CARL GOTTLIEB REISSIGER

(1798-1859)

FORGOTTEN COMPOSER FOR THE CLARINET

Charles Arthur Coltman III

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

May 2002

APPROVED:

James Gillespie, Major Professor

Mark McKnight, Minor Professor
John Scott, Committee Member
Charles Veazey, Coordinator of Woodwinds
Graham Phipps, Chair of Graduate Studies in the
College of Music
Jeff Bradetich, Chair of Instrumental Studies
James C. Scott, Dean of the College of Music
C. Neal Tate, Dean of the Robert B. Toulouse School of
Graduate Studies
 Coltman III, Charles Arthur, Carl Gottlieb Reissiger (1798-1859) Forgotten

Composer for the Clarinet. Doctor of Musical Arts (Performance), May 2002, 51

pp., 49 musical examples, 13 illustrations, references, 39 titles.

Carl Gottlieb Reissiger was a successful German composer, conductor, and

teacher in the first half of the nineteenth century. At the height of his career, he was

Hofkapellmeister of theater and opera in Dresden, a position he held until his death. He

was a composer of more than 200 works in a multitude of different genres. Today he is

mainly known as a composer of opera, a small portion of his total output as a composer.

He wrote approximately eighty piano solos, eighty collections of songs or duets, nine

masses, and many smaller sacred choral works, as well as 27 piano trios, seven piano

quartets, and three piano quintets. In addition to these many works, he wrote five works

for the clarinet: Concertino, op. 63, Duo Brillant for clarinet and piano, op. 130, Fantasie,

op. 146, Second Fantasie, op. 180, and Adagio und Rondo alla polacca, op. 214.

This document provides a biographical sketch of Reissiger, including his personal

life, his life as a conductor, and his life as a composer. It also provides a look at the

artistic life of his day: his fellow composers and the music they were writing for clarinet,

outstanding clarinetists and the different instruments they were playing.

The aim of this study is to provide a stylistic analysis of Reissiger’s five works for

clarinet, including a discussion of form, melody, harmony, and rhythm. This document

puts forth the proposal that these works are worth resurrecting and that Reissiger, as a

composer of clarinet music, is more than just a secondary composer.

 Copyright 2002

by

Charles Arthur Coltman III

ii
 ACKNOWLEDGEMENTS

I am grateful for the assistance of many without whose help this project would not

have been possible: Marina Lang, a librarian at the Sächsische Landesbibliothek-Staats-

und Universitätsbibliothek Dresden (SLUB) for her assistance in researching sources of

music; Peter Przybylla, solo clarinet with the Southwest Broadcast Orchestra of

Germany, for his help in getting copies of op. 63, op. 146, and op. 180; Tido Janssen,

instructor of cello at Hardin-Simmons University, for his help in translating some

important German language articles; Dr. Bernard Scherr, head of the theory department at

Hardin-Simmons University, for his help with musical form and his help in learning the

computer program Sibelius; Dr. Ed George, for making a score from the orchestra parts

of op. 214 and then making a piano reduction for the score; Cheryl Lemmons, for editing

the piano reduction of op. 214.

iii
 TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS…………………………………………………………….. iii

LIST OF MUSICAL EXAMPLES……………………………………………………... v

LIST OF ILLUSTRATIONS……………………………………………………………viii

Chapter

1. BIOGRAPHICAL SKETCH………………………………………………... 1

Personal Life
Life as a Conductor
Life as a Composer

2. ARTISTIC LIFE OF REISSIGER’S DAY………………………………… 11

Fellow Composers and Contemporary Compositions

Clarinetists of the Day
Clarinets of the Day

3. STYLISTIC ANALYSIS OF MUSIC……………………………………… 20

Concertino, op. 63
Duo Brillant, op. 130
Fantasie, op. 146
Second Fantasie, op. 180
Adagio und Rondo alla polacca, op. 214
Continued Observations

4. CONCLUSION…………………………………………………………….. 39

APPENDIX A…………………………………………………………………………. 41

APPENDIX B…………………………………………………………………………. 47

REFERENCES…………………………………………………………………………. 49

iv
 LIST OF MUSICAL EXAMPLES

Example Page

1. Op. 63 1st movement (Allegro moderato) Introductory theme ................................... 22

2. Op. 63 1st movement (Allegro moderato) Cm theme ................................................. 23

3. Op. 63 1st movement (Allegro moderato) Ab major theme, Part I..…………………23

4. Op. 63 1st movement (Allegro moderato) Eb major theme, Part II ............................ 23

5. Op. 63 1st movement (Allegro moderato) 16th note figuration, coda……………….. 23

6. Op. 63 1st movement (Allegro moderato) Triplet figuration, coda……………......... 23

7. Op. 63 2nd movement (Andante con espressione) Theme…………………………... 24

8. Op. 63 3rd movement (Allegretto) Rondo, A theme ………………………………. . 24

9. Op. 63 3rd movement (Allegretto) Rondo, B theme………………………………….24

10. Op. 63 3rd movement (Allegretto) Rondo, C theme……………………………….... 24

11. Op. 63 3rd movement (Allegretto) con bravure……………………………………... 24

12. Op. 63 3rd movement (Allegretto) Coda…………………………………………… . 24

13. Op. 130 Introduction (First section)……………………………………………….... 26

14. Op. 130 Andante theme (Introduction)……………………………………………... 27

15. Op. 130 Moderato theme (Introduction)…………………………………………..... 27

16. Op. 130 Sonata theme (Allegro appassionato)…………………………………….. . 27

17. Op. 130 Sonata, 2nd theme (con espressione)……………………………………… . 27

18. Op. 130 Polacca theme…………………………………………………………….. . 28

19. Op. 130 Variation 1.(Polacca)…………………………………………………… .... 28

v
20. Op. 130 Variation 2.(Polacca)…………………………………………………… .... 28

21. Op. 146 Introduction/transition theme………………………………………............ 30

22. Op. 146 Andante theme…………………………………………………………….. 30

23. Op. 146 Variation theme (Andantino con espressione)…………………………….. 30

24. Op. 146 Variation 1 (Poco piu mosso)…………………………………………….... 30

25. Op. 146 Variation 2 (Piu lento)……………………………………………………... 30

26. Op. 146 Variation 3 (Brillant)………………………………………………………. 31

27. Op. 146 Variation 4 (Allegro brillante)…………………………………………….. 31

28. Op. 146 Closing theme (Allegro brillante)………………………………………… . 31

29. Op. 180 Introduction (Allegro moderato marziale)……………………………… .... 32

30. Op. 180 First clarinet solo entrance (Allegro moderato marziale)………………… . 33

31. Op. 180 Andante con moto theme………………………………………………….. 33

32. Op. 180 Clarinet entrance (Moderato marziale)…………………………………… . 33

33. Op. 180 B theme (Moderato marziale)…………………………………………….. . 33

34. Op. 180 Vivace theme (Tarantella)…………………………………………………. 33

35. Op. 180 Brillante closing section (Tarantella)…………………………………….... 34

36. Op. 214 Adagio A theme…………………………………………………………… 35

37. Op. 214 Adagio B theme…………………………………………………………… 35

38. Op. 214 Un poco più mosso (Adagio)……………………………………………… 35

39. Op. 214 Adagio C theme…………………………………………………………… 35

40. Op. 214 Rondo A theme……………………………………………………………. 35

41. Op. 214 Rondo B theme…………………………………………………………….. 36

vi
42. Op. 214 Rondo C theme…………………………………………………………….. 36

43. Op. 214 Closing section of the Rondo…………………………………………… .... 36

44. Op. 130 Variation 2 (Polacca)…………………………………………………….. .. 36

45. Op. 146 Variation 3 (Brillante)……………………………………………………... 37

46. Op. 130 mm. 79-80 (Moderato)…………………………………………………….. 37

47. Op. 146 mm. 39-43……………………………………………………………… ..... 37

48. Op. 180 Closing section (Brillante)……………………………………………….. .. 37

49. Op. 214 mm. 33-39………………………………………………………………... .. 38

vii
 LIST OF ILLUSTRATIONS

Figure Page

1. Young Reissiger......................................................................................................... 1

2. Interior of Dresden Hoftheater................................................................................... 4

3. Reissiger in the latter years of his life........................................................................ 6

4. Königlisches Sächsisches Hoftheatre ........................................................................ 8

5. Johann Gottlieb Kotte……………………………………………………………… 15

6. Harmonic structure of 1st movement of Concertino, op. 63……………………… ..22

7. Harmonic structure of 2nd movement of Concertino, op. 63………………………..22

8. Harmonic structure of 3rd movement of Concertino, op. 63………………………. .22

9. Harmonic structure of Duo Brillant, op. 130……………………………………….26

10. Harmonic structure of Fantasie, op. 146…………………………………………....29

11. Harmonic structure of Second Fantasie, op. 180………………………………… ...32

12. Harmonic structure of Adagio, op. 214……………………………………………..34

13. Harmonic structure of Rondo alla polacca, op. 214………………………………..35

viii
 CHAPTER 1

BIOGRAPHICAL SKETCH

Personal Life

Karl Gottlieb Reissiger, composer, conductor, and teacher, was born in Belzig,

Germany, on January 31, 1798, and died in Dresden on December 7, 1859. (Figure 1)

Figure 1. Young Reissiger.1

He was the eldest son of Christian Gottlieb Reissiger, a composer, organist, and cantor at

Belzig. His first teacher was his father, with whom he studied piano and violin, and by

the age of ten he was performing publicly, giving piano recitals and accompanying hymn-

singing on the organ. As a pupil at the Thomasschule in Leipzig from 1811 to 1818, he

studied piano and composition with Johann Gottfried Schicht, music director of the

1
Folker Gothel, “Reissiger, Karl Gottlieb,” Die Musik in Geschichte und Gegenwart, 17 vols., foreword
by Friedrich Blume (Kassel: Bärenreiter, 1954), XI, 210.

1
Gewandhaus Concert Society from 1785 to 1810 and Cantor of the Thomasschule from

1810, and took classes in violin, viola, and singing. He played violin in the Gewandhaus

Orchestra from 1819 to 1820 after he left the Thomasschule. Upon completion of his

studies, he went on to the University of Leipzig to study theology, but that year he was

advised by Schicht to abandon his studies in theology and continue his musical career.

Two years later Schicht awarded Reissiger a sum of money to study elsewhere. In 1821

he left for Vienna to study theory with Salieri, and in 1822 moved to Munich to study

composition and singing with Peter von Winter. Reissiger was now beginning to gain

some fame through his songs and piano pieces. In 1823 Reissiger went to Berlin, where

he was able to establish himself professionally with the help of the Stobwasser family. He

was accepted as a member of the family and made many useful acquaintances that helped

him become better known to the public. Through the patronage of Minister von

Altenstein, General von Witsleben, and State Counselor Körner, he was able to establish

a career.

Weber conducted Reissiger’s first performed opera, Didone abbandonata, in

Dresden in 1824 with some success. On January 31, the night of the premiere, Luiggia

Sandrini (Didone), Carlo Tibaldi (Enea), and Alfonso Zezi (Jarbo) sang the leading roles.

In July 1824, because of his success, Reissiger was sent by King Friedrich Wilhelm III,

King of Prussia, to study music musical education in France and Italy with plans for

helping reorganize musical education in Berlin. During his eighteen-month trip, he

studied with Baini, the great authority on Palestrina. When he returned to Berlin, he

taught composition. Although the reorganization plans never materialized, in 1826 he

2
was asked to start a conservatory at the Haag in the Netherlands.

After trying to secure full-time employment at Leipzig in 1822 and Dresden in

1824, he returned to Berlin in 1825 where he worked until 1826 when he was

recommended by Wolf August von Lüttichau, the General Director, for the position of

Music Director of the Hofoper in Dresden, replacing Heinrich Marschner. After

successful performances of Oberon and Euryanthe, Reissiger was appointed second

Kapellmeister, succeeding Weber in 1828. There was a great deal of competition for the

post, and Reissiger got the job only after negotiations with Hummel fell through. Adam

Carse notes that “in a letter written by Moscheles in November, 1826, the names of those

who tried to secure Weber’s post after his death were as follows: Wolfram (Teplitz),

Hummel (Weimar), Seyfried (Vienna), Fried. Schneider (Dessau), Lindpaintcr

(Stuttgart), ‘and a great many others.’”2 As stated in his contract, he was responsible for

sacred music, chamber music, and music for the court theatre. He was also required to

compose a mass each year for no extra fee, and he is known to have written twelve Latin

masses and one requiem during his tenure in Dresden. Shortly after the formalities of his

appointment were completed, Reissiger married his former piano student, Marie

Stobwasser. The following decade was good for him not only personally, but also

musically.3

The Dresden Opera became known as the best in Germany under the direction of

2
Adam Carse, The Orchestra from Beethoven to Berlioz (Cambridge: W. Heffer and Sons, 1948), 118.
3
Jörg Heyne, “Die Ära Reissiger um Hoftheater in Dresden,” Musik in Dresden. Band I: Die Dresdner
oper im 19. Jahrrhundert, ed. by Michael Heinemann and Hans John (Laaber: Laaber-Verlag, 1995), 154.

3
Reissiger.4 Reissiger, early on, worked hard at his music and the administrative duties of

his post. He was well liked by the orchestra players as well as the audiences and his

reputation was that of a gifted conductor.5 The fact that he spoke fluent Italian helped him

win the affections of the Italian musicians in Dresden. Other historians note that

“Reissiger decisively influenced the course of Dresden’s musical life for several

decades.”6

Reissiger’s premiere of Wagner’s Rienzi in 1842 (Figure 2) was a major success,

and subsequently, Wagner was asked to be second Kapellmeister alongside Reissiger.

The ensuing years, until Wagner left in 1849, would prove to be tumultuous. When

Reissiger refused to set Wagner’s libretto Die hohe Braut to music, Wagner falsely

Figure 2. Interior of the Dresden Hoftheater during the closing scene of Wagner’s
Rienzi, Act 4.7

4
John Rutter and Manfred Fensterer. “Carl Gottlieb Reissiger,’ The New Grove Dictionary of Music and
Musicians. 2nd ed. 29 vols., ed. by Stanley Sadie. (London: Macmillan, 2001), XXI, 170.
5
Jörg Heyne, “Die Ära Reissiger um Hoftheater in Dresden,” 151.
6
Wolfram Stuede, Ortrun Landmann, and Deiter Hartwig, “Dresden,” The New Grove Dictionary of Music
and Musicians, 20 vols., ed. by Stanley Sadie (London: Macmillan, 1980), V, 622.
7
Wolfram Steude, Manfred Fechner, Hans-Günter Ottenberg, Hans John, Dieter Härtwig and Matthias
Hermann. “Dresden,” The New Grove Dictionary of Music and Musicians, 2nd ed., 29 vols., ed. by Stanley
Sadie, Executive ed. by John Tyrrell. (London: Macmillan, 2001), IX, 577.

4
labeled him as a “philistine opponent of his progressive artistic views.”8 They got along

less and less as the years went by, but Reissiger avoided an open break of their

relationship during Wagner’s tenure in Dresden. Wagner viewed Reissiger’s compliments

only as an attempt to flatter him.9 John Rutter and Manfred Fensterer in their article

“Reissiger, Carl Gottlieb” in the New Groves state:

Wagner was probably entirely responsible for this deterioration in the relationship
between the two musicians: in fact in 1852, three years after Wagner’s flight from
Dresden, Reissiger was planning to revive Tannhäuser there. Moreover, a textual
analysis of Reissiger’s sole oratorio, David, has revealed that the bible texts were
altered to form a tribute to the King of Saxony—something guaranteed to set the
revolutionary Wagner against Reissiger.10

Adam Carse cites an excellent contrast between Wagner and Reissiger:

Praeger described Reissiger as a “phlegmatic” conductor, in contrast to Wagner

who was “energetic”; he also knows how to smooth over difficulties by giving
way to and thus pleasing the Intendent at Dresden, an art which Wagner could not
or would not master.11

Wagner, a prolific writer, missed no chance to criticize his fellow orchestra conductors.

Speaking of Reissiger, Lindpainter, and others, Carse quotes Wagner as saying, “I know

of no one to whom I confidently entrust a single tempo in one of my operas; certainly to

no member of the staff of our army of time-beaters.”12 Apparently, Reissiger was not as

bad as Wagner portrayed him. After Wagner left Dresden, Wagner and Reissiger

exchanged friendly letters, but they have been lost.

8
Rutter and Fensterer, “Carl Gottlieb Reissiger,” 171.
9
A. Kohut, “R. Wagner und K. G. Reissiger,” Allgemeine Musik-Zeitung XXXVII (1910), 33.
10
Rutter and Fensterer, “Carl Gottlieb Reissiger,” 171.
11
Adam Carse, The Orchestra from Beethoven to Berlioz (Cambridge: W. Heffer and Sons, 1948), 362.
12
Ibid., 303.

5
 In 1851, upon recognition of 25 years of service and achievement, Reissiger

(Figure 3) was appointed Principal Kapellmeister. Because of the demands of his job as

Figure 3. Reissiger in the latter years of his life.13

Kapellmeister and Church Music Composer, he was not able to receive any commissions

for new compositions, and he asked for a raise in salary from 1800 to 2000 Thaler a year,

which was eventually granted.

In 1853, Reissiger, now 54 years old, was in poor health after 25 years of hard

work and overexertion. His last years of activity were restricted to the direction of

church music and older operas. In a letter to Hans von Bülow on May 6, 1854, Reissiger

wrote that he had thoughts of retirement. Hector Berlioz was being considered as his

replacement; however, the plan fell through, and Reissiger remained in office. Four years

later, he suffered a stroke, but he was able to recover. After the wedding festivities of

Prince Georg in the spring of 1859, Reissiger went to Karlsbad for a cure for residual

13
Kurt Kreiser, “Carl Gottlieb Reissiger: sein Leben nebst einingen Beiträgen zur Geschichte des
Konzertwesens in Dresden,” (Ph. D. diss., University of Leipzig, 1918), photo next to title page.

6
effects of the stroke. Although in a weakened state, he was allowed, with the permission

of his physician, on August 7th of that year, to perform a service in the Catholic

Hofkirche. His health was deteriorating and on November 7, 1859, a second stroke took

his life. Among his friends who attended his funeral at the Trinitatisfriedhof was Julius

Reitz, who was to become his successor.

The following year, the AschermittwochsKonzerte (Ash Wednesday concerts,

founded in 1850 by Reissiger) of the orchestra was dedicated to the memory of the

master. Besides Beethoven’s Eroica, only works of Reissiger were performed. In

addition, the Dreyßigsche Singkadamie dedicated its performance of Mozart’s Requiem,

and the Schumannischen Singakadamie its performance Reissiger’s Requiem, some

motets, and a chorus from his Oratorio David. The Allgemeinen Dresdner Sängerverein

dedicated its performance to the memory of this artist, who played a major role in the

music history of Dresden in the nineteenth century.14

Life as a Conductor

Reissiger’s first appointment in Dresden was as Music Director of the Dresden

Hofoper in November of 1826, replacing Weber. His appointment to second

Kapellmeister came in 1828, and he remained in that position until he was appointed

Principal Kapellmeister in 1851. Five days after his appointment to the post of second

Kapellmeister, Reissiger received his contract with fifteen separate sections stating his

duties. He was in charge of church music, chamber music, and the Königlische Theater,

14
Jörg Heyne, “Die Ära Reissiger um Hoftheater in Dresden,” 175.

7
the German opera. (Figure 4) Part of his contract stated that he was mainly in charge of

the German Singspiel, but in the event that one of the other Kapellmeisters became ill or

had to go out of town, he was to conduct the Italian Opera. Reissiger conducted eight to

ten operas a year and was known for his ability to conduct all styles of music. He was

also in charge of finding and studying new operas for presentation, coaching the singers,

and preparing the orchestra. In addition to conducting church music, he was to compose

music for the church, one mass and one vesper each year, and when ordered by the Senior

Königlishe Majestät, an oratorio.

Figure 4. Königlisches Sächsisches Hoftheater15

Reissiger, an accomplished musician, presented works by Weber, Mozart, and

others. He added Verdi’s Nabucco and Ernani to the repertory and conducted the

premiere of Wagner’s Rienzi on October 29, 1842. His first performance of Weber’s

15
Wolfram Steude, Manfred Fechner, Hans-Günter Ottenberg, Hans John, Dieter Härtwig and Matthias
Hermann. “Dresden,” 576.

8
Oberon in 1828 was brilliant. He was always busy conducting the opera, symphony

concerts, and church music for the Catholic Hofkirche. Reissiger, a gifted conductor,

regularly directed music festivals, adjudicated competitions, and advised on music

education.

Life as a Composer

For a man who was SO busy with his duties as Kapellmeister, directing opera,

conducting symphony concerts, and conducting church music, in addition to coaching

and accompanying at the soirees of Dresden, Reissiger wrote a great deal of music—well

over 200 compositions. He wrote twelve masses and a requiem mass in addition to

approximately ninety shorter sacred choral works with varied accompaniments and an

oratorio, David, for one voice, chorus, and orchestra. He wrote about eighty published

piano solos and approximately eighty collections of songs and duets, but is forgotten as a

song composer because he wrote so many poor songs.16 In a manner similar to Schubert,

Reissiger composed art songs with an obbligato melodic instrument in addition to voice

and piano. He wrote six works for soprano, horn, and piano and one song for soprano,

horn, and harp, which was inspired by his admiration for Louis Spohr, whose wife was a

harpist.17

His works for stage include eight operas, including Das Rockenweihchen, written in

1821 and never performed; Didone abbandonata (1824); DerAhnenschatz (1825), which was

16
Kurt Kreiser, “Carl Gottlieb Reissiger: sein Leben,” 64.
17
Rutter and Fensterer, “Carl Gottlieb Reissiger,” 171.

9
never performed; Libella (1829); Der Felsenmühle zu Etalieres (1831), the only one that

was successful outside of Dresden; Turandot (1835); Adele de Foix (1841); and Der

Schiffbruch der Medusa (1846). Also, for stage he wrote incidental music for Nero (1822)

and a melodrama, Yelva (1827), which was very popular. Reissiger never dared to write a

comic opera because he felt he did not have the lively imagination or musical control to

write one.18

Reissiger’s instrumental music covers a broad spectrum of genres, including one

symphony, many overtures, a concertino for flute and orchestra, a piece for horn and

orchestra, and his five works for clarinet. He wrote an amazing amount of chamber music:

three piano quintets, one cello quintet, seven piano quartets, eight string quartets, 27

piano trios, five violin sonatas, two cello sonatas, and various other works for solo violin,

violin and piano, and cello and piano. His works for piano alone include numerous

rondos, some sonatas, variation sets, marches, and other works. Dieter Klöcker notes,

“Despite wide travels in France and Italy financed by the Prussian government, he

remained staunchly loyal to his German Romantic ideals as personified by Weber.”19

18
Kurt Kreiser, “Carl Gottlieb Reissiger: sein Leben,” 101.
19
Dieter Klöcker, record jacket notes for Romantic Clarinet Concertos, performed by Dieter Klöcker and
the Berlin Radio Symphony Orchestra, conducted by Jesus Lopez-Cobos (Schwann Musica Mundi, VMS
1621, 1983)

10
 CHAPTER 2

ARTISTIC LIFE OF REISSIGER’S DAY

Fellow Composers and Contemporary

Compositions

Karl Gottlieb Reissiger began composing for the clarinet after Weber had already

composed his pieces for Heinrich Baermann. Weber’s two concertos, the Concertino, the

Quintet for clarinet and strings, and his various other works were firmly established in the

repertoire. Louis Spohr (1784-1859), who died the same year as Reissiger, composed

many works for clarinet, including four concertos, No. 1, op. 26 (1808), No. 2, op. 57

(1810), No. 3, WoO 19 (1821), and No. 4, WoO 20 (1828), Six German Songs, op. 103,

three sets of variations, the Alruna Variations (1809), Potpourri, op. 80 (1811), and

Fantasie und Variationen, op. 81 (1814), and a Nonet, op. 31. Felix Mendelssohn (1809-

1847) composed an early Sonata for clarinet (1824) and then composed the Konzertstücke

for clarinet, basset horn, and piano, op. 113 and op. 114 (1832), for Heinrich and Carl

Baermann. Even though he died at an early age, Norbert Burgmüller (1810-1836) is very

highly regarded for his Duo for clarinet and piano, op. 15.

Other major composers who wrote clarinet music during Reissiger’s lifetime

added major works to the repertoire. Robert Schumann (1810-1856) wrote the

Phantasiestücke, op. 94 in 1849, and the Märchenerzählungen, op. 132 for clarinet, viola,

and piano in 1853. His Romances, op. 94, for oboe and piano are often played by

clarinetists. Franz Schubert’s (1797-1828) Octet, op. 166 and Der Hirt auf dem Felsen,

11
op.129 are staples of the clarinet repertoire (composed between 1823-1828). Gioacchino

Rossini (1792-1868) wrote Variations for clarinet and orchestra in 1809 when he was still

a young boy, and he went on to write Fantasie for clarinet and piano and the Introduction,

Theme and Variations for clarinet and orchestra. Gaetano Donizetti (1797-1848)

composed Studio primo in 1821 for clarinet solo and later a three-movement sonata for

two clarinets.

Among the many clarinetist/composers who wrote works for clarinet in the first

half of the nineteenth century, Heinrich Baermann (1784-1847) composed many works

for clarinet, including concerti, concertinos, and divertissements. His son Carl (1810-

1885) was also a composer but is best known for his clarinet method. Bernhard Henrik

Crusell (1775-1838) wrote three concertos, op. 1 in Eb major, op. 5 in F minor, and op.

11 in Bb major; three clarinet quartets, No. 1 in Eb major, op.2 (1803), No. 2 in C minor,

op. 4 (1804), and No. 3 in D major, op. 7 (1821); and Introduction and Variations on a

Swedish Theme for clarinet and orchestra. Thaddäus Blatt (1793-1856), a Belgian

clarinetist, composed a Quintet for clarinet and strings. Ernesto Cavallini (1807-1874)

was a very prolific composer with such works as Adagio and Tarantella, Adagio

Sentimental, many fantasies, and his famous caprices for clarinet. Known for his

inventions, Iwan Müller (1786-1854) wrote many works for clarinet and played them on

his many tours. He composed seven concertos among his many other works. Hyacinthe

Klosé (1808-1880) wrote his clarinet method (Méthode pour server à l’enseignment de la

clarinette à anneaux mobiles) which was published in 1843 and dedicated to Carafa. He

also wrote a concerto, a concertino, eight Airs variés, and many fantasias, in addition to

12
his other works. Although he was considered Reissiger’s contemporary, many of Klosé’s

works were written after Reissiger died.

A number of lesser-known composers wrote a large body of clarinet music in the

first half of the nineteenth century. Among these included Bernhard Molique (1802-

1869), the Concertino in F minor for clarinet in 1824; Saverio Mercadante (1795-1870),

the Concerto in Eb for clarinet; and Carl Kurpinski (1785-1857), his Concerto in Bb for

clarinet in 1823. Ignacy Dobrzynski’s (1807-1867) Duo for clarinet and piano was first

performed in 1853. The list of composers and their works is almost endless: Peter von

Winter, Franz Danzi, Johannes Kalliwoda, Franz Krommer, Charles Bochsa, Peter von

Lindpainter, and Friedrich August Kummer. Johann Gottlieb Kotte, Reissiger’s

clarinetist, played many of Kummer’s works.

Clarinetists of the Day

In his position as Hofkapellmeister of Dresden, Reissiger had the opportunity to

come in contact with the many fine clarinetists in the Dresden court: Karl Gottlob Roth

(1794-1828); Johann Gottlob Lauterbach (1817-1824?); F. W. Lauterbach (1821-1849);

Johann Forckert (1833-1874), a pupil of Kotte; August Dominick (1840-1849); Albin

Reinel (1848-1852); Hermann Kötzschau (1857-1890), a chamber musician; and the most

notable and to whom most of Reissiger’s works were dedicated, Johann Gottlieb Kotte

(1797-1857).

Karl Gottlob Roth and his older brother Johann Traugott Roth were the first

clarinetists to be employed in the court orchestra in 1794. Karl and Traugott were heard

at two concerts in Dresden in 1789, on the 25th of January and the 30th of March.

13
According to Pamela Weston, noted clarinet historian, “Their gifts were so outstanding

that the three Dresden Kapellmeisters, Johann Nauman, Joseph Schuster, and Friedrich

Seydelmann, petitioned King Friedrich August to employ clarinets in the orchestra.”20

Traugott became 1st clarinet and Gottlob 2nd clarinet. Gottlob became good friends with

Carl Maria von Weber and became ill about the same time as Weber. He retired in 1828

and died shortly thereafter. Traugott stepped down as first clarinet in 1825, but remained

a member of the orchestra until he retired in 1833.

The father and son duo of Johann Gottlieb Lauterbach and Friedrich Wilhelm

Lauterbach played in the Dresden opera orchestra, Johann from 1817 to 1824 and

Friedrich from 1824 to 1849. As a young man, Johann Kotte (Figure 5) traveled a long

distance to study with Friedrich Lauterbach. Friedrich was a member of the court

orchestra from 1824 to 1849. Johann Gotthelf Forckert, a pupil of Kotte, played in the

Dresden court orchestra from 1833 until his death in 1874, played bass clarinet in the

theatre orchestra, and taught at the Conservatoire. August Dominick was second clarinet

from 1840 to 1849 or longer at the Dresden court. Albin Reine, a Czech, was a member

of the Dresden court orchestra from about 1842 to 1852 when he left to play at the

Hungarian National Theatre in Budapest. Hermann Kötzschau, a student of Kotte on

soprano clarinet and of Forckert on the bass clarinet, was a chamber musician at the

Dresden court from 1857 to 1890.

Johann Gottlieb Kotte’s life in years paralleled Reissiger’s. He was born in

Rathmansdorf on September 29, 1797, four months before Reissiger’s birth, and died in

20
Pamela Weston, More Clarinet Virtuosi of the Past (London: P. Weston), 212

14
Dresden on February 3, 1857, two years before Reissiger’s death. According to Pamela

Weston, “[H]e was a very fine clarinetist at the Saxon Court and deserves to be better

known.”21 She continues, “Dresden itself called him Germany’s premier clarinetist,

saying he was of the ‘old school’ who kept the instrument’s true character with a full,

tender, and rounded tone.”22 Part of his success was due to the patronage of Weber.

Figure 5. Johann Gottlieb Kotte23

It was thought that Weber wrote the Grand Duo for Kotte, but we know that is incorrect.

Kotte did give, however, the first complete performance of the piece at Dresden in the

spring of 1824. The following works were dedicated to Kotte: Karl Boehmer’s

Concertino, op. 9, and Reissiger’s Concertino, op. 63, Fantasie, op. 146, Second Fantasie,

op.180, and Adagio und Rondo alla polacca, op. 214. It is likely that the Duo Brillant,

21
Ibid., 143
22
Ibid., 143.
23
Ibid., Plate 17.

15
op. 130 was also written for Kotte. Weston speculates that it is probable that since Kotte

played Kummer’s works so often, they likely were written for him.24

In the autumn of 1817, Kotte won the post of second clarinet in the court opera

orchestra. Soon thereafter, he took over Lauterbach’s place as first clarinet. In 1823 he

was made a Royal Chamber Musician and was still playing in the orchestra in 1849. He

was a good friend of the Baermanns, especially Carl, whose compositions he enjoyed

playing.25 He played under the direction of Weber, Reissiger, and Wagner during his

tenure in the court orchestra.

Kotte, regarded as a very fine teacher, was professor at the Dresden

Conservatoire until his death. Among his many notable pupils were Karl Förster, J. G.

Forckert, Gustav Heinze, Johann Hentschel, Hermann Kötzschau and Edward Meyer.

Förster went on to play bass clarinet in the Dresden court orchestra, and Forckert went on

to play in the court orchestra. Heinze played first clarinet in the Leipzig Gewandhaus

Orchestra before leaving to become second Kapellmeister at Breslau and never played

clarinet again. Hentschel, who was blind, went on to play solo concerts. Kötzschau

become a chamber musician at the Dresden Court for 33 years. Meyer settled in Leipzig

and appeared as a soloist many times with the orchestra.

Reissiger’s clarinet music was very popular with clarinetists of his generation.

Gustav Heinze and his son, Ferdinand, and Bernhard Landgraf from Leipzig played

Reissiger’s music, as did Joseph Faubel of Munich. Holzapfel of the court orchestra at

24
Ibid., 143.
25
Ibid., 143.

16
Kassel is known to have played a Reissiger Fantasie and the Concertino. Wolff, a teacher

and performer at Breslau, played the Concertino in concerts in 1837-1838. Johann

Sobeck played in the Hanover Orchestra and is listed as playing a Fantasie by Reissiger.

Others who have been listed as playing Reissiger’s music are Freidrich Grosse, a German

who spent most of his career in England; Czech clarinetist Joseph Mraz; Czech clarinetist

Julius Pesarovic, the teacher of Albin Reinal and Sobeck; and F. Mehner, who played in

the theatre orchestra in Frankfurt am Main. Richard Mühlfeld, Brahms’s clarinetist, is

said to have had a Reissiger Fantasie in his repertoire.

Clarinets of the Day

During the lifetime of Reissiger, various types of clarinets were used. The Müller

clarinet was developed early in the nineteenth century and remained the leading clarinet

in Germany, Austria, and other countries under German influence until recently. One of

the few clarinet virtuosi of the day not to use the new clarinet was the Italian virtuoso

Ernesto Cavallini who used a simple six-key instrument of yellow boxwood.

As early as 1808, Iwan Müller began his improvements on the clarinet by adding

seven keys, in addition to his invention of the bladder pad and the metal ligature. His

clarinet, initially rejected in 1812 by a committee of musicians and players at the Paris

Conservatory, went on to become the instrument of choice for many clarinetists. Frédéric

Berr (1793-1838) was an early convert to Müller’s clarinet, as was J. B. Gambaro (1785-

1828). Johann Simon Hermstedt (1778-1846) used an elaborate thirteen-key clarinet, with

tuning-slides between the joints and an ivory barrel. The mouthpiece was gold and silver.

Carl Baermann (1810-1885) devised a much more elaborate model about 1860 in

17
conjunction with George Ottensteiner, a Munich maker. Richard Mühlfeld adopted this

clarinet, and Robert Stark (1847-1922), a pupil at the Dresden Konservatorium, used

Baermann’s clarinet with some modifications.

A variety of other clarinets were used in the first half of the nineteenth century.

Using a ten-keyed clarinet by the new Berlin firm of Griessling und Schlott to introduce

Weber’s concertos, Baermann later changed to a more complex instrument. Bernhard

Crusell (1775-1836) played on an eleven-key instrument made by the famous Dresden

maker Heinrich Grenser. Thomas Lindsey Willman (1784-1840) used a thirteen-key

instrument made in England. In 1844, Hyacinthe Klosé and August Buffet patented their

clarinet, which had 24 holes, seventeen keys, and six rings. Although it did not become

popular until after Reissiger’s death, it is the most widely used model of clarinet outside

of most German-speaking nations. Arnold Joseph Blaes (1814-1892), a Belgian and a

pupil of G. C. Bachmann (1804-1842) at the Brussels Conservatory, played two different

clarinets made by his teacher, one of ebony and one of boxwood, fitted with fourteen

keys without rings on the lower joint. Franz Thaddäus Blatt (1793-1856), a pupil of

Dionys Weber and Wenzel Farnik at the Prague Conservatory, was considered by Berlioz

as the finest clarinetist of his day in Germany, on the level of Hermstedt and the elder

Baermann.26 He played a simple thirteen-key clarinet without additional keys.

Johann Kotte most likely played a thirteen-key clarinet similar to the one

developed by Müller. He was a friend of Heinrich and Carl Baermann and was aware of

the instruments they played, and he must have also been aware that Hermstedt played on

26
Ibid., 112

18
a thirteen-key clarinet. It is possible that he played on a clarinet made by Grenzer or

Grundmann of Dresden. The solo music that was written for him demanded the use of an

instrument of greater complexity than the six-key clarinet. The best-known German

makers were the Grensers and Grundmann of Dresden, Gehring of Adorf, and Reidel. It

is also possible that Kotte might have played a clarinet by Gehring or Reidel.

19
 CHAPTER 3

STYLISTIC ANALYSIS OF MUSIC

Concertino, op. 63

The Concertino, op. 63, the first work Reissiger composed for clarinet, was

published in 1830 by Brüggemann (Hofmeister) in Blankenburg. Gomer Pound

speculates that the Concertino was written for clarinetist Johann Gottlieb Kotte since

other works by Reissiger were written for Kotte. Also, Reissiger and Kotte were together

in Dresden from 1824 and worked closely at the German Opera from 1827, which is

confirmed by the inscription at the top of the title page on the original C. F. Schmidt

edition that reads: “Herrn J. G. Kotte gewidmet” (Dedicated to Mr. J. G. Kotte).

However, Dieter Klöcker suggests that it was composed for Heinrich Baermann in 1822.

Klöcker’s recording of the Concertino was taken from a manuscript in the former Court

Library in Schwerin.27 It is possible that there was a dedication to Baermann on the

manuscript. It is also possible that the dedication was changed when the piece was

published. Dieter Klöcker says about the work:

Reissiger’s Concertino in Eb major was a great favourite in the Victorian and

Edwardian drawing-rooms, but it then disappeared from view, to surface again
some years later as a “concert-study.” Its revival is well deserved. Appealing
romantic ideas abound, and unmistakably reveal the influence of Reissiger’s hero
Weber. The work needs no apologies: it is a fine example of what was already
becoming known as “musical Romanticism.”28

27
Dieter Klöcker, record jacket notes for Romantic Clarinet Concertos.
28
Ibid.

20
 Burnet Tuthill characterizes the Concertino as “[i]n the style of Wieniawski and

Vieuxtemps; with standard display passages that are not too difficult, rates just below the

Spohr concertos. Three movements of pleasant melody.”29 An 1831 review of the

Concertino in Allgemeine musikallische Zeitung speaks highly of the work. A translation

of part of the review is as follows:

Melodious and moderately difficult with a pleasing moderato with the usual
bravado section followed by a beautiful andante con espressione which requires
a good sound and appropriate skill by the player. After a short, brilliant crossing
Risoluto section it moves to a pleasing Rondo Allegretto with a piquant melody. . .
. . It is scored for clarinet and orchestra with an optional piano accompaniment.30

C. F. Peters, Carl Fischer, and C. F. Schmidt have published additional editions. The only

currently available edition is by Schmidt.

The Concertino has three movements: the first, marked Allegro moderato, is a

two-part form with an introduction and an extended coda; the second, marked Andante

con espressione, is a binary form; the third, marked Rondo Allegretto, is a rondo form.

The movements are connected by transitional passages allowing the movements to flow

from first to third like a work that is through-composed. The key centers employed for

the movements are Eb major, Ab major, and Eb major. Figures 6, 7, and 8, below,

provide the harmonic structure, form, and meter for each movement.

29
Burnet Tuthill, “Concertos for Clarinet,” Journal of Research in Music Education XX/4 (Winter, 1972),
431.
30
Review of Concertino for Clarinet with orchestra accompaniment, by Carl Reissiger. Allgemeine
musikalische Zeitung, 47 vols. (Leipzig: Breitkopf & Härtel), October, 1831, 708.

21
 Intro (mm. 1-27) Part I (28-58) Part II (59-116) Coda (117-148)
Allegro Moderato
Eb Major C minor Ab Major C minor Eb Major Eb Major
C

Figure 6. Harmonic structure of 1st movement of Concertino, op. 63.

Intro (mm. 1-8) Binary (9-47) Transition (48-54)

Andante con espressione Risoluto
A B A’ Cadenza
Ab Major Ab Eb Ab XXXX
¾

Figure 7. Harmonic structure of 2nd movement of Concertino, op. 63.

Rondo
A (1-19) B (20-46) A (47-62) C (75-120) (121-133) A (172-187) Coda (211-260)
Allegretto Un poco piu moderato Con bravura Brillante
Eb Major Bb Major Eb Major Bb Major Eb Major Eb Major
2/4

Figure 8. Harmonic structure of 3rd movement of Concertino, op. 63.

Examples 1-12, below, are the important themes of the Concertino listed in order of their
appearance.

Example 1. Op. 63 1st movement (Allegro moderato) Introductory theme.

22
 Example 2. Op. 63 1st movement (Allegro moderato) Cm theme.

Example 3. Op. 63 1st movement (Allegro moderato) Ab major theme, Part I.

Example 4. Op. 63 1st movement (Allegro moderato) Eb major theme, Part II.

Example 5. Op. 63 1st movement (Allegro moderato) 16th-note figuration, coda

Example 6. Op. 63 1st movement (Allegro moderato) Triplet figuration, coda.

23
Example 7. Op. 63 2nd movement (Andante con espressione) Theme

Example 8. Op. 63 3rd movement (Allegretto) A theme (Rondo)

Example 9. Op. 63 3rd movement (Allegretto) Rondo, B theme.

Example 10. Op. 63 3rd movement (Allegretto) Rondo, C theme.

Example 11. Op. 63 3rd movement (Allegretto) con bravure.

Example 12. Op. 63 3rd movement (Allegretto) Coda.

24
 Duo Brillant, op. 130

The Duo Brillant for clarinet and piano, op. 130 was first published in Dresden

(Paul) in 1838. There is no dedication on the score, but according to Pamela Weston, it

may have been written for J. G. Kotte, who frequently performed Reissiger’s works.31

Klöcker states, “[I]t was notably his Duo Brillant which, being easy of access and yet

exhibiting some superb instrumental writing about 1840 threw the clarinetists in

raptures.”32

The Duo is characterized by lyrical flowing melodies throughout, juxtaposed

against flashy bravura sections. Weston states, “The Duo has an unusual structure for,

whilst its single movement structure is in a basic sonata form, it is broken into between

development and recapitulation by a Polacca and Variations.”33 The Duo, which has an

optional cello solo part, is the only one of his clarinet works that is not scored for

orchestra. The original publication was by Paul of Dresden in 1838 and has since been

published by Boosey and Hawkes and Kunzelmann.

The Duo Brillant is in three major parts. Part I, preceded by a fifteen-measure

introduction, has two sections; section A, marked Andantino, and section B, marked

Moderato. Part II is a sonata, marked Allegro Appassionato, and Part III is a theme and

variations, marked Alla Polacca, that is placed in the sonata just at the point where the

recapitulation is to take place. The Duo is through-composed as are all of Reissiger’s

31
Pamela Weston, record jacket notes for The Drawing-Room Clarinettist, performed by Colin Bradbury,
clarinet, and Oliver Davies, piano. (ASV ACM 2011).
32
Dieter Klöcker, record jacket notes from Klarinetten-Recital.
33
Pamela Weston, record jacket notes for The Drawing-Room Clarinettist.

25
works for clarinet. Figure 9, below, provides the harmonic structure, form, and meter of

the Duo Brillant. Note that part I, section A, is in Bb minor, the parallel minor of the

given key signature. Section B of part II is in the bVI key, Gb major, and then modulates

to Eb major, the key of part II, the sonata. The theme and variations, part III, which

Reissiger inserts between the development and the recapitulation of the sonata, is in g

minor. The expectation is for the recapitulation to be in the tonic key of the sonata, Eb

major. But instead, Reissiger’s recapitulation, which is partial and contains only the

second theme, is in the key of Bb major, the tonic of the beginning of the Duo, an exact

repetition of the second theme presented in the exposition in the dominant of Eb major. It

is interesting to note that Reissiger avoids the tonic key, Bb major, of the Duo until the

recapitulation. Examples 13-20, below, are the important themes of the Duo Brillant.

Intro Part I Part II Part III Part II

(mm. 1-15) (mm. 16-80) (mm. 81-263) (mm. 1-97) (mm. 98-171)
Binary Sonata Theme & Variations Recapitulation
Moderato Andantino Moderato Allegro Appassionato Alla Polacca Allegro
Section A Section B 1st Theme 2nd Theme Dev. 2 Variations 2nd Theme
Bb minor Bb minor Gb Major Eb Major Dominant XXXX G minor Bb Major
¾ C ¾ C

Figure 9. Harmonic structure of Duo Brillant, op. 130.

Example 13. Op. 130 Introduction

26
 Example 14. Op. 130 Andantino theme (Part I)

Example 15. Op. 130 Moderato theme (Part I)

Example 16. Op. 130 Sonata theme. (Allegro appassionato)

Example 17. Op. 130 Sonata, second theme (con espressione)

27
 Example 18. Op. 130 Polacca theme

Example 19. Op. 130 Variation 1. (Polacca)

Example 20. Op. 130 Variation 2. (Polacca)

Fantasie, op 146

Hofmeister first published the Fantasie for clarinet, op. 146 in Leipzig in 1840.

The Fantasie was dedicated to Johann Gottlieb Kotte, according to an inscription on the

front page, written in French, which reads: “son ami Kotte” (to my friend Mr. Kotte).

28
Little has been written about this work, although Pound mentions it briefly in his

dissertation. He was familiar with a 1940-copyrighted edition by Carl Fischer, and an

edition published by Belwin Mills is currently available. Also, the Album of Famous

Pieces for Clarinet Solo, published by Belwin Mills, includes a highly edited version of

the Fantasie with variation two removed. In addition to the original Hofmeister edition,

Litolf and Carl Fischer have published the Fantasie. The work is scored for clarinet and

orchestra with an optional piano accompaniment.

The Fantasie is a three-part form: the first, marked Andante, is rounded binary;

the second, marked Andante con espressione, is a theme and four variations; the third,

marked Allegro brillante, is binary. The Fantasie is through-composed with each part

preceded by a similar introductory/ transition section. Figure 10, below, provides the

harmonic structure, form, and meter of op. 146.

Intro/Trans Part I Intro/Trans Part II Intro/Trans Part III

(mm. 1-22) (23-61) (61-92) (93-199) (200-229) (230-324)
Binary Theme & 4 Variations Binary
Allegro Andante Allegro Andante con espressione Allegro Allegro brillante
F minor F minor Db Major Ab Major Bb major Eb Major
Cut-time ¾ Cut-time ¾ Cut-time 2/4

Figure 10. Harmonic structure of Fantasie, op. 146.

Note that the first introduction/transition section begins in f minor, and each succeeding

return occurs a third lower (F minor, Db major, Bb major), outlining a Bb minor triad.

Also note that the work progresses from F minor, part I, to Ab major, part II, to Eb major,

part III, closing in a key a whole step below where it began. Examples 21-28, below, are

the important themes of the Fantasie, op. 146.

29
 Example 21. Op. 146 Introduction/transition theme (Allegro)

Example 22. Op. 146 Andante theme.

Example 23. Op. 146 Variation theme. (Andantino con espressione)

Example 24. Op. 146 Variation 1. (Poco piu mosso)

Example 25. Op. 146 Variation 2. (Piu lento)

30
 Example 26. Op. 146 Variation 3. (Brillante)

Example 27. Op. 146 Variation 4. (Allegro brillante)

Example 28. Op. 146 Closing theme. (Allegro brillante)

Second Fantasie, op 180

Hofmeister first published the Second Fantasie, op. 180 (L’Attente et l’arrivée),

the only piece with a subtitle, in Leipzig in 1845. It is translated as “longing and

fulfillment.” The dedication to J. G. Kotte reads: “a bon Ami Mr. Kotte” (To my good

friend Mr. Kotte). It is interesting to note that the front page of the Second Fantasie is in

French even though the publisher is in Germany. In addition to the Hofmeister edition,

there is an edition of the Second Fantasie published by Louis Oertel of Hannover, edited

31
by Johann Sobeck. Sobeck’s version is only a mere suggestion of the original with whole

sections deleted and others recomposed.

The Second Fantasie closely resembles Ernesto Cavallini’s Adagio and

Tarantella. It is a multi-sectional work beginning in a slow tempo with each succeeding

section increasing in tempo until the last section in 6/8, which resembles a tarantella. It is

scored for clarinet and orchestra with an optional piano accompaniment. No modern

edition of this work is available.

Reissiger’s Second Fantasie is four-part form: Part I, marked Andante, is binary;

part II, marked Moderato, is ternary; part III is binary; part IV, marked Vivace, is binary.

Part I is preceded by a 31-measure introduction. The work is through-composed with all

parts connected by brief transition sections. Figure 11, below, provides the harmonic

structure, form, and meter of the Second Fantasie, op. 180. Examples 29-34, below, are

the important themes of the Second Fantasie.

Introduction Part I Part II Part III Part IV

(mm. 1-31) (32-94) (95-159) (160-222) (223-289) (290-362)
Allegro Andante Moderato Vivace Brillante
Binary Ternary Binary Binary
Bb Major Bb Major BbM FM BbM Db Major Bbm BbM
C ¾ C C 6/8

Figure 11. Harmonic structure of Second Fantasie, op. 180.

Example 29. Op. 180 Introduction (Allegro moderato marziale)

32
Example 30. Op. 180 First clarinet solo entrance (Allegro moderato marziale)

Example 31. Op. 180 Andante con moto theme.

Example 32. Op. 180 Clarinet entrance (Moderato marziale)

Example 33. Op. 180 B theme (Moderato marziale)

Example 34. Op. 180 Vivace theme. (Tarantella)

33
 Example 35. Op. 180 Brillante closing section (Tarantella)

Adagio und Rondo alla polacca, op. 214

Reissiger’s last work for clarinet was the Adagio und Rondo alla polacca, op.

214, published posthumously in 1861 in Leipzig by Hofmeister and scored for clarinet

and orchestra with an optional piano accompaniment. A dedication to the clarinetist Kotte

on the front page reads: “[C]omponirt und seinem Freunde Herrn Kammermusikus Kotte

zugeeignet” (composed and dedicated to his friend, the chamber musician, Kotte).

Sources list the Hofmeister edition as the only one.

The Adagio und Rondo alla polacca is a two-movement work: the first, marked

Adagio, is a rondo; the second, marked Tempo di Polacca, is also a rondo. A brief

transitional section that ends with a cadenza connects the movements. Figures 12 and 13,

below, provide the harmonic structure, form, and meter of op. 214.

Part I Adagio (mm. 1-131)

Section A Section B Section A Section C Section A
Ab major Eb major Ab major Db major Ab major
¾

Figure 12. Harmonic structure of Adagio, op. 214.

34
Part II Rondo alla polacca (mm. 132-418)
Section A Section B Section A Section C Section A Coda
Eb Major Bb major Eb major Cb major Eb major Eb major
¾

Figure 13. Harmonic structure of Rondo alla polacca, op. 214.

Example 36. Op. 214 Adagio A theme.

Example 37. Op. 214 Adagio B theme.

Example 38. Op. 214 Un poco più mosso (Adagio)

Example 39. Op. 214 Adagio C theme.

Example 40. Op. 214 Rondo A theme. (Tempo di Polacca)

35
 Example 41. Op. 214 Rondo B theme.

Example 42. Op. 214 Rondo C theme.

Example 43. Op. 214 Closing section of the Rondo.

Continued Observations

Like all composers, Reissiger uses certain melodic conventions. He particularly

likes slow, lyrical melodies in ¾. (See examples 8, 14, 22, 23, 30, 35, 36, and 38.) He has

a fondness for rapid 16th-note triplet figuration, which appears in all of his works. (See

examples 12, 34, 42, 43, and 44.) Reissiger also likes to use rapidly rising arpeggios in all

of the works. (See examples 1, 45, 46, 47, 48, and 49.)

Example 44. Op. 130 Variation 2 (Polacca)

36
 Example 45. Op. 146 Variation 3 (Brillante)

Example 46. Op. 130 mm. 79-80 (Moderato)

Example 47. Op. 146 mm. 39-43.

Example 48. Op. 180 Closing section (Brillante)

37
 Example 49. Op. 214 mm. 33-39.

Almost all of Reissiger’s lyrical melodies in ¾ begin with a sustained note

followed by either eighth or 16th notes. (See Examples 8, 14, 15, 23, 35, 36 and 40.)

Examples 1, 2, 3, 4, 16, 17, and 29 exhibit melodies in 4/4 that begin with a long note,

such as a half followed by either quarter, eighth or 16th notes.

Reissiger apparently knew the capabilities of the clarinet and the clarinetists for

whom he was writing. He covers the complete range of the instrument from low E to

altissimo A in op. 63 (Concertino), low E to altissimo G in op. 130 (Duo Brillant), low E

to altissimo Bb in op. 146 (Fantasie), low E to altissimo Ab in op. 180 (Second Fantasie),

and low E to altissimo F in op. 214 (Adagio und Rondo alla polacca). Reissiger writes

very idiomatically for the clarinet, and all of his clarinet music is difficult, but accessible.

All of his clarinet works are in flat keys, which put the clarinet in keys ranging from C

major to Db major, which lie well on clarinet.

38
 CHAPTER 4

CONCLUSION

Carl Gottlieb Reissiger was obviously well respected. The composer Carl Loewe

(1796-1869) wrote highly of Reissiger in a letter to his wife from his visit to the “grand

capital” (Dresden): “Reissiger is a talented, extremely capable, and gifted man. He has a

lot of authority and is properly recognized, and at the same time a wonderful man with

perfect manners.”34 He had a good relationship with Robert Schumann and even taught

Clara Schumann theory. His best string quartet, op. 173, is dedicated to Schumann.

Albert Kunzelmann wrote in his edition of op. 130:

Reissiger’s compositions reflect the entire bourgeois ideal of music making of his
day. His brilliant piano pieces, his chamber music as well as his solo- and part-
songs enjoyed the greatest of popularity. His music is easily comprehensible, of
first-class craftsmanship, and Schumann described his piano trios as “masterly
examples of workmanship.”35

The German clarinetist and repertoire researcher, Dieter Klöcker observes, “Wagner’s

warped judgement [sic] on Reissiger’s works has prejudiced the musicologists against

him to this day and has stood in the way of an appraisal of his music.”36

Carl Gottlieb Reissiger was indeed a man of great distinction during his lifetime.

He was a member of 25 different music societies, including Musikvereins der Österreich

34
Kurt Kreiser, “Carl Gottlieb Reissiger: sein Leben,” 109.
35
Albert Kunzelmann, editor’s notes from Duo Brillant, op 130, Lottstetten: Edition Kunzelmann, 1984.
36
Dieter Klöcker, record jacket notes from Klarinetten-Recital.

39
Kaiserstaates, Akademie der Künste zu Berlin, the Akademie der Musik in Stockholm, the

Accademia di Santa Cäcilla in Rome, and the Akademie der Tonkunst in Wien. For a

composer who was so prolific, well loved by his peers, and recognized by so many

societies, his life and music have unfortunately remained in the vast undercurrent of

music history. Most of his music may be bound to obscurity, but the five works discussed

in this paper can stand on their own as good solid works worthy of renewed interest and

performance. They were played by the great players of the day. Richard Mühlfeld,

Brahms’s favorite clarinetist, even had a Reissiger Fantasie in his repertoire. These works

are melodically pleasing, harmonically interesting, rhythmically varied, and technically

challenging. For clarinetists looking for something new and interesting to augment their

repertoire, the Concertino, Duo Brillant, Fantasie, Second Fantasie, and Adagio und

Rondo alla polacca by Carl Gottlieb Reissiger are viable alternatives.

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APPENDIX A

TITLE PAGES

41
42
43
44
45
46
APPENDIX B

RECORDINGS

47
 RECORDINGS

Romantic Clarinet Concertos, perf. By Dieter Klöcker, clarinet, and the Berlin Radio
Symphony Orchestra, conducted by Jesus Lopez-Cobos. Schwann Musica Mundi, VMS
1621.

The Drawing-Room Clarinetist, perf. by Colin Bradbury, clarinet, and Oliver Davies,
piano. ASV ACM 2011.

Klarinetten-Recital, perf. by Dieter Klöcker, clarinet, and Werner Genuit, piano. EMI
Electrola 151-45 392/93.

48
 REFERENCES

Altmann, Wilhelm. Orchester--Literatur--Katalog, 2 vols., Leipzig: F. E. C. Leuckart,

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Baumann, Thomas, and Dieter Hartwig. “Dresden,” The New Grove Dictionary of
Opera, 4 vols., ed. by Stanley Sadie. London: Macmillan, 1992, I, 1246-1253.

Carse, Adam. The Orchestra from Beethoven to Berlioz. Cambridge: W. Heffer and
Sons, 1948.

Gehring, Franz. “Karl Gottlieb Reissiger,” Grove’s Dictionary of Music and Musicians,
5th ed., 10 vols., ed. by Eric Blom. London: Macmillan, 1954-61, VII, 118-119.

Gothel, Folker. “Reissiger, Karl Gottlieb,” Die Musik Geschichte und Gegenwart, 17
vols., foreword by Friederich Blume. Kassel: Barenreiter, 1954, XI, 210.

Heim, Norman M. Clarinet Literature in Outline. Hayattsville, Maryland: Norcat Music

Press, 1984.

Heyne, Jörg. “Die Ära Reissiger um Hoftheater in Dresden.” In Musik in Dresden.

Band 1: Die Dresdner oper im 19. Jahrhundert.. Edited by Michael Heinemann
and Hans John. 143-178. (Laaber: Laaber-Verlag, 1995).

Klöcker, Dieter, record jacket notes for Romantic Clarinet Concertos, Dieter Klöcker,
clarinetist, and the Berlin Radio Symphony Orchestra, conducted by Jesus Lopez-
Cobos. Schwann Musica Mundi, VMS 1621.

Kohut, A. “R. Wagner und K. G. Reissiger,” Allgemeine Musik-Zeitung. XXXVII.

(1910): 33.

Ledebur, Carl Freiherrn von. Tonkünstler-Lexikon. Berlin: Verlag von Ludwig Rauh,
1861.

Kreiser, Kurt. “Carl Gottlieb Reissiger: sein Leben nebst einingen Beiträgen zur
Geschichte des Konzertwesens in Dresden” Ph. D. dissertation, University of
Leipzig, 1918.

Kunzelmann, Albert, editor’s notes, Duo Brillant, op 130, Lottstetten: Edition

Kunzelmann, 1984.

49
Millington, Barry, John Deathridge and Robert Bailey. “Richard Wagner,” The New
Grove Dictionary of Opera, 4 vols., ed. by Stanley Sadie. London: Macmillan,
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Pound, Gomer. “A Study of Clarinet Solo Concerto Literature Composed Before 1850:
With Selected Items Edited and Arranged for Contemporary Use.” 2 vols. Ph.D.
dissertation, Florida State University, 1965.

Reichelt, J. “R. Wagner und sein Kollege Reissiger,” Allgemeine Musik-Zeitung.

XXXVII. (1913): 505.

Reissiger, Karl Gottlieb. Concertino in Eb major, from Romantic Clarinet Concertos,

perf. by Dieter Klöcker, clarinet, and the Berlin Radio Symphony Orchestra.
Schwann: Musica Mundi VMS 1621.

__________. Duo Brillant, op. 130, from The Drawing-Room Clarinetist, perf. by Colin
Bradbury, clarinet, and Oliver Davies, piano. ASV ACM 2011.

__________. Duo Brillant, op. 130, from Klarinetten-Recital, Dieter Klöcker, clarinet,
and Werner Genuit, piano. EMI Electrola 151-45 392/93.

Rendall, F. Geoffrey. The Clarinet. New York: W.W. Norton, 1971.

Review of Concertino for Clarinet with orchestra accompaniment, by Carl Reissiger.

Allgemeine musikalische Zeitung, 47 vols., Leipzig: Breitkopf & Härtel, October,
1831, 708.

Rutter, John. “Karl Gottlieb Reissiger.” The New Grove Dictionary of Opera, 4 vols., ed.
by Stanley Sadie. London: Macmillan, 1992, III, 1286.

__________. “Karl Gottlieb Reissiger,” The New Grove Dictionary of Music and
Musicians, 20 vols., ed. by Stanley Sadie. London: Macmillan, 1980, XV, 729-
730.

Rutter, John, and Manfred Fensterer. “Carl Gottlieb Reissiger,’ The New Grove
Dictionary of Music and Musicians. 2nd ed. 29 vols., ed. by Stanley Sadie.
London: Macmillan, 2001, XXI, 170-172.

Sacchini, Louis Vincent. “The Concerted Music for the Clarinet in the Nineteenth
Century.” Ph.D. dissertation, The University of Iowa, 1980.

Schnoor, H., Karl Laux, and Irmgard Becker-Glauch. “Dresden,” Die Musik in
Geschichte und Gegenwart, 17 vols., foreword by Friedrich Blume. Kassel:
Barenreiter, 1954, III, 758-794.

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Steude, Wolfram, Ortrun Landmann, Eberhard Kremte, and Mathias Herrmann.
“Dresden,” Die Musik in Geschichte und Gegenwart, 20 vols., foreword by
Friedrich Blume. Kassel: Barenreiter, 1994, II, 1522-1561.

Steude, Wolfram, Manfred Fechner, Hans-Günter Ottenberg, Hans John, Dieter Härtwig
and Matthias Herman. “Dresden,” The New Grove Dictionary of Music and
Musicians, 2nd ed., 29 vols., ed. by Stanley Sadie, Executive ed. John Tyrrell.
London: Macmillan, 2001, 563-584.

Steude, Wolfram and Ortrun Landmann and Deiter Hartwig. “Dresden,” The New Grove
Dictionary of Music and Musicians, 20 vols., ed. by Stanley Sadie. London:
Macmillan, 1980, V, 612-627.

Tuthill, Burnet. “Concertos for Clarinet.” Journal of Research in Music Education, XX/4
(Winter, 1972): 420-436.

Weston, Pamela. Clarinet Virtuosi of the Past. London: Robert Hale, 1971.

_________. More Clarinet Virtuosi of the Past. London: P. Weston. 1977.

_________, record jacket notes for The Drawing-Room Clarinetist, Colin Bradbury,
clarinet, and Oliver Davies, piano. ASV ACM 2011.

Reissiger Editions Cited

Adagio und Rondo alla polacca, op. 214, Leipzig: Hofmeister, 1861.

Concertino, op. 63, ed. by Robert Stark. Heilbron: C. F. Schmidt.

Duo Brillant, op 130, Lottstetten: Edition Kunzelmann, 1984.

Fantasie, op. 146, Melville, New York: Belwin Mills.

Fantasie, op. 146, from Album of Famous Pieces for Clarinet Solo. Melville, New York:
Belwin Mills.

Fantasie, op. 146, Leipzig: Hofmeister, 1840.

Second Fantasie, op.180, rev. by Johann Sobeck. Hannover: Edition Louis Oertel.

Second Fantasie, op.180, Leipzig: Hofmeister, 1845.

51