In its early years, composers often treated the clarinet as if it were a brass instrument, particularly a trumpet, by writing
bugle-like lines for the instrument. By the end of the 18th century, the word ‘clarinet’ was used to denote a woodwind instrument played with
a single reed and included a bell attachment. As advancements were made by instrument-makers, the clarinet developed into an instrument that
was no longer compared strictly to the trumpet. D clarinets were used by many composers between approximately 1710 and 1750. However, a few
composers continued to write for the instrument after 1750. Some of the most well-known orchestral excerpts for E-flat clarinet were
originally written for the D clarinet, including: Strauss’s Till Eulenspiegel, Stravinsky’s Rite of Spring and Firebird, Bartok’s Miraculous
Mandarin, and Mahler’s fifth and sixth symphonies. The D clarinet has steadily declined in popularity after its peak in the middle of the
eighteenth century, possibly due to the rise in popularity of the military band, which used the E-flat clarinet. However, some orchestral
works are still being performed regularly that utilize the D clarinet, including those previously mentioned. Most orchestras will substitute
the E-flat clarinet for these performances even though the score was written for D clarinet. Often times, the parts are in a more challenging
key due to transposition and would be better suited for the D clarinet. The instrument blends particularly well with the strings in the
orchestra, and has a darker sound than its E-flat counterpart. Major orchestras spend a large amount of money locating specific instruments
to fulfill the needs of the original score, yet the E-flat clarinet is still allowed to substitute for the instrument the scores were
originally intended for. While D clarinets are no longer regularly produced in most countries, it is still possible to acquire one. The focus
is to provide a detailed history of the D clarinet, including its appearances and development throughout the world. Because there is limited
material dedicated to the D clarinet, the treatise aims to provide a list of solo, chamber and orchestral repertoire utilizing the
instrument. In combining the collection of repertoire, historical research and interviews with D clarinet specialists, it is my hope to
highlight the repertoire of an instrument that rarely receives attention in lesson and performance settings and articulate a practical
application of the D clarinet in current music. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of
Doctor of Music. / Fall Semester 2017. / November 3, 2017. / Clarinet, D Clarinet, Molter / Includes bibliographical references. / Deborah Bish, Professor Directing Treatise; William Fredrickson, University Representative; Anne R.
Hodges, Committee Member; Jonathan Holden, Committee Member.
| Identifer | oai:union.ndltd.org:fsu.edu/oai:fsu.digital.flvc.org:fsu_605016 |
| Contributors | Smith, Corinne Alyssa (author), Bish, Deborah, 1971- (professor directing treatise), Fredrickson, William E. (university representative), Hodges, Anne R. (committee member), Holden, Jonathan (committee member), Florida State University (degree granting institution), College of Music (degree granting college) |
| Publisher | Florida State University |
| Source Sets | Florida State University |
| Language | English, English |
| Detected Language | English |
| Type | Text, text, doctoral thesis |
| Format | 1 online resource (52 pages), computer, application/pdf |
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