ve
stages since its introduction about 1770, and first of all at the hands
of Cornelius Ward. The principal improvements were due to Richard Carte,
who took out a patent in 1858 for an improved Boehm clarinet which
possessed some claim to the name, since Boehm's principle of boring the
holes at theoretically correct intervals and of venting the holes by
means of open holes below was carried out. Carte made several
modifications of his original patent, his chief endeavour being to so
dispose the key-work as to reduce the difficulties in fingering. By the
extension of the principle of the ring action, the work of the third and
little fingers of the left hand was simplified and the fingering of
certain difficult notes and shakes greatly facilitated. Messrs Rudall,
Carte & Company have made further improvements in the clarinet, which
are embodied in Klussmann's patent (fig. 4); these consist in the
introduction of the duplicate G# key, a note which has hitherto formed a
serious obstacle to perfect execution. The duplicate key, operated by
the third or second finger of the right hand, releases the fourth finger
of the left hand. The old G# is still retained and may be used in the
usual way if desired. The body of the instrument is now made in one
joint, and the position of the G# hole is mathematically correct,
whereby perfect intonation for C#, G# and F[n] is secured. Other
improvements were made in Paris by Messrs Evette & Schaeffer and by M.
Paradis,[32] a clarinet-player in the band of the Garde Republicaine,
and very great improvements in boring and in key mechanism were effected
by Albert of Brussels (see fig. 1).

[Illustration: FIG. 4.--Clarinet (Boehm model, Klussmann's patent).]

The clarinet appears to have received appreciation in the Netherlands
earlier than in its own native land. According to W. Altenburg (op. cit.
p. 11),[33] a MS. is preserved in the cathedral at Antwerp of a mass
written by A.J. Faber in 1720, which is scored for a clarinet. Johann
Mattheson,[34] _Kapellmeister_ at Hamburg, mentions clarinet music in
1713, although Handel, whose rival he was, does not appear to have known
the instrument. Joh. Christ. Bach scored for the clarinet in 1763 in his
opera _Orione_ performed in London, and Rameau had already employed the
instrument in 1751 in a theatre for his pastoral entitled _Acante et
Cephise_.[35] The clarinet was formally introduced into the orchestra in
Vienna in 1767,[36] Gluck having con