Introduction

When an overall view is taken of those who have influenced composition for any instrument, a number of specific types may be observed. The most obvious type is the professional virtuoso who provides direct inspiration; outstanding clarinettists who have done this are Karl Stamitz's Joseph Beer, Mozart's Anton Stadler, Spohr's Simon Hermstedt, Weber's Heinrich Baermann and Brahms's Richard Muhlfeld. Where, as in the case of the clarinet, the instrument is mechanically operated there is also the player-inventor who gives the spark to fire a composition; the most notable of these is Iwan Muller. Thirdly, there are those who give commissions which result in significant additions to the repertoire; amongst these are Benny Goodman, ‘King of Swing’, and the amateur player-philanthropists Werner Reinhart, the Duke of Sondershausen and Count Troyer.

The rise of the virtuoso

Connecting specific players with the very first works for the clarinet is not easy, though we can be fairly certain that it was Johann Reusch (c. 1710–1787) who inspired Durlach's Kapellmeister Johann Melchior Molter to compose his six concertos in the late 1740s. At that time Reusch was Durlach's flautist, merely doubling on oboe and clarinet. Significantly, he later moved to Karlsruhe as a bona fide clarinettist.