This ever-popular piece is often performed at weddings, funerals and many other solemn ceremonial events. It has always been a favourite among instrumental players and often used in recitals or concert encores. In 1853, the well-known French composer Charles Gounod added his own melody over a rippling keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of the ?combined? piece was M�ditation sur le Premier Pr�lude de Piano de S. Bach. Gounod?s original arrangement transposed Bach?s keyboard part from C major into F major and it was scored for violin (or cello), organ and piano. In 1859, the French music publishing company Jacques-L�opold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary, the mother of Jesus.
The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m. 27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered a harmonic weakness in the original. Whether there actually was a ?harmonic weakness? (or possibly an error in the manuscript) remains a matter of conjecture but the fact remains that the most familiar-sounding version of this piece, recorded countless times by both singers and instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.
Some published arrangements show minor inconsistencies in the rhythm of the melody. This arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859 edition.

Rossini was born in Pesaro (Italy) and died in Paris. Today he is one of the most famous Italian composers. His operas are performed and celebrated frequently. Clarinettists will be familiar with the piece 'Introduction, Theme and Variations' of 1819 by Rossini. The Fantasia for clarinet and piano is not as well known. The first edition of 'Fantasia per clarinetto e pianoforte' was printed in 1829 by Ricordi in Milan. The work was reprinted by Schott with the title Fantaisie pour piano et Clarinette ou Violon ou Flute in 1890 (plate number 3109) - proof of the popularity of the piece. The Fantasia has a free form with four sections: A dramatic Introduction - a light, exhilarating Theme and two Variations (the first for piano) - an Aria over tremolo chords - and a powerful Finale.