Four Arrangements: Piano Duo/Duet (1 Piano, 4 Hands): 0 (Kalmus Edition)

Peter Ilyich Tchaikovsky's Four Arrangements: Piano Duo/Duet (1 Piano, 4 Hands): 0 PDF

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Complete Recordings and Recordings of Individual Movements. Before sitting down to review the various recordings of this aria, I collected all the written material I could find from every source I had at my disposal. English translation by Richard Stokes, Albert Schweitzer , rough translation from Hebrew into English: In what way does the composer in the last aria, express the first two lines, we can easily imagine to ourselves.

Bach seizes on the opening sentence and does not concern himself about the remainder. A joyous melody is accompanied homophonically, the middle strings reiterating chords the fluttering of wings at the same time as the bassi. As the result of this method of treatment, unusual in Bach, the confident aria is more easily grasped than are most.

The first clause is set to a modification of the above, the bassi alternate with the rest of the orchestra. The repeated chords on second violins, violas and continuo joined, when the voice comes in, by the other instruments may be meant to suggest the stirring of the wings. Representing a fluttering of wings to illustrate the text. The melodic imagery is so well done that it overshadows the Lutheran dogma in the libretto. Perhaps the vocal line doesn't quite come up to the standard of the orchestral line.

Christ Oxford Companion, The text is not in da capo form, but divided into three segments of two lines each, which Bach sets in three musical paragraphs A-B-C separated by brief ritornellos in closely related keys. In few words he gets the essence of this aria. With his guidance you do not fear from anything. The ordinary baritone lacks some weight to be fully convincing in some cases, where the real bass voice is sometimes too heavy to give full expression to every nuance.

And he also sounds very natural in his expression. Nothing is forced and nothing is exaggerated. The accompaniment is of course non-HIP, but it has that aura of authority that leaves you speechless. I wonder if anybody would trust these wings to take him or her to heaven. On the other hand, Ruud van der Meer has a very pleasant and warm voice.

Its timbre is very similar to that of Pommerien, and his expression touches your heart. He reveals so many nuances that Huttenlocher, for example, fails to convey. But even Meer cannot overcome the problematic accompaniment that Harnoncourt supplies to him. If these are wings than they are waving wit strong movements. On the other hand, The singing is not varied, inflexible and lacking warmth. The movements are larger and smoother and reflect more confidence. Varcoe interpretation has the needed authority and warmth, but his voice is not multi-layered as that of Meer, and consequently his rendition is less varied.

The problem is that is done too fast. I believe that if somebody had to be taken into heaven, he would like to do it tranquilly and not in a rush. His rendition here has more vigour than usual. Probably he is encouraged by the fast movement of the accompaniment. I think that in several places the he has some difficulties to cope with the speed of the accompaniment. The accompaniment here is also light but more cheerful and pungent. His tempo for this aria is slower and therefore better. Ramselaar voice is fuller and a little bit lower than that of Mertens, and I find it more suitable to this aria.

Regarding the interpretation I find that Ramselaar has nothing to be ashamed of in comparison with his more famous colleague. He is pleased with them, and they feel comfortable with him, and so am I with both of them. Conclusion My first choice for this cantata as a whole and the aria for bass in particular is Ehmann 1. After some research I managed to compile a short biography of him and I put it in the Bach Cantatas Website for anybody who is interested to know more about this excellent Bach conductor.

I find that all his too few recordings of Bach cantatas are authoritative, satisfying and pleasing. As they say, what Ehmann had already forgot, other, more modern, conductors have not even started to learn. And as always, I would like to hear other opinions, regarding the above mentioned performances, or other recordings. Thomas Braatz wrote May 30, Whereas it was not so difficult to find and detect the various motifs and descriptions of Mvt. Crist Oxford Composer Companions [Boyd.

In a simplified overview of Mvt. This is the section that introduces and also develops!!! Crist's division is as follows: This is the important marker for the beginning of the last section that has soprano and alto with the instruments hushed a 'piano' is marked for the strings in the score continue a duet until joined a few bars later with the other voices after which the tenor and bass have a similar duet followed by a full chorus conclusion.

Was Bach in this music 'speaking' primarily from the standpoint of Lutheran theological doctrine, as Crist would have it: As a noted Bach scholar, he knows that he would have to supply more evidence of proof for any supposition he has. Perhaps he would rather leave that to a future doctoral disseration done by student pursuing this type of thing. But it is very interesting for me that he goes through the effort of supplying an elaborate illustration with musical examples that could offer a key to understanding this mvt. With the help of examples from the score and elsewhere which I hope to supply, you should be able to gain a better understanding of what I am talking about.

But until then, let me try to explain in many words what you are hearing as you listen to this mvt. Let's call this the 'belief'-motif with the long held note emphasizing the need to 'hold' on to this belief. While the long note is being held, the 2 nd oboe answers with a musical figure that will be the basis for many of the fugal entries consisting of half notes. But, at the same time, the 1 st violin begins the wonderful, contrasting, faster-moving quarter and eighth notes theme which is 'worlds apart' from the key elements in the oboes.

In the samples from the score, I will show you the melody of this hymn as it might appear in a hymn book of that day. On first inspection you might justifiably say that it might only vaguely appear to be related. However, when you examine BWV BWV , a fughetta, is already so melodically contorted that you would perhaps have difficulty recognizing it a choral prelude for organ, it becomes much more apparent how Bach treats a theme of this sort in an organ prelude, in which, by the way, the canonically stated pairs appear a total of 10 times with a crucial crux turning point occurring in the middle where one statement stands alone without pairing.

This then is the '10 Commandment'-motif taken from the incipet of a Luther chorale that everybody in church at the first performance of the cantata would know probably backwards and forwards. In the same 2 nd measure, the continuo makes its initial statement with material that is anything but introductory. I am reminded here of the description that Forkel gave of a Bach family reunion where much time was spent musically with the impromptu creation of quodlibets. This is a musical form in which from songs widely known and sung by all who were present, were entered into quodlibet at just the right time and pitch to make music with all the other songs unrelated in text!

Although incipets the first line in a song were usually used, this was not always the case. The source could be a refrain or a striking or catchy turn of words and music in the middle of the piece. Such is the case here, except that now we are using only sacred music as a source and not folk songs etc. Would that be Bach's primary purpose here, to achieve a unity between various mvts. Would he be announcing to the listener in advance, what they would be hearing later on? I found yet another hymn contained in a German hymnal dating from , but not in later editions: This hymn of only five verses is rather unusual in that four of the five verses have for this final line of verse the one in question here the exact same words each time: Let's call this the 'Praise-God"-motif.

So far in measure 2, the only part not accounted for is the viola part, the very part, according to one of Bach's sons, he would occasionally play himself in the performance of his cantatas. Besides a secondary theme consisting of a three-note pattern consisting of 2 eighth notes followed by a quarter note in a downward motion on the notes of the scale, there is a strong motif announced in the continuo for the first time in measure 6.

This motif consists of an upward moving stepping at the interval of a fourth figure, all in half notes —very majestic in character -- followed by a step down by one note on the scale, to be followed by another leap upwards by another fourth to an even higher pitch. This happens at least three times in section 1, twice in the middle section, and once in the conclusion.

Just hearing the mvt now as I write this, it seems to occur even more frequently than this, but then it is of such a character that you will not miss it. With the help of an additional passing note that Bach sometimes includes in a choral prelude , the comparison becomes even more apparent. Here then is THE event that epitomizes what baptism was all about.

For the librettist who was possibly also a pastor , the sacrament as a preordained, prescribed routine occurrence in church as one of the holy sacraments is uppermost in the mind, while Bach sees, in addition to this, with the help of his musical imagination based on pictures of the mind, the scene of a remarkable baptism, unlike the many others that John the Baptist had been performing all along, a singular event in mankind. This is the picture that Bach conjures up by using the reference to the melody of the baptismal hymn that everyone listening at that time would know.

Summary of motifs in Mvt. In my last posting I should have summarized the characteristics of each motif once again, so that a listener can hear them without the aid of a score. I had listed them as follows: The Belief-motif Two half notes at the same pitch followed by a dotted whole note held for 3 measures 1st oboe at beginning The other oboe states the fugal theme that is also used by the vocal parts later on.

The Commandments-motif A repeated quarter note pattern 4 times at the same pitch, then two eighth notes moving up the scale and a final quarter note. The latter pattern is reversed, going downward to finish out the ritornello. The Praise-God-motif Appearing at the beginning of the continuo part, this motif consists of half and whole only two notes on a downward movement on the scale The Baptism-of-Christ-motif This motif consists of two jumps upward at the interval of a fourth with a step downward either semitone or whole tone after the first jump before taking the final jump to an even higher pitch I have only four recordings for comparison of this first mvt.: Harnoncourt [3] , Rilling [4] , Koopman [6] , and Leusink [7].

The pitch for Harnoncourt, Koopman, and Leusink is a half step lower than Rilling's, with Harnoncourt's slightly higher than either Koopman and Leusink who are exactly the same. Concert studies, piano, S. Orpheus symphonic poem , S. Ideales symphonic poem , S. Preludes symphonic poem , S. Early and late piano works. Mazeppa symphonic poem , S. Hamlet symphonic poem , S. Etudes d'execution transcendante d'apres Paganini, S. The very best of Lang Lang.

Concertos, piano, orchestra, no. Free arrangements and transcriptions for piano solo. Sonata in B, Ballade No. Free arrangements and transcriptions for piano solo: Free arrangements and transcriptions for piano. Etudes d'execution transcendante, S. These were probably sight reading pieces from exams. The piano parts have been recreated for this publication. Total duration of about 5 minutes with the Canzonetta longer than the others combined. An interesting set of pieces for the advanced intermediate player.

The primary challenges are rhythm although not as difficult as many Eastern European dances , ornamentation, and tempo. Three Bartok folksongs have been combined into one sectional piece. Here is a link to an. For clarinet in B-flat and piano. A very entertaining and frequently recorded fantasy.

Challenging for the clarinetist but the piano part should not be a problem for a competent accompanist. Sonata for Clarinet and Piano by Arnold Bax. Written in , this Sonata is one of Bax's mature works. It was first performed by Frederick Thurston in It is in two movements: Molto moderato and II. An excellent work, with an important piano part, for mature performers. From Grandmother's Garden Op. Amy Marcy Beach was an American woman composer.

She wrote in a mature and virtuosic style for piano the original version of this piece with use of chromaticism, fine melodic lines, and impressionistic styles. It is those elements of Impressionism, using musical styles of Ravel and Debussy, that make "From Grandmother's Garden" so interesting to the performer and audience. The piece includes 5 short pieces describing or at least alluding to garden plants you might find in a Victorian garden: There is a shaky video on YouTube: Part 1 , Part 2. Alois Beerhalter was a German musician who learned many instruments to support himself before finally turning to the clarinet and then the basset horn around This piece has a substantial Andante cantabile introduction, the Theme, five variations, and an Allegro vivo finale.

Almost no altissimo but the bottom three octave range of the basset horn is fully exploited. Click on the cover image to view a. Ludwig van Beethoven wrote Bagatelle No.

It features warm, expressive lines that work well on the clarinet. English composer William Henry Bell studied and later taught at the Royal Academy of Music in London during the period to He then emigrated to South Africa and taught music at the university level until his retirement in This Sonata in D minor was written in It is in four movements: Something a bit different for college level clarinetists. This piece was composed for oboe circa Larghetto cantabile and Allegro alla polonese. Advanced high school or early college level. The original concert key has been preserved so the solo part could be used with the existing orchestral parts.

Paul Ben-Haim was a German-born Israeli composer and conductor who emigrated to Palestine in He was a champion of Jewish music and his compositions are in a late Romantic vein with Middle Eastern overtones. This is a piano reduction prepared by the composer the original is for clarinet, harp and strings. This piece is begins with Thema-Sostenuto e dolce which is followed by six variations in various tempos and styles.

Conceived as vocalises for high voice and piano it occurred to the composer that the songs lent themselves to instrumental performance as well. Consequently he arranged them for several instruments, with the clarinet or tenor saxophone edition presented here. Subtitled "Valse - Caprices," this is a multi-sectional work by Australian born, London based Benjamin This piece requires good technique and is classified as an upper college level work.

Two complete parts in score format. This piece was written in Dr Heim wrote that it has a certain romanticism mixed with its atonality and is probably the best work in the repertoire in this style of writing. The clarinet part has flutter-tonguing and is rhythmically difficult. Two complete parts in score format printed so there are no page turns within each piece. This is a scholarly edition that includes a preface and notes on the editing in German, English, and French.

As noted above, Dr Heim wrote that this piece has a certain romanticism mixed with its atonality and is probably the best work in the repertoire in this style of writing. Scene and Air Op. A popular solo for better high school students often used for solo and ensemble festivals. Includes a suggested cut if playing time needs to be reduced. Michael Berkeley is a British composer, music educator and broadcaster who studied at the Royal Academy of Music and with Richard Rodney Bennett.

This is a challenging work in one continuos movement. There is an explanation of the composer's inspiration for this work on the Oxford web site scroll down in the description box to find it. Duration about 20 minutes. The contest piece for the Conservatoire National de Musicque in Allegro giusto, Lento sostenuto, and Vivo e giocoso. An excellent example of the French clarinet concerto at mid-century, similar to the Bozza. The publisher had discontinued this piece but decided to make it available again. On a visit to the office of Ron Odrich, periodontist and well-know jazz clarinetist, Leonard Bernstein noticed an eye chart hanging on the wall.

The chart had musical notations as well as letters in its design. Bernstein wrote down the notes and later wrote them into a line for solo clarinet. He titled it "Visione Fugitava" and sent the manuscript as a gift to Odrich. After Bernstein's death, Odrich and his composer partner Larry Fallon created a set of variations for clarinet and piano exploring the musical theme that Bernstein had culled from the eye chart.

Riffs is the third movement of Prelude, Fugue and Riffs written for Benny Goodman in for solo clarinet and jazz band and first performed in The optional percussion for drum set and string bass parts will enhance the performance of this arrangement. The CDs are of the original version. Sonata for Clarinet and Piano by Leonard Bernstein. Written for David Oppenheim, this was Bernstein's first published work.

This is a new edition of this work which includes a CD of a performance by Todd Levy and the piano accompaniment by itself. The CD also includes software for adjusting the tempo when played on a computer. This edition includes a biography of Leonard Bernstein, the history of the piece and this new edition, and thoughts on playing the Sonata by Todd Levy.

The previous edition of this piece is now out of print. This version removes the two sharp key signature in the clarinet part and the enharmonic spelling of many notes has been changed to reflect Bernstein's manuscript and the first published edition. College level with a duration of 10 minutes. The revised version of this piece without the CD. Friedrich Berr was a German born clarinetist who composed a number of works for clarinet. Upper intermediate level with a duration of about 7: David Bevan is a British composer, music director and educator. This sonata was written in The outer movements rely on the statement of a theme, followed by continuos development with a short contrasting middle section.

The whole work is both lyrical and unusual in style. College level with a duration of about 8 minutes. Johanna Magdalena Beyer was born in Germany. She immigrated to the United States in where she continued her music studies and worked as a piano teacher. She affiliated herself with the experimental music community in New York but only one of her compositions was published in her lifetime. This piece, which is dedicated to Rosario Mazzeo and Nicolas Slonimsky, was written in Allegro, Adagio, Allegretto, and Lento. The Adagio movement is unusual with the clarinet mostly playing whole and half notes above the staff, while the piano plays melodic figures in the first part of the piece and descending arpeggios in the second.

The Lento, with nothing quicker than a quarter note, has a range to altissimo A. Acker Bilk is a self-taught British clarinetist. In , he had a major hit both in the the UK and the United States with this piece. Both the piano and clarinet part have chord symbols. For those too young to remember, here is a video that says it is from and includes some improvisation which is not shown in the music. Daniel Bimbi was born in Carcassonne in Southern France.

He studied clarinet with Guy Deplus and more recently has been studying composition with Jan Van der Roost. El Casot is a little house in the middle of the vineyards around Girona in Spain. This is a brilliant showpiece that captures the elements of flamenco, czardas, and klezmer of the seasonal workers in this region.

An advanced work with a duration of about 7: Bagatelle for Clarinet and Piano by Marcel Bitsch. Marcel Bitsch was a French composer who was a professor of counterpoint and fugue at the National Conservatoire in Paris from This was the Concours du Conservatoire National de Musique piece for Most of this piece is at Allegro with the clarinet alternating between sixteenth note passages and more sustained melodies while the piano plays a rhythmic sixteenth note accompaniment.

Sonata for Clarinet and Piano Op. Easley Blackwood is a Chicago based composer, pianist, and music professor who studied with Messiaen, Hindemith, and Boulanger. This work was written for John Bruce Yeh and is for clarinet in A. This is a tonal work that is quite tuneful in the first movement. The three movements are: College level with a duration of about We are out of this piece and thus far have not been able to get more from the elderly composer.

Sonatina for E-flat Clarinet and Piano Op. This work was written for and first performed by John Bruce Yeh.

Four Arrangements: Piano Duo/Duet (1 Piano, 4 Hands): 0 by Peter Ilyich Tchaikovsky PDF

This piece uses a simpler harmonic vocabulary than the Sonata and a less complex structure. The composer compares this work to the three Sonatinas for violin and piano of Schubert. College level with a duration of about 11 minutes. Michel Blavet was a French flute virtuoso. Allegro moderato, Lento, and Allegro vivace. Better high school players.

This is one of two pieces composed by Bliss in about for clarinet and piano. The other, Rhapsody, is lost. It is a brief 4 minutes and pleasant piece that could be played by many high school students. The A clarinet part is in the key of F B-flat is in the key of E. Named in honor of the inventor of the clarinet, this was the solo du concours piece for It opens with a clarinet cadenza, then a short Quasi adagio section, alternates between a tempo of and 80 with a brief cadenza , and concludes with a final Vivo. College level, requiring strong technique.

Commissioned by the New York Philharmonic in honor of its th Anniversary and dedicated to Stanley Drucker who gave the premier performance on January 3rd, While the composer was never commissioned to write a concerto for Benny Goodman there had been some efforts in that direction he described this concerto as having many "Benny-isms.

The last movement alternates a Brazilian chorino with an ebullient Ravelian waltz". The movements are marked: Cantabile with a jazz feeling , and III. There are a few contemporary techniques such as growling and a slap key. An advanced work with a duration of 20 to 23 minutes. The four dances are: The is the piano edition. The first caprice is Tempo di Valse rubato while the second, which is much more difficult, is Presto alternating with slower tempos throughout.

Suite for Clarinet and Piano by Paul Bonneau. Range is moderate as it also for cornet. Early college level with the very frequent retards making the ensemble more challenging. The piano part is important and probably more difficult than the clarinet part. The composer's introduction states that this piece was written with the "aspiring clarinetist in mind. There are six movements English titles: Prelude At an easy pace , 2. Round Cheerful , 4. Dance I , 5. Organ pedals are used sparingly if at all. Click on the cover image to view the first page of the score. Bowen was an English composer and professor of piano at the Royal Academy of Music.

This piece was dedicated to Pauline Juler who was also the dedicatee of the Finzi Five Bagatelles in Allegretto poco scherzando, and III. Finale Allegro molto con fuoco. Thoughts of You for clarinet and piano by Andrew Boysen Jr. Andrew Boysen wrote this piece in as a gift to his wife on her 21st birthday. He is currently an assistant professor in the music department at the University of New Hampshire, where he conducts the wind symphony and teaches conducting, composition and orchestration. This is a lyrically expressive and reflective work for intermediate to advanced soloist. Publisher's grade 5 US.

It alternates between fast and slow sections and includes some mixed meter. A brief but popular high school level piece. This is the Ballade for bass clarinet our C arranged for soprano clarinet. The arranger has transposed a few passages up an octave but it is otherwise unchanged. It is one movement sectional piece that is at turns lyrical and rhythmic.

Works by Mozart, Wolfgang Amadeus

Bucoloque for Clarinet and Piano by Eugene Bozza. Professor Heim describes this piece as a brilliant tour de force for the graduate student and professional recitalist. Claribel for Clarinet and Piano by Eugene Bozza. A pleasant college level work with alternating slow and fast sections. All movements have tempo changes and there are two cadenzas in the last movement.. The clarinet part demands a virtuoso technique involving many fast notes, some with scales in octaves. The middle movement is quiet with a beautiful melodic line and sumptuous chords.

This is good recital literature for graduate and professional use.

Dolly Suite, Op.56 (Fauré, Gabriel)

An excellent piece for a college recital. A much shorter and easier piece than the other Bozza works listed here. It should be playable by early high school level students. This late work features many of the styles of writing for clarinet that Bozza employed during his career. Many changes in meter, fast notes, and changing rhythms. Requires experienced performers on both parts. Brahms Clarinet Quintet Op. The renowned quartet for clarinet and string quartet arranged for clarinet and piano. The version with the original instrumentation is here. From the late Brahms work for piano.

There are three short movements: This edition provides a number of options for performance. The original key is A major and there is a version for A clarinet in that key written C major and and transposed version for the B-flat clarinet in B major. There is also a version of the piano part that has been transposed to B-flat major so the B-flat clarinet can play in C major. For the easily confused a separate B-flat clarinet part has been provided for this version which is of course identical to the A clarinet part.

Intermediate level in C major. This is in one short movement 1: The tempo of Grazioso e giocoso make this somewhat more difficult than Op. There is an optional arpeggio passage near the end that begins on an altissimo A. Sonata in G major Op.

The publisher describes this as "a sensitive transcription for clarinet of Brahms' popular G major Violin Sonata. Vivace ma non troppo, II. Brahms Sonatas for Piano and Clarinet Op. Includes a preface and notes on the editing in German, English, and French. Also includes the viola part for that version. This edition was edited from the engraver's copy and the original edition. It includes a Preface with a brief history of this work and information on the sources for and Critical Notes on the actual editing in German and English. The viola part is included. We wanted an edition that was the same quality as the Henle for those who want to purchase these sonatas individually.

Our research indicated this Wiener Urtext Edition was the best choice. Includes notes from Harold Wright's copy of this work. Sonata for Clarinet and Piano by Carolyn Bremer. The Sonata is in three movements and is permeated with subtle rhythmic shifts. The opening movement represents a microcosm of the whole in which two outer slow sections frame a quick driving section.

A pair of clarinet cadenzas are featured in the slow second movement. Marked "aggressively", the concluding movement emerges from the second cadenza of the preceding movement. This is an advanced work with a duration of about This attractive piece, composed by Frank Bridge in and originally for violin or cello and piano, has been adapted for clarinet and piano by Russell Denwood. Better intermediate players and up. This piece is part of the Circle of Nature which is an evocation of the four seasons.

Sectional in a variety of tempos. There is some contemporary notation in the piano part. This piece is inspired by the Argentinian tango tradition: The features some high altissimo which may be taken down an octave.

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This work was commissioned by Eddy Vanoosthuyse and is dedicated to all the victims of the Third Balkan War This is an advanced work with many tempo changes, mixed meter, and some high altissimo. There are orchestra and symphonic band editions available as rentals. The Kol Nidrei begins the evening service at the start of Yom Kippur. In the 16th century, a Cantor in Germany composed a melody for this prayer which Bruch used as the basis for his Adagio on Hebrew Melodies for Violoncello and Orchestra.

Clarinetist Charles Salinger has arranged this piece for clarinet and piano. Early college level with a duration about 7: There is a very nice performance of the original for cello and orchestra in two parts on YouTube. At US grade 2, this piece is easier than most of what carry, but it looks like it might be nice little piece for a late first year or early second year student to perform. It is a minuet with a range from low B-flat to clarion D and has a duration of 2: The clarinet Duo dates from , near the end of his short life Rhapsody for Clarinet and Piano by Geoffrey Bush.

This is for clarinet in A and is a reduction from the original string accompaniment. Geoffrey Bush was an English composer who wrote a wide variety of instrumental and vocal music. This piece was written in for a fellow student with the first public performance in by Frederick Thurston. It begins and ends with the pastoral voice of the unaccompanied clarinet and follows a rhapsodic style throughout. College level with a duration about 8: It is in one movement with three major sections: Allegretto sostenuto, Andantino, and Allegro sostenuto. These are some of Busoni's earliest surviving works from around when was about 13 years of age , published for the first time.

Despite the composer's youth these pieces will take some skill to perform Busoni father was the clarinetist Ferdinando Busoni. Includes a preface and editors notes in German, English, and French. Elegie for Clarinet and Piano by Ferruccio Busoni. This Elegie was written as a birthday present for the Swiss clarinetist Edmondo Allegra, for whom Busoni also wrote the Concertino. Marked Andante sostenuto, the piano part gives it an in eight feeling until near the end. Playable by a good high school level clarinetist. About 5 minuets in length. The printing of this edition is very slightly better than the one below.

Aragon sur des airs populaires d'Espagne Op. Henri Busser was a French composer and conductor who worked closely with Debussy and Massenet. He was the professor of composition at the Paris Conservatoire when he wrote this contest piece for This is a sectional piece Andante espressivo, Allegretto vivo, Piu mosso, Piu tranquillo, and Allegretto vivo with a Spanish flavor. The Piu tranquillo section ends with a cadenza. College level with a duration of about 5: It is is sectional with a cadenza in the middle.

Louis Cahuzac was a French clarinet virtuoso who also composed mostly for clarinet. This piece by French clarinetist Cahuzac certainly lives up to its name. While the tempo is a leisurely Allegretto con fantasia the many runs require solid technique to maintain a light and effortless feel. Based on the Baermann Quintet see above , this concertino is a college level piece in three movements: Allegro commodo, Adagio, Rondo Allegro vivo. The first movement includes a cadenza. Duration is about 13 minutes. This piece begins with the Air played by the piano Andante maestoso followed by a clarinet cadenza and an Allegretto version of the Air.

This is followed by four variations and an Allegro Vivo Finale. For those who love fantasy variations and have the technique to perform them, this piece offers some variety from Cahuzac's more frequently played works. In one movement with a number of sections, it is marked senze rigore e como improvisando. There is a version of this work for clarinet and strings which is a rental. This is the edition with piano accompaniment.

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Upper division college level. Charles Camilleri was a Maltese composer and is regarded as Malta's national composer. From onward he lived in Australia performing as a piano player in Asia and the United States , London, and Canada before returning to Malta in This piece was composed in Andante molto, and III.

This work was composed in and revised in The songs are not named. Andante piacevole, and IV. The first movement may be a lament or even a slow dance and has many complicated rhythmic figures. The rest are straight forward and dance-like. Duration about 7 minutes. Sonatina Clarinet and Piano by Charles Camilleri.

Libero - Statico, III. A challenging contemporary piece. This piece was written for the exams for clarinet professor at the Madrid Conservatory which took place in with Antonio Romero as the only candidate. This publication also includes what is probably an earlier version of the clarinet part with extensive altissimo to high C. The first portion of the piece is Andante sostenuto and is connected with a cadenza to the Allegretto billiante section which concludes it.

An advanced college level piece with a duration of about 9 minutes. Sonata for Clarinet and Piano by Gary Carpenter. This is a professional level piece written by British composer Carpenter for and first performed by Fiona Cross. The parts are a neat but busy manuscript. Duration about 12 minutes.

Paul Carr born is an English composer whose early interested focused wind chamber music like this, but is now composing primarily for film and TV. There are four pieces: Click on the cover image to view the clarinet part for the Presto. The Three Bagatelles are I. Elliot Carter was an American composer. This is an advanced work originally intended for Alain Damiens and the Ensemble InterContemporain of Paris with mostly one player on a part but can in the orchestral version also be performed with a larger string section.

It is in seven sections and except for the final tutti the clarinetist moves close to the section percussion, woodwinds, strings etc. Duration is about 19 minutes. You can listen to a recording on YouTube: Part 1 and Part 2. This piece is sectional: College level with a duration of 12 minutes.

Benedetto Carulli was an Italian clarinetist and composer whose famous students include Cavallini, Bassi, and Orsi. This fantasia is a virtuoso work based on Verdi's opera. It is a sectional medley with the piano taking the leading role in some places. Professor Heim describes this piece as a monumental work of four movements with excellent writing for the clarinet. He rates it as grade 6, the most difficult. This piece, one of the most famous for clarinet and piano by Cavallini is based on original themes.

A showpiece, but as David Hite wrote, one that lies neatly under the fingers. Duration about 6 minutes. Here is a video. This edition is similar to the Southern Music edition with a few differences in articulation noted. The printing is somewhat smaller as the clarinet part is four pages long in this edition. This edition has some of the music at the beginning, middle, and a small section near the end edited out. Presumably this is to reduce the playing time listed as 4: In Cavallini returned to Milan from St.

Petersburg and took up a professorship at the Conservatoire. La Calma belongs to this period. It opened the last of a three volume set of pieces which also included Una Lagrima sulla tomba dell'immortale Rossini, and it makes a suitable close to the life of this great artist who, recipient of numerous honors from his own country, died in Milan in This piece was originally written for clarinet and string quartet then reduced by the composer for clarinet and piano. It was first published and performed by the composer in Here is an audio file on YouTube of Sergio Bosi playing this piece the audio file has been edited to reduce its length.

I figured you can't have too many versions of the Carnival of Venice, but was surprised when I received this one to discover it was for E-flat clarinet. Introduction, Theme, and eight variations. It also describes this piece of which this is the first publication since the original in as using Weber as a model and writing "with typical Italian bel canto lines and tricky technical passages, [it was] composed and conceived for his own [Cavallini's] virtuoso qualities.

This is followed by four virtuoso variations and a concluding coda. This capriccio, based on the operas of Rossiani, is now available in a new edition. The Ricordi edition has been out of print since at least It is an advanced work in the typical 19th century virtuoso style. This clarinet concertino is based on the composers Concertino for Violin and String Orchestra, composed in At that time he had already sketched both versions for solo clarinet and flute.

It is a work of length similar to the concertos of the Baroque and divided in three typical movements. Two quick framing one slow. The third begins with a cadenza using thematic material from the previous slow movement to link without interruption with the Presto. Another clarinet cadenza leads to the jovial and brief final coda. This page from the publisher's web site has recorded excerpts and some of the score of the orchestral version which didn't all display properly.

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