Spanish clarinetist composer and teacher Antonio Romero y Andia was born in 1815 in Madrid.  This new edition has been carefully reviewed and updated. It includes a brief historical introduction to the Clarinet and a small text of the Clarinet Romero System. The edition is accompanied by a download card featuring recordings of the 30 duets minus one.

Gabriel Pierné (1863-1937) was a French composer conductor and organist. Despite being predominantly remembered as a conductor his Canzonetta remains a recognised piece in the Clarinet repertoire. Pierné studied at the Paris Conservatoire before taking up the position of chief conductor for the concert series Concerts Colonne in 1910. He remained in the post until 1933 and during this time he notably conducted the world premiere of Igor Stravinsky's The Firebird. Pierné composed for a variety of instruments Canzonetta for Clarinet with Pianoaccompaniment being one of four solo works by the composer. This Pierné piece for Clarinet contains many characteristics typical of the French style such as lyrical melodies a significant number of performance directions flourishes of semiquavers chromaticism and many changes in dynamics. Canzonetta is a varied piece essential to the repertoire of aspiring clarinetists.

Böhm-System-Richard Addison's comprehensive Clarinet tutor sets out in a simple format the basic steps for beginner Clarinetists. The emphasis here is on fun and experimentation! This is an introduction to playing the clarinet from the start and through the numerous colour photos and drawings that Addison creates a relaxed atmosphere to ensure that the techniques of breathing posture and fingering are made very clear. This Book also includes a CD containing teacher accompaniments to play along with.

Philippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise therefore that his compositions for woodwind are at the forefront of the musical family's repertoire Fantasy for Clarinet being no exception. After a prominent career as a flautist with the Paris Opéra Gaubert was appointed as professor of Flute at the Paris Conservatoire as well as principal conductor of leading orchestras. It was during this time that Gaubert composed including his Fantasy for Clarinet which he wrote towards the beginning of his career. Addressing many technicalfeatures including flourishing semiquaver passages a wide range lyrical melodies intervals chromaticism and complex rhythms Fantasy is a challenging yet riveting and stirring piece for aspiring advanced clarinetists.

For solo Clarinet in Bb and Ensemble.Clarinet and Piano Reduction.Commissioned by the Tanglewood Music Center through the generous support of the Mervyn Geffen M.D. and Norman Solomon M.D. New CommissionsFund.First performance by Brent Besner Clarinet and fellows of the Tanglewood Music Center August 2010.1. With Vigour2. Free and Enigmatic3. CalmoThere is usually some sort of extra-musicalstarting point for my pieces and for the Clarinet Concerto this was ‘The Cracked Bell’ by Baudelaire. In a short space of time the work seemed to take over and move further away the original stimulus with the character andinteractive roles of the soloist and ensemble were suggested by the wintry evocative atmosphere of the poem.The piece opens with declamatory cadenza-like passages in the clarinet that are in turn commented on by theensemble. A more playful section where the clarinet line is very virtuosic leads to a long gently-unfolding melody in the ensemble that begins in the depths of the bass register and gradually gets much higher. Virtuosicclarinet lines interject against the accompaniment and both pursue their own course until culminating in a high impassioned melody for the clarinet coloured by fast-moving passage work in the higher registers of ensemble. Themovement ends with the ‘call and response’ lines of its opening.The second movement opens with an extended solo for the clarinet in its haunting chalumeau register. With each rising phrase the clarinet line gets higheruntil the ensemble enters in unison. The movement becomes much faster and energetic from this point with brisk fleeting lines for soloist and ensemble.The third movement is the most reflective of the three. It opens witha flute solo leading to the solo clarinet line and makes much of the poignant singing style which is so characteristic of the instrument. A melancholy falling passage in the ensemble becomes a recurring feature before the

Twenty-five clarinet solos from one of the world's finest clarinetists. Includes 'Air Mail Special' 'Clarinet A La Ring' and 'Paganini Caprice XXIV'

French organist composer and teacher Charles-Marie Widor (1844-1937) is predominantly known for his Organ symphonies. However his Introduction et Rondo for Clarinet and Piano also remains popular and is still regularly performed today. Widor became Director of Organ Studies at the Paris Conservatoire in 1890 and soon followed this by taking charge of the composition class. His Introduction et Rondo was composed in 1898 during his period at the Conservatoire and at the height of his career. The piece exploits the Clarinet to its full potential creating a challenging yet exciting performance on the instrument.Widor's Introduction et Rondo is essential to the repertoire of all advanced clarinetists.

French composer conductor and teacher Jules Semler-Collery (1902-1988) was born to a musical father. He studied at the Paris Conservatoire where he won many prizes. Semler-Collery's works have been successful with many of his concertos being included in the Conservatoire's list of compulsory works. Rêverie Et Scherzo for Clarinet and Piano is no exception to the composer's success. Published in 1950 Semler-Collery's Rêverie is marked Andantino Cantabile and is in 6/8 meter. Both the Clarinet solo line and Piano accompaniment are virtousic exploiting rhythm tonality andharmony. A cadenza-like passage is heard towards the end. The Scherzo is marked Molta Leggiero and is staccato in 3/4 meter. Quaver and semiquaver passages are heard with the speed accelerating to a dramatic finale. For all advanced clarinetists Semler-Collery's Rêverie Et Scherzo provides an exciting performance work for performers and audiences alike.

Twenty-five clarinet solos from one of the world's finest clarinetists. Includes 'Air Mail Special', 'Clarinet A La Ring' and 'Paganini Caprice XXIV' / Clarinette Et Piano

for unaccompanied Clarinet-This volume consist of original clarinet music written between 1773 and 1885. They are presented in unaccompanied form the object being to give clarinetists music which they can enjoy on their own.

The clarinet method op. 63 by Carl Baermann from 1867 is still a standard work in classical clarinet education today. The thoroughly revised new edition aims at reviewing the educational concept, which is still valid today, for modern lessons, adjusting the music and texts, and sensibly complementing the teaching contents.The editor who draws on many years of experience as a clarinettist in an orchestra and university lecturer of clarinet has succeeded in adapting the valuable teaching material to the requirements of today while maintaining the basic methodology. The result is a total of 7 volumes:Clarinet Method Vol. 1 and Vol. 2 (ED 21761, ED 21762)Clarinet Method Vol. 1 and Vol. 2, with 2 CDs each (ED 21761-50, ED 21762-50): The CDs contain the piano accompaniment for the performance pieces, with and without clarinetTune Book 1 and 2 (ED 21763, ED 21764): piano score of the method's performance pieces, with additional inserted clarinet partDaily Exercises (ED 21765): systematic scale, interval and chord exercises in all keys, complemented and published separately from the original methodDue to trilingual nature of all editions (German, English, French), they can be used universally.About the revision:The musical text is based on the first edition of the method. Only a few differences concerning the articulation as well as some misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. The content of the text and the performance directions of the original were linguistically modernized and occasionally extended by further ideas from the teaching practice, such as concepts for warming up, breathing exercises, literature suggestions or tips for daily practising. Further additions of scale and triad studies in all major and minor keys make this method a comprehensive and thorough work of study which not only serves as teaching material for young and adult beginners, but is also a valuable compendium of scale exercises and studies for advanced musicians and is ideal for training velocity and dexterity.The Clarinet Method Vols. 1 and 2 contain not only scales and technical fingering exercises but also Baermann's popular performance pieces, like Romanze (No. 14), which are ideal as performance pieces, yet at the same time train both technique and musical expressiveness. The systematic scale, interval and chord exercises in all keys, however, were removed and are published separately in the volume Daily Exercises (ED 21765) for reasons of clarity.The two textbooks are available with or without CDs. The editions with CDs contain two audio CDs each which were recorded live by the editor and which contain a classic audio version of each performance piece as well as a pure piano version for playing along. / Clarinette

Piano reduction with solo part-In 1947 Aaron Copland accepted a commission from Benny Goodman ‘The King Of Swing’ for a piece for solo Clarinet and Orchestra. Copland always wary of repeating himself welcomed the challenge of composing a Clarinet concerto – ‘it might stimulate some fresh ideas’. He knew from the start that a bow to jazz was called for and he hoped also to demonstrate the lyrical qualities of the Clarinet. Dedicated to Goodman the Concerto for Clarinet was finished by the end of 1948. Clarinettists were soon welcoming this new virtuoso piece and it has since become a standard in the Orchestral repertoire.The concerto consists of two movements played back-to-back connected by a Clarinet cadenza. The dreamy and melodic first movement is followed by a free rondo dominated by melodic Latin American jazz themes and is resolved in the end with an elaborate coda in C major that finishes off with a Clarinet glissando – or 'smear' in jazz lingo. Originally written for Clarinet and String Orchestra with Harp and Piano in this edition Concerto for Clarinet is arranged for Clarinet with Piano accompaniment by the composer. Along the published version with the changes requested by Benny Goodman ossias from the original 1948 manuscript are included as well. Comes with a separate insert of the Clarinet score.