for Harp Flute Clarinet and String Quartet-In June 1905 Ravel told a friend shortly before setting off on a long holiday: ?I was terribly busy because of a piece for harp commissioned by the Érard company. I was able to finish it after a fashion thanks to 8 days ofdogged work and three sleepless nights?. But the piece itself shows nothing of the haste in which it was written. In fact it seems as if Ravel knew how to explore all the musical possibilities of the harp in this brief buthighly striking piece. This septet with its unusual combination of instruments is a further enrichment of Henle?s Urtext editions of Ravel?s chamber music.

Unlike Nigel Hess's other works for wind band The Winds of Power is not a programmatic work. After a dark and menacing opening a solo trumpet introduces a theme which will eventually become the centre of a piece and is soon heard tutti in a lyrical form. This is interrupted by a return to the opening mood with only a brief respite in the form of a chorale for clarinet choir and harp. The theme tries to return once more in a rousing somewhat cinematic version but again the sense of foreboding overtakes it. An unsettling march-like section follows before the theme returns in its most lyrical and gentle guise introduced by solos in the woodwind section. Eventually a maestosostatement which erupts into a presto coda ends the journey in a triumphant more optimistic blaze of sound.

The full score of Maurice Ravel's Introduction And Allegro For Harp Flute Clarinet And String Quartet a lesser-known work by the French composer completed in 1905.

For soprano saxophone (or clarinet) and piano (originally for oboe strings and harpsichord).

Par TRIMBLE LESTER. Soprano, Flute, Clarinet and Harpsichord (or Piano) - Durée: 17 min / Contemporain / Répertoire / Petit Ensemble Contemporain

For Flute, Clarinet In Bb, Harp, and String Quartet. Par LASH HANNAH. Form and Postlude is a piece in one continuous movement but with a distinct postlude which ends the work. I play throughout with the idea of pacing on many levels: the largest level is the idea of proportion of sections to one another, then harmonic rhythm (in the broad sense), then harmonic rhythm on a more local level, and of course then on the surface of the music there is instrumental texture and how fast the notes go by. Along with this sense of play in terms of the pacing and motion is the idea of color. I love this ensemble, and its palette of color has been part of my DNA, as it were, for many years, because Ravel’s wonderful work Introduction et Allegro is such a cornerstone in the harpist’s repertoire. While composing, I found myself feeling that I was entering into this colorful world that is possible with this combination of instruments, almost as if it were possible to step into a painter’s palette in a real and visceral way, physically interacting with all the different colors. The title Form and Postlude nods to Ravel’s Introduction et Allegro, although my piece lives in its own very distinct space apart from Ravel. – Hannah Lash/ Répertoire / Flûte Traversière, Clarinette, Harpe et Quatuor à

Harp Solo-The solo Harp part for Per Nørgård's Gennem Torne / Through Thorns (2003) Harp Concerto No. 2 - Passage for Harp Solo with Flute Clarinet and String Quartet.Premiered by Tine Rehling (Harp) and the Esbjerg Ensemble conducted by Kaisa Roose at the Concert Hall of the Western Jutland Academy of Music Esbjerg 28th January 2004.Programme Note THROUGH THORNS has a duration of about 20 minutes in one continuous movement thus the subtitle 'passage'. The work is scored for harp solo flute clarinet and string quartet. The title is borrowed from the lines from an old Virgin Mary Hymn: 'Marywanders through thorns' a hymn which ends with the following line: 'then roses grew forth amongst the thorns'. I only came across the poem after finishing the composition the 'passage' of which is a journey of sometimes dramatic events concluding with a 'rose-blooming' as does the hymn. For THROUGH THORNS to borrow its title from a Virgin Mary Hymn has to do with the musical material and current of the piece which brings motives from an earlier choral piece of mine FLOS UT ROSA (Latin for 'a flower like a rose') and the rose in question is of course the one which grew forth when the Virgin Mary gave birth to the Infant Jesus in a hitherto unheard-of fashion a NOVA GENITURA (new birth) which is the title of another work of mine that also derives its material from my original 'rose'-melody from 1975. THROUGH THORNS is dedicated to Tine Rehling and together with her I have tried to expand the sonorities of the harp by exploring existing techniques and their more remote regions in order to gain access to new territory and new soundscaoes as realised by the constantly experimentally-minded and virtuoso player. Per Nørgård 2004.   

Anne Boyd's The Quiet Place for Oboe (doubling antique cymbals) Clarinet (doubling rin) Viola and Harp.The Quiet Place was commissioned by the Warwick andLeamington Festival for performance by Okeanos on their New Music Day on 14th July 2002.'The Quiet Place' is a meditation site in the University of York dedicated by Dame Janet Baker 'In honour of thespirituality which is in all people'. It was a place I visited frequently in the months I spent as visiting Professor at the University in late 2001. So soon after the attack on the New York Trade Centre the worldfelt a very unstable place especially to be so far from my Australian home. It was difficult to make much sense of existence in a world of fanatical fundamentalism - both Islamic and Christian. Perhaps for comfort I foundmyself thinking back a thousand years to the vital earth based spirituality of Hildegard of Bingen and uncovered an Antiphon she had composed 'Nunc Aperuit'. This chant became the basis of the work I have written forOkeanos in response to an invitation from Jinny Shaw whom I met in York last year. In English translation the words of the chant translate as 'Now the closed door has opened for us / What the serpent hassuffocated in woman./ Therefore shines forth in thedawn/ the flower from the Virgin Mary. ' The music of 'The Quiet Place' is a simple meditation which explores the moods of this text often retreating into a silencewhich is both breath and transcendence. - Anne Boyd

Caliban's Dream was written as a 50th birthday tribute to Brian Ferneyhough in 1993. Arranged for baritone voice clarinet mandolin guitar harp and double bass. This edition includes the parts only. A separate scoreincluding the vocal score is also available on sale.

Italian composer Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day and Jean-Pascal Post's arrangement for the Clarinet of ten of these loved works are indispensable for aspiring clarinetists. Originally composed for the Harpsichord Organ or early Pianoforte the Sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti's Keyboard music contains influences of Iberian music considering that he spent much of his working life in the service ofthe Spanish and Portuguese royal families. Post's transcription of ten Sonatas for Clarinet include Sonata K. 9. Post's arrangements for Clarinet enhance the lyricism and melodic invention of the Sonatas as well as enabling the student to study ornamentation and articulation. Bearing in mind that Domenico Scarlatti was a highly competent and popular musician in his day so much so that he was employed in the service of two royal families his Sonatas are composed with much experience understanding and expertise and Post's arrangement of these for Clarinet create an essential addition to the repertoire of all clarinetists.

For Flute Clarinet Harp and String Quartet.Commissioned by the Summer Music Society of Dorset 2009.Geoffrey Burgon’s Minterne Dances was given its first performance by the Mobius Ensemble on 26th September 2009at Minterne House Dorset.