 The Clarinet BBoard
|
Author: MarlboroughMan
Date: 2012-01-07 17:10
The Clarinet Insititute of LA has an interesting etude book available--22 Etüden by J. Müller.
I've looked in several reference texts (including Eric Hoeprich's The Clarinet), and done some searches, but cannot learn anything about these etudes.
Does anyone know if J.Müller is in fact one and the same with Iwan Müller (1786-1854) the famous clarinetist and instrument maker? Johann=Iwan=Ivan, etc, and it would make sense, thus helping me place the context of the etudes. Of course if anyone knows about the etude book itself (and its date) that would be much appreciated.
[I just checked the Vegas odds on this question ever being answered here: it doesn't look good, folks. But I'm hoping.....]
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
|
|
Reply To Message
|
|
Author: MarlboroughMan
Date: 2012-01-08 13:03
Did I stump the Board?
It seems Vegas was right.
Anyhow, a while back someone posted a question as to what etudes the legends (H. Baermann, Muhlfeld, et al) played. The thread rather quickly became an argument about Rose etudes (which, whatever interest they might hold, is probably not what they played).
When I stumbled across these Müller etudes, they seemed to me the type of thing that might help a young player prepare for an eventual Spohr, Weber, or Crussell concerto.
Knowing that Iwan Müller wrote compositions to demonstrate the superiority of his new clarinet (which was rejected by the Conservatoire for not being bad enough sounding, apparantly) these seemed to fit.
If anyone can confirm this theory, it would be appreciated.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
Post Edited (2012-01-08 13:07)
|
|
Reply To Message
|
|
Author: kilo
Date: 2012-01-08 14:16
I can't confirm the theory but I have a copy of the 22 Etüden, published by Doblinger, and I very much enjoy playing from that book. The studies are melodic, and fit well under the fingers. In at least one place it calls for a low Eb — unless it's some transposition detail or copying mistake — and a double high C is called for somewhere else. I think it's very likely to have been a popular 19th century study book; the Müller system evolved into the Oehler system and it might have been especially common in Germany.
|
|
Reply To Message
|
|
Author: MarlboroughMan
Date: 2012-01-08 15:46
"I think it's very likely to have been a popular 19th century study book; the Müller system evolved into the Oehler system and it might have been especially common in Germany."
Agreed, kilo.
Iwan Müller was important to all branches of the clarinet family, beyond the German legacy. According to Brymer, he was the first to develop countersunk tone holes and to discard the old leaky felt pads in favor of leather. He's therefore a father of all modern clarinets, in a sense, whether German system, Boehm, or Reform Boehm.
I didn't notice the double C you mention, but have only just looked through them--I'll work through all of them soon. At first glance, they seem much more helpful for developing the type of crispness, strength, and articulation necessary for performing the early German Romantic solo repertoire.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
