Alto Clarinet History
While the alto clarinet was part of the standard wind band instrumentation at one time, much is unknown about the history of the instrument. Some suppose that double-reed tenor oboes with flaring bells served as the models for the earliest alto clarinets. In fact, there are two different instruments, the alto clarinet and the clarinet d’amour, that were so similar that most source materials regarding these instruments are very obscure and non-specific. Much of the early repertoire that includes alto clarinet or clarinet d’amour do not clearly label which instrument is being written for. Many pieces listed parts for “G clarinet” which could have referred to either instrument.
​
The earliest models of the alto clarinet were pitched in Eb, F, or G and had a flared bell. They were constructed using boxwood, maple, pear, cherry, plum, or ebony. The instruments included a mouthpiece, a brass crook or curved wooden barrel, and two finger-hole sections. They were played primarily in wind and military bands and in chamber music beginning in the 1740’s. Sometimes the alto clarinet was even substituted in when basset horns could not be found.
​
The earliest known solo performer of the alto clarinet was Iwan Mueller. He was responsible for the perpetuation of alto clarinets in F and Eb both in construction and performance. He, along with Heinrich Grenser, ultimately created the 13-key alto clarinet which was presented to and approved by the committee at the Paris Conservatoire in 1812. He also presented a 13-key soprano clarinet that was not approved until two years later. After the introduction of Mueller’s alto clarinet, the instrument came into popular use throughout the 19th century particularly with military bands.
​
Historians suppose that these instruments were developed because of their unique timbre which were fuller, richer, and darker than the soprano clarinet. The following composers scored for G clarinet or alto clarinet throughout the 18th and 19th centuries: Gossec, von Schacht, Gugliemi, Gluck, Mayr, Michael Haydn, Croes, Stamitz, Rousseau, Mueller, Schneider, and Waddell.
​
During the 20th century, the alto clarinet became standard in wind band scoring. In particular, there are important parts for alto clarinet in works by Grainger, Dahl, Husa, Dello Joio, and Persichetti. Alto clarinet has never been part of standard orchestral scoring, but it is notably included in Stravinsky’s Threni and multiple works by Holbrooke. However, the alto clarinet has fallen out of favor in wind band scoring in recent years. Many report that the instrument has intonation issues and unsatisfactory tone. Therefore, many new pieces written for wind band do not include parts for alto clarinet. Nonetheless, the alto clarinet remains an essential member in the clarinet choir.