Davies's feeling for the potency and bravura of the clarinet goes back to works of the 1960s; his concerto for the instrument is predictably a big ranging piece in two linked movements. The first fast with a brief slowintroduction has the soloist in propulsive melodic flights slipping over into florid runs but it is a virtuoso piece for the orchestra especially for the marimba and pair of horns. The Adagio that follows is in the spare cold birdcall-riven style of other recent Davies slow movements exploiting first the clarinet's low register and then at its climax the instrument's high extremes. A cadenza leads to the coda where Davies introduces a Scots tune previously hinted at with which he brings the work to an end in F sharp major.Miniature score.

Esa-Pekka Salonen's Memoria For Wind Quintet. This work was written as a gift for the Avanti! Chamber Orchestra on their 20th anniversary. It was first performed on 30th November 2003 at the Helsinki Conservatoire Finland by members of the Avanti! Chamber Orchestra conducted by Esa-Pekka Salonen. Duration c. 12 minutes Score available: CH67958.

Pour Quintette de Vents-French composer and conductor Henri Tomasi (1901-1971) published Five Secular and Sacred Dances for Wind Quintet in 1963. As with his other wind compositions Five Secular and Sacred Dances was well-received by audiences. Tomasi was born in Marseille but his Father and Mother were originally from La Casinca in Corsica. Despite being pressured into musical studies by his parents Tomasi dreamed of becoming a sailor and during the summer he stayed with his Grandmother in Corsica where he learnt traditional Corsican songs. However in 1921 he began his studies at the Paris Conservatoire and wenton to become a high profile composer and conductor. Tomasi did not forget his Corsican routes often incorporating themes of the songs he had learnt during the summers with his Grandmother in to his compositions. Five Secular and Sacred Dances is a reduction arrangement of his work of the same name for Chamber Orchestra. Comprising five movements; 1) Rural Dance 2) Secular Dance 3) Sacred Dances 4) Bridal Dance and 5) Warrior Dances Five Secular and Sacred Dances is one of three Wind Quintets by the composer. This Tomasi piece is suitable to an advanced Wind Quintet providing an exciting alternative addition to the ensemble repertoire.

This clarinet concerto was premiered in 1997 as part of the celebrations of the Year of Ninian one of the founding fathers of Christianity in Scotland. St Ninian the first bishop of Whithorn was believed to have arrived in Galloway in the south-west of the country in 397 nearly two centuries before St Columba landed on Iona. The three movements are based on three of the so-called Miracles of Ninian strange and evocative tales about the saint and his followers documented in a Latin poem written a few centuries after his death. As well as being a concerto the work is therefore also a collection of tone-paintings which give an impression of these ancient tales.

Arrangeur: Matt Johnston. Par VAN EECHAUTE PROSPER. Prosper Van Eechaute (1904-1964), born in Ghent, was a Belgian composer, conductor and teacher. While a student at the Ghent Royal Conservatory, he was awarded first prize for cello, harmony, chamber music, counterpoint and fugue, in addition to the Emile Mathieu prize for composition in 1930. His Nachtpoema for Horn and Orchestra (or Piano), was written in 1938, however the premiere took place towards the end of his life in 1962, with Maurice Van Bocxstaele as the horn soloist. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.Prosper Van Eechaute (1904-1964), born in Ghent, was a Belgian composer, conductor and teacher. While a student at the Ghent Royal Conservatory, he was awarded first prize for cello, harmony, chamber music, counterpoint and fugue, in addition to the Emile Mathieu prize for composition in 1930. His Nachtpoema for Horn and Orchestra (or Piano), was written in 1938, however the premiere took place towards the end of his life in 1962, with Maurice Van Bocxstaele as the horn soloist. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn./ Répertoire / Clarinette Alto et Piano

arrangiert für Klarinette und Klavier-The Concerto for Clarinet and Orchestra was written in October 1791 about two months before Mozart's death and destined for Anton Stadler the famous clarinettist. The first movement exists in a sketch in G major for Basset Horn and Orchestra composed towards the end of 1789.This edition has been published in two versions: in the original in A for Clarinet in A and in a transposed version in B-Flat for Clarinet in B-Flat in order to comply with the popular request for that instrument. Available here is the version for Clarinet in A with Piano reduction by Ernest Roth and Clarinet arrangement by Frederick J. Thurston.

Devienne's many compositions include several works for the clarinet: sonatas for clarinet and piano, duets and trios with flute, bassoon or horn, quartets with strings, a concerto for two clarinets and orchestra and duets for two clarinets.These Six Duets Op. 74 have enlivened clarinet lessons for many years now with their appealing melodies and accessible charm. The present new edition incorporates numerous previously omitted details and corrections in a score based upon 'Six Duos pour deux Clarinettes dédiés Aux Amateurs' first published by Simrock, plate #1183. / 2 Clarinettes

Davies's feeling for the potency and bravura of the clarinet goes back to works of the 1960s; his concerto for the instrument is predictably a big ranging piece in two linked movements. The first fast with a brief slowintroduction has the soloist in propulsive melodic flights slipping over into florid runs but it is a virtuoso piece for the orchestra especially for the marimba and pair of horns. The Adagio that follows is in the spare cold birdcall-riven style of other recent Davies slow movements exploiting first the clarinet's low register and then at its climax the instrument's high extremes. A cadenza leads to the coda where Davies introduces a Scots tune previously hinted at with which he brings the work to an end in F sharp major.Clarinet part with piano reduction of the orchestral score.