The EarlyClarinetConcertos

ROBERT A. TITUS

A LIST of solo worksfor clagrinet appearedin the Spring1962 issue of this

journalin an articleentitled"TheConcertosfor Clarinet,"by Mr. Burnet
C. Tuthill.Althoughhis list was quite extensive,much moreso, as he relates,
than he had surmisedbeforebeginningto gatherhis materials,Mr. Tuthill rec-
ognizedthat probablymanymoreconcertoshad beenwritten,andhe encouraged
readersto contributeto the list.
It is in this spirit,therefore,that the presentwriterbringsattentionto a num-
ber of clarinetsolo works,all concertosfor one or two clarinetswith orchestral
accompaniment, whichare properlypart of the list offeredby Mr. Tuthill. The
additionalitemsnotedhere,however,includeonly worksbelievedto have been
composedin the eighteenthcentury,as nearlyas can be determinedin view of
the difficultyof establishingdates of compositionfor worksby obscurecom-
posersand also for workswhichhave not survived.
Of the hundredor more names listed here as composersof concertosand
doubleconcertosfor clarinet,only about one-thirdare representedby extant
works,almostall of whichhave been identifiedand discussedelsewhereby the
writer.l Approximatelytwo-thirdsof the names listed below are those whose
clairnetconcertoshave not survived,or have not becomeaccessible.2
This listing,unlikeMr. Tuthill's,includesonly concertoswrittenspecifically
for clarinet. No arrangementsfor clarinetof worksoriginallycomposedfor a
differentsolo instrumentare included.3Nor are therekinds of solo worksother
thansolo and doubleconcertos.Omittedfromthis accountare the concertantes
for clarinetand one or moredifferentsolo instrumentswith orchestra,potpour-
ris or occasionalpiecesfor clarinetand orchestra,solo compositionsfor clarinet
with keyboard,4chambermusicin whichthe clarinethas a soloisticrole, etc.

1 See Robert A. Titus, The Solo Mussc for the ClaroJoetin the Eightecnth Century, unpublished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 unknoxvnor inacocs-
sible. 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 lRra-
tochvil, 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 instru-
ment: oboe, flute, or clarinet. Adalbert Gyrowetz indicates either oboe or clarinet as solo instru-
ment. 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-centurstcomposersare 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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170 JOURNAL OF RESESCH IN MUSIC EDUCATION

A few of these survivingeighteenth-century concertosare still very much

worth study, and perhapsan occasionalperformance.Though by no means
masterpiecesof musical ewression, and far from rivallingthe incomparable
concertoby Mozart,the concertosof FranzAnton Rosetti (Roessler),Johann
Stamitz,Karl Stamitz,Franzllrommer,and FranzAntonHoffmeistercertainly
possessmeritand deserveclarinetists'attention. Of morethan passinginterest
are the concertosby JohannMelchiorMolter and Frans Tausch, but certain
impracticalitiesprobablyprecludeperformanceof these works. Molter'sfour
concertosare all scoredfor the nearlyobsoleteD clarinet,and with suchan un-
commonlyhigh tessiturathat, even thoughperhapsnot unplayableon the E-flat
instrument,the resultmust be morethan a little shrill. Tausch'stwo concertos,
which combineextremesof virtuosityand high registerwritingwith consider-
ablemusicalworth,wouldbe interestingto hear in performance. Unfortunately,
however,the orchestralpartsare lost; only the solo part of eachhas survived.
By and large, the solo materialin the followinglists does not representan
especiallyfruitfuladditionto the modernclarinetist'spracticalsolo repertory.
The obscurityinto which the great majorityof these ephemeralcompositions
havelapsed,in the opinionof this writer,is well deserved.As is readilyrealized,
in any epoch the really significantworksare in the vast minority;the musical
giantsof any periodare greatlyoutnumberedby the lesserspirits. And surely
lt is primarilythe latter,the secondand thirdratecomposersof theirday, whose
namespredominatein this list of clarinetconcertocomposers.
Many of these workswere locatedby visiting and examiningcollectionsof
instrumentalmusic in a numberof Europeanlibrariesand archives,especially
those referredto by Eitneras containingone or moreeighteenth-century clari-
net concertos. Fewer than half of the survivinOconcertosexist in published
editionsprintedin the eighteenthcentury. The majorityare manuscriptcopies,
of whicha few are autographs.Someproblemsof composeridentificationarose
and will be mentionedbelow. A few of the concertos,both single and double,
are anonymous.
Attentionshouldbe called to one such work,the seconditem listed by WIr.
Tuthill,5a concertomanuscriptin the Libraryof Congressidentifiedas Anony-
mousII, shelf-markM1024.A(2)P. The writerhas been able to establishthat
this is not a solo concertofor clarinetbut rather a concertantefor clarinet,
taille,6and orchestraby the oboist-composer JosephFiala (1751-1816).7 The
manuscriptcopy of this work in the Libraryof Congressis, therefore,incom-
plete since it is lackingnot only the composer'snamebut also the concertante
part for the taille. Identificationof 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 instru-
ment. In this case, since the concertante taille part is written in treble clef for a transposing in-
strument 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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 THE EARLY CLARINET CONCERTOS 171

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 eight-
eenth 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 wvhichshows only the composer's surname,
Pfeiffer. Mr. Tuthill has credited this concerto to a Karl A. Pfeiffer (1833-
1897), 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 Laza-
rus, Hyacinthe Klose, Cyrille Rose, or Ernesto Cavallini, although by this time
clarinet concerto performancehad passed out of fashion. Then too, the charac-
ter 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 (1754-
l792), 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?usotVII (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. How-
ever, 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 profiredto 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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172 JOURNAL OF RESEARCH IN MUSIC EDUCATION

playersat ith Mannheimand Ludwigslustit appearsvery likely it Franz

AntonPfeiSermighthave writtena concertofor clarinet.10
livo very prolificeighteenth-century cErinetconcertocomposersmentioned
by Mr. Tuthillare Rarl Stamitz(1745-1801),11 threeof whoseelevenconcertos
were discussedby Mr. Tuthill,and MichelYost (1754-1786),12six of whose
fourteenvirtuosovehiclesMr. Tuthillmentioned.Actually,nine concertosare
extant for each of these composers,all of whichwill be presentedin the list
below. Anotherprolificbut almostunknowncomposerof clarinetsolo works
was Iheodor Freiherrnvon Schacht(1148-1823),one of the composersat the
courtof ThurnandTagismentionedabove(see page171). His tsvelveconcertos
haveall survivedin manuscriptat Regensburg.
AlthoughKarlStamitzis not recognizedas a majorcomposer,he was a lead-
ing representative of the so-calledMannheimcomposers,and his concertosfor
clarinet,as mentionedabove,do constitutean importantcontribution to clarinet
solorepertory, muchmoreso thando the concertosby the virtuosoplayerMichel
Yost.As Mr. Tuthillsuggests,the latterare musicallyquiteshallow.They were
writtenprimarilyfor Yost'sownperformance and are largelygivenoverto daz-
zlingtechnicaldisplay. The concertosnumberedX andXI in the Sieberedition
are the mostimposingin floridity.This writerdoesnot concurwith Mr.Tuthill
that any of the nineextantconcertosareworthrevivingin modernperformance.
A correctionshouldperhapsbe maderegardingthe key of one or two of the
survivingconcertosby Yost. Mr. Tuthillstates that all are in B-flat. One of
the concertosmentionedin his article,ConcertoS7o.XIV, is in the key of
E-flat,as is one othernot listed by him, ConcertoNo. V. Of the extantcon-
certosthe latteris the only one not printed.The manuscript copyin the British
Museumhas no numberand possessesno identificationother than the name
M. Michell. Carefulstudywas necessaryto establishthat it was indeedYost's
work,for a manuscript copy of the sameworkpresetwed at Regensburgis there
attributedto the composerPaul M;inneberger (1758-1821),who is also rep-
resentedby anotherclarinetconcertoin the same collection. Distinct style
ities to otherYost concertosratherthan to the otherWinneberger concerto
permitthe conclusionthat it is Yost'swork.It is identifiableas his Concerto
No. V by its key of E-flatsincea listingby Meysel13of all fourteenconcertos
showsthat only Nos. V and XIV are in this key.
Meysel'slistingalso gives a clue to the popularityof Yost'sconcertosin his
day. No less than threepublishersprintedall fourteen,and sevenother firms
publishedsomeof the concertos.Furtherevidenceof this popularityexists 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 partici-
pation 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 EARLY CLARINET CONCERTOS 173

the reportsof performances of Yost workselsewherebesidesParis,in fact, even

in this country. Sonneckcites performancesin Charleston,Baltimore,and
Philadelphiain the 1790's.14
The knownand availableextanteighteenth-century concertosand doublecon-
certoslisted below includethose mentionedby Mr. Tuthill as well as the ad-
denda. The followinginformationwill 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 informationon moderneditions. Those
itemswhichappearedon Mr. Tuthill'slist will be so indicated.Questionmarks
signifydoubtas to positiveidentityof composeror uncertaintyas to his dates.
A key to the abbreviationsusedwill be foundat the end of this article.

EXTANT EIGETEENT CENTURY CLARINET SOLOCONCERTOS

AnonymousConcertoin E-flat (MS clar.) part only WDB
AnonymousConcertoin 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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174 JOURNAL OF RESEARCH IN MUSIC EDUCATION

PfeiSer,FranzAnton(?) (1754-1792).Concertoin E-flat. Discussedby BCT. MS LC

Pfeilsticker,
Nicholas(?-?). Concerto in B-flat.Pleyel. GMF
Pleyel,Ignaz(1757-1831).ConcertoirxC (C clar.). 2 sets (f parts,Bummeland Faltcr,
in BM,anothercopyof Cappipartsin VNB. hIentioned by SCT
Pokorny,FranzXaver(1729-1794). 2 Concertos, in E-flatand B-flat,bothMS autographs
(B-flat concertodated 1765,earliestknowndated autographof a clarinet
concerto).Modernedition,ed. HeinzBecker,EDM XLI lgS7. Discussedby
BCT
Rosetti(Roessler),FransAnton(1750-1792).ConcertoNo. 1 in E-flat,MS partsin TTR
andSieberparts(exceptclarinetsolo part,whichis missing)in BC
Contrto No. II in E-at, SieberBM. Moderneditionfor clarinetand piano
cditionHimieVowman, Rubank,Inc., 1959.Mentioned by BCT
Schacht,TheodorFreiherrn von (1748-1823).12 Concertos, 3 for A clarinet,othersfor
B-at clarinet.All MS, somewith scores,probablyautographs, 3 of which
are dated1790,1790,and 1792. TTR
Schenk,JohannII (1761-1836)."Andantezu einemClarinetten-conzert," in E-flat. MS
autograph.March,1784,one movemcntonly GMF
Schierll,Joseph(1757-1797).2 Concertos, in E-at and B-flat. MS TTR
Stamitz,Johann(?) (1717-1757).Concertoin B-flat.MS TIR. Moderneditionfor clari-
net and pianoedition,PeterGradenwitz, Leeds,1953.Discussedby BCT
Stamitz,Karl (1745-1801).Concertoin E-flat. MS formerlyat Darmstadtdestroyedin
WorldWarII. Moderneditionfor clarinetand pianoeditionHelmutBoese
(whohas a copyof the Darmstadt parts),Hofmeister, 1956
Concerto m B-flat. MS,VNB. Modern editionfor clarinetandpiano.Johann
Wojciechowski, C. F. Peters,1957.Discussedby BCT
Concertoin F (C clar.)SieberBC
Concertoin E-flat (possiblyby ErnstEichner?).SieberBC
Concertoin B-it. SieberBC, MS partsirl TTR
Concertoin B-Sat. Sieberpartsin BC, MS partsin SNB
Concerto in E-flat. MS TTR. Moderneditionfor clarinetand pianoedition.
JohannWojciechowski, Silsorski, Hamburg, 1933.Discussed by BCT
Concertoin B-flat. MS in VNB. Moderneditionfor clarinetand pianoedi-
tion. JostMichaels, Sikorski, Hamburg, 1958.Discussed by BCT
Concerto in E-flat.NISparts\m-B (possiblecollaboration withJosephBeer?).
Tausch,Frank(1762-1817).2 Concertos in E-flat,bothMS clarinetpartonly. No. 1 in
BM,No. 2 in WI)B
Yogel,JohannCbristoph(17i6-1788).Concertoin B-flat. MS in Sachsische Landesbiblio-
thelz,Dresden.la
Wilmeberger, Paul( 17S8-182 1) . Concerto in B-flat.MS TTR
Yost,hlichel(1754-1786).ConcertsNo. II in B-flat.SeiberpartsBC
ConcertoNo. III in B-flat. SieberpartsBC
- Concerto No. V in E-flat. MS BM. A MS cops of the sameconcertoattrib-
utedto PaulWinneberger is at TTR.
ConcertoNo. VIII in B-flat.ImbaultpartsLC. I:)iscussed by BCT
ConcertoNo. IX in B-flatBM. Pleyelparts.Mentioned by BCT
Concerto No. X in B-flat. Pleyelparts. BM
ConcertoNo. XI in B-Rat BM. Pleyel parts tpossiblecollaboration with
JohannC. Vogel?).Mentioned by BCT
Concerto No. XII in B-flat.PleyelpartsBM,mentioned by BCT s MS copy
of essentially thesamcconcerto,with somealterationand attributed to Franz
Haxuschl is in TTR.
Conecrto No. XIY }n i:-flat,Pleyelpartsin BM, Cochetpartsin VNB. (Pos-
siblecollaboration with JohannC. Vogel?). Mentionedby BCT,thoughhe
erroneously specifiesthe key as B-flat.
15 For informationon this concerto the author is indebted to Professor Himie Voxman.

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 THE EARLY CLARINET CONCERTOS 175

EXTANT EIG:B:TEENTE-CENTURY
CONCERTOS
}'ORTWOCLARINETS
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 moreclarinetconcertoswhichhave not cometo lighthave beenattrib-
uted to the composersin the followinglist, most of whoselife spanspermitthe
possibilityof compositioneither before or after 1800. The writer makes n{:>
claimthat this is a completelist of eighteenth-century
composersof non-extant
clarinetconcertos. These are all that have been tioticed up to the present
time.ls Informationis lackingfor some of these composersas will be endent
from the occasionalomissionof first namesor dates, the alternativespellings
the questionmarksfetc.
CC)MPOSERS
OFCLARINET
CONCERTOS
OFPOSSIBLE
EIG}{tEENTH-CENTURY
OMANNOTKNOWNTOBEEXTANT
Albesy, - > Beer Joseph (1744-1812); Cartellieri,Casimir Anton (1772-1807; Chisppa-
relli (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 (1740-
1777);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); Ka1OUSSimOn(1715-1786);18 KaUerX Ferdinand (1751-1831); KOZe1UCh}LeO-
PO1d(1752-1818);18 Kreibe,BenJaminF, F. (1722- ?); LaCheZSOSePh(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 GeOrgeAbraham(1770-1839); SChOenebeCkX Kar1S1giSmOnd

l6Substantiallythis same list appearsin the appendixof the writer'sdissertationwhereit is

amplifiedto includea compilationof all the sourcessubstantiatinttlle compositionof clarinet
concertosby 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 mistakenidentitycausedby the transpositionof one letter,and the surnameshouldbe R*ssler
or Rosetti.
17Eichner'sn$meis includellhere e/en thougha supposedclarinetconcertoattributedto him
is e7atant
in Vienna.This workis actuallyan arranKement of a concertofirst written(and recently
publishedin modernedition)for oboe.However,Eichnermsy havewrittenone of the supposedKarl
Stamit3concertospublishedby Sieber. See above,footnotell.
18 Reportedextantin Pra,,ue.See above,p. 169 footnote2.

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176 JOURNAL OF RESEARCH IN MUSIC EDUCATION

(1758- after 1800); Schreier(Schreyer?),- ; Schubert,Joseph (17o7-18129;Schwegler,

JohannI)avid (1759- ?); Shaffer, ; Solere (Soller,Solers),Etienne (1753-1817)*Spon-
heimer,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-Jean-Fransois-
3Oseph(1753-1812); Vanderplancken,Charles (1772-1849); Vitasek (Witassek), Jan Au-
gustin (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.

AbbreviationsUsed iZt ed. cdition,edited (by)

Extant ConcertoList EDX Das Erbe DeutscherAIusik
B & H-Breitkopf & Hartel GMF Bibliothekder GeseUschaftder
BC Bibliothequedu Conservatoirede Mu- Musikfreunde,Vienna
sique,Paris LC Libraryof Congress,Washington,D. C.
BCI-Burnet C. Tuthill M9manuscript
BLK BadischeLandesbibliothek, PSB-Preussische Staatsbibliothek,Berlin
EarIsruhe TTR- Thurn und Taxis Hofbibliothek,
BM British Museum,London Regensburg
BN-Bibliotheque Nationale,Paris V5JBOsterreichischeNationalbibliothek,
clar.larinet Vienna
Cons. Conservatory \\DSWestdeutcche Bibliothek,Marburg

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