT

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Anonymous.Concertoin B-flat (only two movementsenctant, first molrementmissing). MS LC. Discussedby BCT AnonymousConcertoin C (G clarinets), MS TTR AnonymousConcertoin B-at. MS TTR AnonymousConcertoin B-flat. MS 1TR AnonymousConcertoiIl E-at. MS TTR Backofen, J. G. E. (1768-1830). Concertantein A, Opus 10 (A clarinets), B & H. VNB, GMF Knischek,Wenzel (1743-1806), 3 Concertantes, 2 in G (G clarinets), 1 iIl B-flat. MS TTR Krommer,Franz (or Kramar,FrantisekVincenc) (1759-tS31). Concertoin E-flat, Opus 35. Andre parts in Himie Voxmancollection,also BN. Pfichl, Wenzel (1741-180S). ConcertoNo. 4 in B-flat. hIS in IFC. Discussedby BCT Winneberger, Paul (1758-1821). Concertoin E-flat. MS in TTR

Many moreclarinetconcertos whichhave not cometo lighthave beenattributed to the composers in the following list, most of whoselife spanspermitthe possibilityof composition either before or after 1800. The writer makes n{:> claimthat this is a completelist of eighteenth-century composers of non-extant clarinetconcertos. These are all that have been tioticed up to the present time.ls Information is lackingfor some of these composers as will be endent from the occasionalomissionof first namesor dates, the alternative spellings the questionmarksf etc.
CC)MPOSERS OFCLARINET CONCERTOS OFPOSSIBLE EIG}{tEENTH-CENTURY OMANNOTKNOWN TOBEEXTANT Albesy, > Beer Joseph (1744-1812); Cartellieri,Casimir Anton (1772-1807; Chispparelli (Chiaparelli, Chapparelli,Schiaparelli), - -; Cron. Joachim (1751-1826); Crusell, Bernhard (ca. 1778-after 1847); I)estouches, Frant (Seraph) von (1772-1844); Dubois, ; Duvernoy, Charles(1776^1845);}3deling,Johann (1754-186) } E;chner,Ernst (17401777);17 Eybler, Joseph (1765-1846); Faulhabert Emanuel Johann (1772-183S); Filtz, (Fils, Filz), Anton (1730-1821); Gaultier, - -; Gayer, Johann Josef Georg (or Jan Josef Jiri) (1748-1811); Gherardeschi, Giuseppe;Gebauer,Frangois-Rene(1773-1845); Goepfert, Karl-Andre (Andreas) (1768-1818); Grosheim,Georg C (1764^ ?); GruayFrancewo de PaU1a, OrPaO1O (1754-1833); Habermehl,G. M.; HanSe1X Peter (1770-1831); Hamme1, Stef fan; He11er} AntOn (1743-1791); EOStie (HOStier?), ; IUSt (JUSt, JOhannAUgUStP); (1750- P); Ka1OUS SimOn(1715-1786);18 KaUerX Ferdinand (1751-1831); KOZe1UCh} LeOPO1d (1752-1818);18 Kreibe,BenJamin F, F. (1722- ?); LaCheZ SOSePh (1739- after 1800)Lang, ; LeUdO1g (LUdWig) ; -; Linka (L;nek), Jiri IgnAC(1725-1791); LUdWiR (LOUdiVig?); MahOn,Wi1lhm (1750-1816); MeiSSNer, Ph;1iP (174B-1807); MiCh},JOSePh II ( P) (1745-1810); MOUrinX A.; MVi11er, JOhannEmmanUe1 (1744- ?); PUntO (StiCh), JOhannWenZel(175$-1803); Rathe, ; SCherSerT ; SChinettI, L., SChnabel, JOSePh IgnaZ(1767-1831); SChneiderX GeOrge Abraham(1770-1839); SChOenebeCkX Kar1S1giSmOnd l6Substantiallythis same list appearsin the appendix of the writer'sdissertation whereit is amplified to includea compilation of all the sourcessubstantiatint tlle composition of clarinet concertos by these composers, See TitussOp Ght., 570-8I. One nameon Mr. Tuthill'slist wbicb is missingfromthis list is that of FranzAntonBcessler(1750*1792).This is obviouslya case of mistaken identitycausedby the transposition of one letter,and the surname shouldbe R*ssler or Rosetti. 17Eichner's n$meis includell here e/en thougha supposed clarinetconcerto attributed to him is e7atant in Vienna. This workis actuallyan arranKement of a concerto first written(and recently published in modern edition)for oboe.However, Eichner msy havewritten one of the supposed Karl Stamit3 concertos published by Sieber. See above,footnotell. 18 Reported extantin Pra,,ue.See above,p. 169 footnote2.

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(1758- after 1800); Schreier(Schreyer?),; Schubert,Joseph (17o7-18129;Schwegler, JohannI)avid (1759- ?); Shaffer, ; Solere (Soller,Solers),Etienne (1753-1817)*Sponheimer,H. C.; Starck (Starke ?); Stegmann, Karl David (1751-1826); Sterckel(Sterkel ?), JohannFranzXaver (?) (1750-1817); Stoetzer (Stotzer), -- ; Stumpf,Johann Christian ( ?- 1801); Vandenbroeck, Otbon-Joseph (1759-1832);Vanderhagen, Armand-JeanFransois3Oseph(1753-1812); Vanderplancken, Charles (1772-1849); Vitasek (Witassek) , Jan Augustin (or Johann Nepomuk August) (1770-1839); Vogel, Kajetan (1750-1794)- Wachter ; Wagner,Jakob Karl (or Karl Jakob) (1772-1822);Walter,Albert,Westerhoff, C. W. Winter,Peter von (1754-lS2i); NVitt,Friedrich (1770-1837); Zinkeisen,Konrad Ludwig Oietrich(1779-1838). The Ohio State Universitr. Abbreviations Used iZt Extant ConcertoList B & H-Breitkopf & Hartel BC Bibliothequedu Conservatoire de Musique,Paris BCI-Burnet C. Tuthill BLK BadischeLandesbibliothek, EarIsruhe BM British Museum,London BN-Bibliotheque Nationale,Paris clar.larinet Cons. Conservatory ed. cdition,edited (by) EDX Das Erbe DeutscherAIusik GMF Bibliothekder GeseUschaft der Musikfreunde, Vienna LC Libraryof Congress, Washington, D. C. M9manuscript PSB-Preussische Staatsbibliothek, Berlin TTR- Thurn und Taxis Hofbibliothek, Regensburg V5JBOsterreichischeNationalbibliothek, Vienna \\DSWestdeutcche Bibliothek,Marburg

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