Antonio Casimir Cartellieri appears to have followed Valentin
Roeser’s advice to composer for the clarinet: “ The surest and best
rule for composer to follow in writing for the clarinet is to aim at a
goal of an agreeable melody and to avoid large jumps and passages
which are too chromatic”1. Cartellieri’s generous flow of expressive
melodies certainly follow the letter of the first part of these
instructions. To allow the player further opportunity for exhibiting the
clarinet’s tonal beauty and also its powers of dynamic gradation.
Roeser’s caution against large skips seems to deprive the composer of
one of the supposedly most distinctive idiomatic characteristics of the
clarinet, the difference in quality in the two principal registers of its
compass and its capacity for facile change from one to the other.
A very important characteristic in the idiomatic use of the clarinet is
the extent of the use of the chalumeau register. The concertos and quartets examined for the study vary considerably in the use of the
low register. In three movements a differentiation was made for
notes whose use is unusually heavy in certain passages where they
function as a pivot point for a broken pattern such as seen in the
following examples (fig. 26-27-28-29).