1. Johann Christoph Denner
The clarinet was born in the 17th century and credited to Johann Christoph Denner, a Nuremberg clarinet maker. He unveiled the fruit of his research in 1690, after several years’ work. By adding a flared bell and two keys to the chalumeau, he enabled musicians to play in several registers, notably the register key (12th), which allows the clarinet to shift to the higher fifth to link the chalumeau to the clarion register.
2. The 18th century
After its creation, the clarinet, in its initial form with only 2 keys, remained limited to its natural diatonic scale. Chromatic semitones, limited to a few, were obtained as on the recorder by using forked fingerings. Also, the B of the clarion register was missing to link the chalumeau’s range to the upper one, called the clarion register. A few decades later, the lower body was lengthened by a semitone to the lower E, enabling the missing B of the clarion register to be emitted. A third key was created, articulated by the left little finger.
To adapt to the repertoire and take advantage of their different features, clarinets were soon produced in different keys. Because the pitch also varied from one area to the other, it was necessary to have bodies of different lengths, hence the solution of building the instrument in several detachable sections.
By the second half of the 18th century, the clarinet became popular in Europe, with a growing number of craftsmen producing them. Teaching has developed, as composers and good soloists gradually popularized this new instrument. But the instrument remained difficult to master and limited in its development, with chromaticism remaining very poor. The reed remained placed above the mouthpiece, but already the method of V. Roeser (1764) and Heinrich Bärmann (circa 1810) recommended turning the mouthpiece upside down, with the reed tied below.
The development of the clarinet often continues through the collaboration of a soloist and a good craftsman, usually on an empirical basis. Thus, the 5-key instrument common at the time of Mozart (late 18th century) was augmented by a 6th key (C#-G#) in 1791 (Lefèvre method, Paris). Other models incorporating new keys soon followed. Each additional key facilitated emission, intonation and playing technique. In 1827, Simiot (Lyon) produced instruments with up to 20 keys!
3. Ywan Müller, a milestone
In 1812, Ywan Müller (1786-1854), a renowned soloist from Estonia, then part of the Russian Empire, presented to the experts at the Conservatoire Impérial de Paris an instrument featuring numerous innovations: a 13-key chromatic concept with new padded pads with conical seats, a metal ligature and many other new features. Quite simply, it was the first fully chromatic clarinet in history, without the need for forked fingerings. Initially shunned by these experts, it soon became a standard known as the “13-key system”, conspicuously omitting to mention the name of its creator…
European craftsmen produced them until the 1914-18 war and beyond. Belgian clarinet maker Albert added a new function and successfully exported them overseas under the name “Albert System”. The German “Bärmann”, “Ottensteiner” and “Oehler” clarinets also were optimizations based on the Müller design. Müller’s 13-key clarinet was truly a milestone in the development of the modern clarinet.
4. The “Boehm” system
In 1838, Louis Auguste Buffet (1789-1864), a wind instrument maker (uncle of Jean-Louis Buffet, founder of today’s eponymous brand), was approached by Hyacinthe Klosé (1808-1880), the new professor of the clarinet class at the Paris Conservatoire, and successor to Frédéric Beer since 1838. A collaboration between Messrs. Buffet and Klosé resulted in a completely redesigned clarinet, not based on previous systems and fingerings used until then. The patent N°16036, filed in December 1843 and accepted on February 19, 1844, is entitled “clarinette à anneaux mobiles” (clarinet with movable rings). Thus, a tutoring method by H. Klosé was immediately published. This clarinet was subsequently associated with the Boehm patronymic, due to the similarity of the 3-ring right-hand key. The Boehm’s surname became very popular in France thanks to his magnificent work on the flute. The “Boehm system” was then associated with the Buffet/Klosé clarinet.
This new clarinet, of radically new construction, featured several highly innovative creations. In its basic form, this new concept sported 6 ring keys and 17 standard keys, some of which were doubled. It represented a significant upgrade in terms of emission, intonation and ergonomics. This system was widely adopted in France and progressively internationally in the first quarter of the 20th century, except in Germany and German-speaking countries. Forked fingerings had disappeared (except for one) and sound homogeneity was greatly improved. This new, partially doubled keywork enabled great virtuosity, and the excellence of the French school through its great soloists was to contribute significantly to the “Boehm system” worldwide success.
5. Important developments in Germany
In Germany, the birthplace of the clarinet, development continued based on the Müller system. Many craftsmen were involved in the instrument’s development, and a few names stood out:
Baermann-Ottensteiner
Ottensteiner (1815-1879) was a brilliant builder from Munich (Bavaria), and Carl Bärmann (1810-1885) was a renowned soloist, as his father Heinrich, also a first-rate clarinetist. They combined their respective skills to develop an 18-key system known as the “Bärmann-Ottensteiner system”. A method written between 1864 and 1875 popularized it.
Oscar Oehler
During his apprenticeship as an organ builder, Oscar Oehler (1858-1936) discovered himself passionate about the clarinet and quickly became an excellent musician. He was one of the founding members of the Berlin Philharmonic Orchestra between 1881 and 1888. At the same time, he made a name for himself as a mouthpiece repairer and manufacturer. He decided to open his own workshop in 1887 in Berlin. Playing a Baermann-Ottensteiner instrument himself, he was familiar with all its pros and cons and decided to manufacture his own instruments. His excellent contacts with artists such as C. Bärmann and A. Neff helped him focus on specific improvement. Over the next three decades, his instruments would benefit from numerous optimizations designed to upgrade intonation, timbre and sound homogeneity. This required sophisticated and intricate keywork, including numerous resonance holes and new mechanical links, became essential. Oehler’s system was widely adopted in Germany, becoming an absolute standard that is still in use today. It’s called the “Oehler System” or sometimes the “Deutsche System”. After his death in 1936, his successor Joseph Rouschil pursued his work until 1963.
6. Ernst Schmidt's creations
Ernst Schmidt (1871-1954) was a clarinettist from the Mannheim area. Being a perfectionist, he improved instruments from both the German and then French schools. In collaboration with the clarinet maker Louis Kolbe, he developed the Schmidt-Kolbe concept in 1905. Based on the German school (Müller-Bärmann), he combined extra holes with additional resonance keys to balance timbre, emission and intonation.
Ernst Schmidt designed the “Boehm Reform” later system based on the clarinet created by Buffet-Klosé. This concept is a combination of a German bore, mouthpiece and reed compatible with Boehm fingerings. It incorporates four new resonance holes to merge timbre, emission and intonation. In 1912, he also patented his “clear Bb” system (an ingenious principle of a subtle combination of the twelfth hole and B-flat throat). He also incorporated rollers on the right-hand little finger keys.
The “Boehm Reform” system was taken up and perfected by his successor Fritz Wurlizer (1888-1984), then by his son Herbert. The principle was also successfully applied to the bass clarinet.
The Schmidt-Kolbe project did not unfortunately meet a lasting success, but the “Boehm Reform” system is still in use today. However, the necessity to use German mouthpieces and reeds severely limits its acceptance outside German-influenced countries.
Ernst Schmidt is credited with the convincing application of resonance holes and a simple system for improving the B-flat throat. Today, the system is offered by several top craftsmen, including Seggelke in Bamberg.
7. La clarinette Resonance
The Resonance clarinet is the culmination of over three centuries of research and development, by means of the passionate approach of René Hagmann, master clarinet maker in Geneva (Servette-Music), combined with the expertise of the talented international solo clarinet player François Benda, professor at the Berlin and Basel Academies, and the renowned Bamberg master clarinet maker Jochen Seggelke (Seggelke clarinetten).
Based on the Boehm system (fingering, mouthpiece and reeds), this clarinet features a unique bore designed by Jochen Seggelke. Inspired in part by the work of Ernst Schmidt and the chromatic progression of Theobald Boehm, it creates an osmosis between the best ideas of the German and French cultures.
Thanks, among other things, to the calibration of the 5 resonance holes, the emission becomes very homogeneous. The musician will discover new sensations: a generous, flexible tone, easy and very homogeneous emission offering great dynamic possibilities, as well as excellent intonation.
Two new mechanical links facilitate difficult passages. The high register is very accessible and the constellation of harmonics very rich. It is equipped with the best pads, optimized screws, 1st choice woods (Grenadilla or Mopane) and an exclusive thumb rest.
The Resonance clarinet reflects 40 years of experience, observation, invention and customization. It is entirely handcrafted by master craftsmen.