his teeth. Around this time the Théâtre-Italien de Paris offered Crusell a position as first clarinetist. Gustav IV Adolf of Sweden, anxious to keep Crusell in the royal orchestra, denied a petition for an extension of leave and as a positive inducement made him chief conductor of the bodyguard regiment bands. After Crusell returned to Stockholm he remained with the Royal Court Orchestra until 1833. In June 1811 Crusell made another trip to see Tausch in Berlin, and the two men discussed clarinets. Later that month he visited a benefactor in Leipzig, and in July he purchased a new instrument from Heinrich Grenser in Dresden. His Grenser clarinet was an advanced design for the time, with eleven keys. (A picture of Crusell's Grenser clarinet can be found here.) Later, in 1822, he again went to Dresden and purchased additional clarinets from the Grenser shop's successor, Grenser & Wiesner, and from Carl Gottlob Bormann. The Stockholm Music Museum possesses five clarinets made by Grenser & Wiesner in 1822 or later, four with eleven, and one with ten keys. During his career Crusell became increasingly well known as a clarinet soloist, not only in Sweden but also in Germany, and even in England. He played compositions by Beethoven, Jadin, Krommer, Lebrun, Mozart, and Peter Winter, among others. Of more than 50 known concert reviews (most of which appeared in the German Allgemeine musikalische Zeitung), not even one had any negative comment. Carl Abraham Mankell (1802–1868), music critic of Svenska Tidningen (Swedish News), admired Crusell's playing for the roundness of his tone and its evenness in quality throughout the range of the instrument. Crusell was also greatly admired for his pianissimo playing. "It is indicative of his reputation that he was for many years the best-paid musician in the court orchestra." Career as a composer Between 1791 and 1799 Crusell studied music theory and composition with Abbé Vogler and another German teacher, , when Böritz was resident in Stockholm. In 1803 while in Paris Crusell studied composition at the Conservatoire with Gossec and Berton. He composed pieces, including concertos and chamber works, not only for his own use, but also for other wind players in the court orchestra. In 1811 he travelled to Leipzig where he established a relationship with the music publisher Bureau de Musique, which became part of C. F. Peters in 1814. From 1818 to 1837 during the summers he