HISTÓRIA DOS INSTRUMENTOS PARTE 2
Autor: PROFESSOR STUART | Publicado: 2011-08-15T14:09:00-07:00

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 <![endif]-->CLARINETE 
 Surgiu no final do século XVII, a partir do aperfeiçoamento da charamela, levado a cabo por Johann Christopher Denner, conhecido fabricante de flautas de Niremberg. No século seguinte, passou a integrar a orquestra sinfônica. Por volta de 1840, atingiu sua estrutura definitiva, com a introdução do sistema de chaves de Theobald Boehm, que já havia sido aplicado com sucesso na flauta. 
 
 Ao logo dos tempos, foram criados clarinetes de dimensões e timbres variados. Há cinco modelos ainda em uso: 
 - em mi bemol - o soprano da família, também denominado “requinta”; 
 - em dó – de timbre brilhante; 
 - em si bemol – o mais usado na atualidade; 
 - em lá – de pouco uso; 
 - clarinete-baixo em si bemol – uma oitava abaixo do outro de mesma tonalidade. 
 
 Constitui-se de um tubo cilíndrico dividido em 4 partes: pavilhão, corpo inferior, corpo superior e barrilete. Neste está embutida a boquilha, na qual se adapta uma palheta simples. 
 
 Mozart foi um dos primeiros compositores a explorar o clarinete como instrumento solista, compondo um concerto e várias peças de câmara. A sua escrita para o clarinete, favorecendo a beleza do registo grave do instrumento e um equilíbrio e fluência em toda a sua ampla tessitura, faz-nos pensar na escrita vocal e não é difícil imaginar tratar-se por vezes de uma voz de soprano. O uso do clarinete obbligato como dramatis persona em La Clemenza di Tito encontra-se na linha de uma tradição vienense do início do séc. XVIII, na qual se inscrevem múltiplas óperas, evidenciando uma relação estreita entre a voz e o chalumeau que, 
 tomado como objeto significante, é associado a sentimentos específicos de caráter amoroso ou pastoral. 
 
 
 Criado em 1810, o clarinete-baixo ou clarone também é utilizado na orquestra sinfônica, embora com menor freqüência. Distingue-se do clarinete propriamente dito, pelo pavilhão recurvado e pelo diapasão mais grave.