It is well known that the clarinet plays the same role in wind
ensembles as the violins in the symphonic orchestra; however, in
the case of French amateur music, the expected quality in the concert
performance was not the same as it would later be for professional
ensembles. It was especially the case in the nineteenth century,
which constitutes the first stage in the establishment for such formations.
Arrangers and conductors were invited to adapt their production and
their acquisitions to the true level of performers, the former by
reducing the difficulties of the parts, comparatively to common orchestral
music, the latter by acquiring scores that were truly able to performance.
In this sense, is it possible to speak of any kind of virtuosity?
And if so, what are its characteristics? On the other hand, what
are the consequences of changes in the number and in the level of
members of an ensemble, throughout its existence? What sort of adaptations
were then necessary? To answer these questions we will consider some
examples of all kinds of clarinet parts: Eb sopranino, solo, first
to third Bb soprano, and for two of the works we have considered,
Eb alt and Bb bass. These parts are included in two collections from
two wind ensembles from Upper Normandy: that of “L’Industrie” in
La Couture-Boussey, now preserved in the town’s museum, and
that of the Municipal Music of Evreux, now preserved in the town’s
Municipal Archives. We will also have to consider three aspects of
the question: the technical expectancies of these parts in relation
to their status (solo or accompaniment, high, medium or bass parts)
and to the tonalities, some examples of adaptations, and, finally,
some considerations pertaining to the conditions under which the
music was performed (instruments used, performance in concerts or
in competitions).
Technical expectancies in the clarinet parts
Generally, clarinet parts in amateur wind ensembles are easier to perform
than orchestral parts for professional musicians: they do not extend
beyond high f’’’ or high g’’’;
the passages which could be qualified as “virtuose” are
limited to rather simple key signatures (one or two alterations) and
when more charged tonalities are employed, this is in a slower tempo;
they consist only in scale or arpeggio fragments which are banished
in such tonalities as E major or B flat minor for example. However,
true technical capacities are expected for performers, even for those
who play accompaniment parts: some passages marked allegro contain
series of sixteenth notes reaching often the high register. In addition,
tremolos in thirty-second notes on single tones during four to six
four beats bars are frequent in andante tempos which require digital
agility and a staccato of good quality. In C. G. Reissiger’s
work Yelva in La Couture-Boussey’s collection, the conductor
replaces rests by such manuscript tremolos followed by scales with
changes of register in Eb sopranino and first Bb soprano parts, and
that is proof of the technical capacities of his ensemble’s performers
(see annexes 1 and 2).
In the case of a solo part, the expectancies are higher, but not out
of a good amateur musician’s reach: so, in G. Meister’s
fantasy for clarinet Erwinn in La Couture-Boussey’s collection
and in G. Wettge’s Varied Theme for clarinet in Evreux’s
collection (see annexes 3 to 6), Bb soprano clarinet parts express
a music of relative virtuosity – quick scales, arpeggios (often
with notes not included in the chords) and chromatic passages – that
we do not find in common parts; and we find in these solo parts cadenza passages which are written especially for showing the soloist’s
brilliance. However, the difficulty of such passages are attenuated
by the choice of the tonality – B flat major that gives C major
for written notes – the easiest tonality for the clarinet, and
the modulations are limited to neighbour key signatures, except a short
passage in G flat major (A flat major in written note) in a slower
tempo (andante) in Erwinn. And if we consider – in Erwinn too – the
second variation of the theme, we find that the difficulty of the arpeggios
is attenuated, first by the disposition of stems, second by the fact
that the pivot-note (f’ or g’ in written note) is fingered
all holes open: we are far from the professional virtuosity of such
a work like Introduction, Theme and Variations by Rossini which is
written in the same key signature! (See example 1 as follows)
Example 1: Erwinn, G. Meister’s fantasy for clarinet, 2nd variation
(beginning)
An exception must be mentioned: Charles Gounod’s Philémon
and Baucis, arranged by Gabriel Parès in Evreux’s collection
presents a Bb solo clarinet part (see annexe 7) with obvious difficulties,
since in the finale we find passages reaching the high a’’’ (in
written notes) and since we find numerous fragments in the upper register:
the fact that the conductor chose such a work for his ensemble shows
the high level it had reached. So, Evreux’s Municipal wind ensemble
was rightly considered as the best wind ensemble of the Department
of Eure at the end of the nineteenth Century and it is not surprising
that it played a transcription written by Gabriel Parès who
was then the conductor of the Republican Guard, which represents the
highest reference for orpheonic ensembles in France.
Two works contain printed parts for Eb alt et Bb bass clarinets: first,
H.J. Parès’s Solemn March (alt and bass clarinets parts),
and E. Fontenelle’s overture Concordia, arranged by G. Meister
(bass clarinet). They are included in La Couture-Boussey’s collection.
Solemn March does not present major difficulties, but Concordia does
(see annexe 8): there are numerous sixteenth notes passages in the “clarion” register,
which require a good playing technique to be well performed in an unusual
tonality, A flat major (B flat major in written notes); and at the
end of the part, the melody reaches high c’’’ (in
written note), that is a relatively high register for a bass clarinet
part, especially if it has to be played by a non-professional musician.
However, the difficulty of tone emission is attenuated by the fact
that the passage must be played fortissimo, but it is necessary for
the performer to have a good control of his sonority! On the other
hand, it is possible to substitute an alt or a bass clarinet for an
alto or a tenor saxophone, as these instruments transpose in the same
intervals. No particular difficulty results from this substitution.
If clarinet parts were usually performed as they were printed, conductors
in relation to events that marked the existence of the formations often
made adaptations. These adaptations are clearly visible on the printed
parts by manuscript adjunctions. On the other hand, arrangers can write
directly adaptations in their transcriptions of orchestral symphonic
parts, as we will see.
Adaptations to clarinet parts
Some of these adaptations are minor: it is the case for the tremolos
added in Eb and first Bb clarinets parts, already mentioned; it is
also the case for the work Concordia already mentioned where additional
manuscript passages are substituted to rests in the Eb sopranino clarinet
part (see annexe 9). These passages approximately correspond to those
present in the Eb alt saxophone part and they are doubled at these
places precisely: it is possible that the conductor wanted to reinforce
the sonority in order to counterbalance defections among saxophone
players. Indeed, La Couture-Boussey’s wind ensemble “L’industrie” was
from the year 1896 onwards divided in two concurrent societies: the “free” and
the “Municipal” wind ensembles, after a conflict with the
town’s Mayor. The conductor of the “Municipal” formation,
which owned this collection, had to adapt to this situation and perhaps
had to make these changes.
Another consequence of this situation, of far more interest, is shown
by Félix Leroux’s varied air L’Auréole, in
which the theme and each variation are played by different instruments.
We observe, in fact, according to the score, that numerous passages,
which present the most technical difficulties, are suppressed, and
crossed out with a pencil on the different parts by the performers
(see annexes 10 to 13). However, these suppressions were apparently
made in two times: first, only variations 1, 2, 4, 6, 7, 8, 9 and the
tutti of the tenth variation were performed, as it is mentioned by
a small printed sticker glued on each part; in a second time the most
part of the introduction and the variations 2 and 7 were suppressed,
the latter being played by the Eb sopranino clarinet. One can suppose
that the former step of suppressions was made before the split in 1896,
the latter afterwards. Are these suppressions due to a lack of performers
or to their difficulties in playing? The first hypothesis is largely
improbable for the first step of suppressions, since before the split,
there were around one hundred members in the wind ensemble “L’industrie”.
Afterwards, the two hypotheses are plausible, and it is possible that
the suppression of the 7th variation was due to the lack of a sopranino
clarinet player as well as his less good level. However, because of
the lack of archives, it is impossible to verify this assertion.
Now, let us examine adaptations written directly by arrangers in order
to make the performance easier. In his transcription of Isoline’s Ballet from André Messager – in La Couture-Boussey’s
collection –, Ch. Eustace took some precautions to avoid difficulties
of interpretation: the comparison between the arranged version of the
clarinet solo of the “seduction scene” and the original
orchestral version is particularly meaningful (see examples 2 and 3
as follows). The arpeggio on the dominant (5th bar) is rhythmically
modified, since thirty second notes are substituted to the sixteenth
notes septuplet and, from a melodic point of view, a passage comprised
between medium b’ and high d’’’ replaces the
sustained high g’’’ of the original version: indeed,
it is easier to perform the former than the latter in the nuance pianissimo.
Example 2: André Messager’s Isoline’s Ballet, arranged
by Ch. Eustace,
Bb solo soprano clarinet part (extract)
Example 3: André Messager’s Isoline’s Ballet,
Solo of clarinet from the original version
In his manuscript transcription of the Larghetto of the 2nd
Symphony from Ludwig van Beethoven – in Evreux’s collection –, Émile
Clérisse, the conductor of this town’s Municipal wind
ensemble, made different modifications from Beethoven’s original
version (see examples 4 and 5 as follows). If the absence of g#’ – e#’ in
the original score – at bar 56 is certainly due to that fact
that he wrote his transcription from an erroneous edition (since, according
to Critical Commentary of the Bärenreiter edition , all the sources
indicate e#’), we can’t determine whether the thirty second
note figure on the third time of bar 75 is a mistake or an adaptation
made for the performers: it seems curious to have a figure which corresponds
to the tonic chord instead of the dominant written by Beethoven; in
fact, it could be possible to write this figure a tone lower in order
to make it in conformity to harmony. But perhaps Clérisse wanted
to favor the melodic context – an ascendant chromatic figure – thinking
that clarinettists would more easily understand that. On the other
hand, the d#-b# at bar 66 (for more clarity of explanation we chose
to refer to Beethoven’s original tonality, E major at this place,
instead of the F major written by Clérisse), is certainly a
mistake, because the chord is a dominant seventh on B, not on G#. So,
we can’t deny Clérisse’s competence as an arranger
both in his activity as the conductor of Evreux’s wind ensemble
and as the president of the French Musical Confederation, a function
for which he was elected in 1936 and which incited him to write and
publish a great number of transcriptions for all kinds of formations.
On the other hand, the melodic changes he made on bar 77 correspond
to a real intention to facilitate performance.
Example 4: Ludwig Van Beethoven’s 2nd Symphony, 2nd Movement
(Larghetto),
arranged by Émile Clérisse, extract of the first Bb clarinet
part
Example 5: Ludwig Van Beethoven’s 2nd Symphony, 2nd Movement
(Larghetto),
extract of the original orchestral version
Whatever the expectancies for the performers and the necessary adaptations
are, we now want to consider that all these works were written for
specific instruments and were generally played in public performances
or in competitions: so, it is now necessary to deal with these aspects
of the question.
The reality of playing: instruments, public performances and competitions
As regards the instruments, we have to consider the fact that instruments
played by amateur musicians does not refer to the most recent developments
in instrument making: players generally use thirteen keys systems clarinets
for three principal reasons. First, because the tonality key signatures
in use did not differ from the neighbouring tonality of C major, in
written notes; second, because they were familiar with these instruments
by learning, since their teachers played them and were in place for
a long time; and finally, because this kind of music sounds better
than it would if it had been played out of Boehm system instruments.
What is true for a professional performer is not for an amateur musician,
who does not reach the same level of performance . However, there are
two exceptions: first, the case of La Couture-Boussey’s wind
ensemble “L’Industrie”, which played on modern systems
because the town was the greatest centre for wind-instrument making
in France at this period; second, the case of Bernay’s wind ensemble
which, as one goes along its victories in orpheonic competitions, invested
a part of the subsidies it was granted as a prize in buying Boehm system
instruments – and especially an alto clarinet – completing
the financial cost by municipal or departmental subsidies.
As regards public performances, they were of two kinds: services owed
to municipalities and concerts. The former ones consist of playing
in official ceremonies as commemorations, national feasts and, for
Evreux’s wind ensemble, in accompanying the Second Empire’s
prefect of Eure, Eugène Janvier de la Motte, in his electoral
travels. The latter ones’ consist in public performances outside
from spring to autumn, in the form of an annual concert for honour
members of the society in January or FEbruary and performances destined
to test the works which would be presented in competitions. In services,
the music did not present any major difficulties: it consisted of marches
and quick steps of no originality. The main works, such as those presented
in this paper, consisted principally of transcriptions and arrangements
of the main romantic composers’ works written by the more famous
military conductors, and were reserved for concerts, in order to show
the ensemble in its best light to the public, because the main preoccupation
for the active members – who were enlisted among workers and
craftsmen – was to win respectability from the ruling class.
The last aspect of the question of public performances is that of the
competitions: all society members of the French orpheonic movement,
from the smallest to the highest, had to participate in contests which
were organized throughout France, each year from April to October.
These competitions allowed the societies to be evaluated and classified
into divisions and sections, in this order from top to bottom: honour,
excellence, high, first, second and third division. Only a first prize – and
two consecutive first prizes from the second division onwards – allowed
the access to the upper section or division. Apart from the traditional
medals, subsidies in money were won by societies with a first prize
in the first, high, excellence and honour divisions from the years
1880 onwards, and we have seen above how the Bernay’s wind ensemble
employed them. It is obvious that these competitions represent the
highlight of the orpheonic season and that the medals were proudly
set up on the societies’ banners. A society’s victory,
especially when it was for a high level competition, was an honour
for its whole town and the members were welcomed by a delegation of
the population at their return at the railway station, accompanied
in procession in the town and often received by the municipality in
the town hall. As these contests were organized in all parts of France
and even abroad, they offered numerous occasions for the societies’ members
to travel and they were highly envied by the all workers of craftsmen
who does not have this opportunity. So, La Couture-Boussey’s
wind ensemble participated in 1874 in the contest of Béziers
(South of France) where it played, as imposed work in first and high
divisions, Gioacchino Rossini’s overture of The Italian Women
of Alger, arranged by E. Jancourt: the annexes 14 to 19 show the high
level of expectancies of clarinet parts. But, with this imposed work,
a freely chosen piece had also to be performed and the society was
judged on the basis of these two interpretations. This rule existed
in all competitions whatever they were: from the local contests to
the regional, national and international ones. It is obvious that local
competitions welcomed essentially the societies of inferior divisions
and the national and international the best ones. However, another
kind of competition was organized in these contests, from the years
1863 onwards: it is the sight-reading competitions. It took place in
the morning (because members were essentially workers or craftsmen,
the contest took place on a Sunday or on two days at Easter or Whit
Sunday), the afternoon being reserved for imposed and freely chosen
works. It was necessary for the organizers to prepare sight-reading
parts and scores long before, asking the conductors for the members’ reading
keys in the registration form, in order to write well adapted works
for the division they chose. On arrival of the society, the judges
distributed the parts and the score, and the musicians as well as the
conductor had only five minutes to examine them before playing: it
is obvious that these conditions did not allow any kind of virtuosity,
but the written works were not so easy, especially in higher divisions.
This type of competition, quite difficult, was essential in the orpheonic
leaders’ mind in this period: they wanted their society members
to be good readers. Nowadays, how many wind ensembles or brass bands
would be able to perform well a simple piece, after only five minutes
of sight-reading?
To conclude, we can say that clarinet parts were adapted to the level
of amateur musicians, not exclusive of a certain kind of virtuosity,
though very different than expected for professionals. And, in the
case of adaptations, if some of them were written, like the tremolos
already mentioned, for more brilliance or sound, they were generally
justified by local events, either because the level had decreased by
lack of good players, or because conductors wanted to facilitate the
performance. In all cases, and whatever their level was, we can affirm
that performers did their best in all kinds of performances to reach
the reputation they thought they deserved, with the satisfaction of
well-done work.
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