The Cambridge Companion to the Clarinet

Abstract

Cambridge Companion to the Clarinet. Edited by Colin Lawson. (Cambridge Companions to Music.) Cambridge: Cambridge University Press, 1995. [xvi, 240 p. ISBN 0-521-47066-8. $59.95.] Nearly two decades have passed since the publication of several standard books on clarinet history and literature. In this interval, much of the early history of the clarinet has been rewritten, a great deal of previously unknown music has been published and performed, and the frontiers of playing have been expanded in both historical directions--early instrument playing as well as ever expanding avant-garde techniques. Thus, the appearance of this new clarinet study is most welcome, bridging not only a generation gap between major clarinet studies, but also bringing together essays on a wide variety of clarinet topics usually not found within a single volume. Like the other Cambridge Companions issued thus far, this is a composite effort, with thirteen authors contributing chapters or sections. Most are well-known players or leathers of the clarinet, and all are British. This British orientation is perhaps most strongly reflected in those sections dealing with teaching materials and performance repertory--several of my American favorites are missing and no doubt French or German players would have slightly different preferences. But despite this and the omission of several recent contributions from German authors, this work is quite international in its overall approach and perspective. first two chapters, by editor Colin Lawson and collector Nicholas Shackleton, are concerned with the development of the instrument. Much of this information has been presented elsewhere in greater detail, indeed by these two authors, but nonetheless these opening chapters do provide a concise summary of the physical development and evolution of the clarinet. Chapter 3, The Clarinet Family, is a series of individual essays on the differently sized members of this family. While these sections present some historical background for each of the family members along with general playing hints, most of the material concerns repertory, with examples drawn in large part from orchestral and chamber music literature. inclusion of a separate section on the C-clarinet is noteworthy: the reemergence of this distinctive voice is largely the result of the early music revival of the last twenty years or so and its use of original instruments. Chapters 4 and 5 are titled The Development of the Clarinet Repertoire and Players and Composers, both detailing the solo and chamber music written for the clarinet. first of these, by Jo Rees-Davies, lists music by historical periods with only the briefest of comments on the music's worth. Clarinetists wishing to broaden their repertory will find an abundance of unfamiliar names; unfortunately no publication information is included and many works may prove difficult to track down. I found the contemporary American listing a small and curious selection. Pamela Weston's chapter discusses compositions influenced or commissioned by specific clarinetists. With such a clear and obvious overlap with the previous chapter, I would have preferred to see these two chapters condensed into one. much more subjective and personal realms of teaching and playing the clarinet are the focus of the next several chapters. …