Die Voraussetzungen für die Entfaltung des Klarinettenchors schuf im Verlauf des 19. Jhdt. der Instrumentenbau, mit der Erweiterung der Klarinettenfamilie von Des-, As- und Es-Klarinetten bis zu den Es-Kontra-Alt- und B-Kontra-Bassklarinetten. Instrumente, die in den großen europäischen und US-amerikanischen Militärorchestern erstmals eingesetzt wurden. Auch die Entwicklung des Klarinetten-Registers in den Amerikanischen Konzertbands, spielt in Hinblick auf die Entwicklung des Klarinetten-Chors als eigenständiges Ensemble eine große Rolle. Diese wiederum beeinflussten auch University School Bands. In den 50er Jahren wurde erstmals der Terminus „Choir“ verwendet. Einige herausragende Pädagogen und Arrangeure bemühten sich besonders um die Entwicklung des Klarinettenchors als eigenständiges Ensemble. Als die High Schools und College Bands nach und nach ihre tiefen Klarinettenregister besetzten, steigerte sich auch das Interesse an eigenständigen Chören. In den USA existiert der Klarinettenchor hauptsächlich im Bildungsbereich. Pädagogen und Dirigenten haben aber die Wichtigkeit des Klarinettenchors einerseits als Ausbildungsensemble für junge Studenten und andererseits auch als eigenständiges Ensemble erkannt. In Europa gründete sich der erste Klarinettenchor 1970 in Großbritannien. Im übrigen Europa etablierten sich die ersten Chöre erst in den 1980er Jahren in Belgien und Holland. In diesen Ländern nimmt der Klarinettenchor bereits einen festen Platz in der Musiklandschaft ein.

I am very pleased to present a new edition of this book first published in 2005. I have taken the opportunity to include various suggestions and developments in the last ten years. Many new clarinet choirs have been established around the world during this time both in the cultural sector and as training ensembles. This last fact should not however detract from the fact that the clarinet choir as a medium is generally becoming more popular and is emerging as a permanent feature of the concert life in many countries. In the course of giving concerts at home and abroad with my own ensemble, the Austrian Clarinet Choir, I have had the opportunity of getting to know many new arrangements and original works, gaining new inspiration and learning to appreciate the rich possibilities the Clarinet Choir offers. These days, its tonal palette is not only evident to us connoisseurs. In recent times, the public has started to appreciate the scoring of this unique ensemble ranging from the now well-known E flat clarinet down to the Contrabass Clarinet. While I have seen increased interest in the genre in the course of delivering lectures on the subject in Europe, the USA, Latin- and South America, South Africa... it has become apparent that there is hardly any literature on the subject, so it was obviously important to me to have the book translated into English and Spanish and to include as much new information and additional research as I could.

I am very pleased to present a new edition of this book first published in 2005. I have taken the opportunity to include various suggestions and developments in the last ten years. Many new clarinet choirs have been established around the world during this time both in the cultural sector and as training ensembles. This last fact should not however detract from the fact that the clarinet choir as a medium is generally becoming more popular and is emerging as a permanent feature of the concert life in many countries. In the course of giving concerts at home and abroad with my own ensemble, the Austrian Clarinet Choir, I have had the opportunity of getting to know many new arrangements and original works, gaining new inspiration and learning to appreciate the rich possibilities the Clarinet Choir offers. These days, its tonal palette is not only evident to us connoisseurs. In recent times, the public has started to appreciate the scoring of this unique ensemble ranging from the now well-known E flat clarinet down to the Contrabass Clarinet. While I have seen increased interest in the genre in the course of delivering lectures on the subject in Europe, the USA, Latin- and South America, South Africa... it has become apparent that there is hardly any literature on the subject, so it was obviously important to me to have the book translated into English and Spanish and to include as much new information and additional research as I could.