SKU: HL.48181347
UPC: 888680856779. 9.0x12.0x0.084 inches.
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. Reverie and Scherzo for Clarinet and Piano is no exception to the composer's success. Published in 1950, Semler-Collery's Reverie is marked Andantino Cantabile and is in 6/8 meter. Both the Clarinet solo line and Piano accompaniment are virtousic, exploiting rhythm, tonality and harmony. 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 Reverie and Scherzo provides an exciting performance work for performers and audiences alike..
SKU: HL.172779
ISBN 9781581061475. UPC: 888680628222. 9.0x12.0x0.269 inches.
Charles Neidich is among the world's foremost authorities on Mozart's masterful Concerto in A for Basset Clarinet, KV. 622. This publication presents Neidich's full reconstruction of the original basset clarinet part, as well as a carefully revised solo part for the standard clarinet in A, based on Mozart's autograph fragment and important early editions. This edition is a must for any clarinetist who wishes to perform and study one of the most important concertos ever written for the instrument.
SKU: AP.36-60440001
ISBN 9798888521748. UPC: 676737684600. English.
Alban Berg's (1885-1935) Vier Stücke für Klarinette und Klavier (Four Pieces for Clarinet and Piano), Op. 5, was composed in 1913. They are his only true miniatures as, shortly after he wrote them, a fateful and somewhat traumatic lesson with his tutor Arnold Schoenberg drove the young Berg to abandon small-scale works altogether, turning towards large extended orchestral works at his teacher's heavily critical insistence. Each of the four movements (1. Mäßig; 2. Sehr langsam; 3. Sehr rasch; 4. Langsam) constantly changes in tempo, articulation, timbral effects, and dynamics throughout. Despite Schoenberg's criticism in 1913, the work did finally premiere on October 17, 1919, ironically at Schoenberg's own Society for Private Musical Performances in Vienna. Reprint edition.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: BT.AMP-381-400
ISBN 9789043135795. 9x12 inches. English-German-French-Dutch.
Part of the ANGLO MUSIC PLAY-ALONG Series, Philip Sparkes 15 INTERMEDIATE CLASSICAL SOLOS is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparkes 15 EASY CLASSICAL SOLOS. Specifically tailored to suitthe individual instrument, this book introduces the developing player to the world of the classics by using simple yet attractive melodies that fit their limited range.
The carefully selected pieces include music from the 17th to the 19th century and cover a wide variety of styles, from Handel to Tchaikovsky and from Clementi to Brahms.
The book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD.
Genau auf jedes Instrument zugeschnitten, ermöglichen die sorgfältig ausgewählten Melodien noch mehr Spielerfahrung mit klassischer Musik. Die Stücke umfassen verschiedene Stilrichtungen und Komponisten wie z.B. Händel, Tschaikowsky, Clementi undBrahms.
Jeder Band bietet wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschule passt und enthält sowohl Klavier- als auch CD-Begleitungen.
SKU: HL.48181268
UPC: 888680787035. 9.0x12.0x0.046 inches.
“Having won many prizes at the Paris Conservatoire during the 1920s-1930s, Eugène Bozza went on to conduct the orchestra of the Opéra-Comique and to become Head of the Conservatoire in Valenciennes. As a major figure on the classical music frontline, Bozza's compositions were well-received by audiences, Bucolic for Clarinet and Piano being no exception. This Bozza piece for Clarinet is expressive and virtuosic, displaying the entire range of the instrument, accompanied by rhythmic and spread chords in the Piano. As music educationalist, Paul Griffiths has written of Bozza's compositions, â€â€œhis works reveal melodic fluency, elegance of structure and a consistenly sensitive concern of instrumental capabilities.â€â€œ Bucolic for Clarinet and Piano is suitable to the advanced clarinetist's repertoire.â€.
SKU: HH.HH561-FSP
ISBN 9790708185765.
These Sonatas were written as part of Jean-Xavier Lefèvre’s Méthode for the Clarinet. They are great stepping stones to the more difficult clarinet master works by Mozart and Weber and are also invaluable first pieces for those studying period performance on the classical clarinet. They retain Lefèvre’s original notation for clarinet and the bass lines are transposed down a tone so the Sonatas are playable on the B flat clarinet. The right hand of the piano parts have been realised from a single unfigured bass line probably intended for the cello. The piano parts are designed to be stylistic, complementary to the clarinet line, satisfying to play and occasionally challenging.
SKU: HH.HH562-FSP
ISBN 9790708185772.
SKU: ST.C143
ISBN 9790570811434.
Alexander Konstantinovich Glazunov (1865-1936) trained under Rimsky- Korsakov and became the most illustrious Russian composer and conductor immediately succeeding Tchaikovsky. Glazunov’s close affinity with the Saint Petersburg Conservatory, of which institution he would later become Director for more than two decades, placed him ideally to assist in the Institute’s transition to the Petrograd Conservatory in the immediate wake of the Bolshevik Revolution of 1917. For the last six years of his life, Glazunov left the USSR, feeling hemmed in by propagandist restrictions and at the same time out of kilter with the Modernist movement.He lived in exile for a time, touring the USA, before eventually settling in Paris, though his stoical brand of Russian Romanticism never waned. Despite being partly remembered for having taught Shostakovich, Glazunov was never known as a revolutionary composer, more inclined to align himself with 19th century ideologies than with the thrusting new compositional paths forged by Prokofiev and others. Indeed, the nationalistic movement so successfully espoused by Balakirev found a new energy in Glazunov’s hands, and he discovered an opulence of scale which leaned more in the direction of Borodin.There can be no doubting Glazunov’s technical mastery, which successfully drew together contrapuntal, lyrical and virtuosic skills, and which were admired by the likes of Liszt. Glazunov steered a steady course at a time when it was most sorely needed; one need only hear the marvellous Violin Concerto in A minor to experience the full power and authority of his writing, though he possessed an enviable touch with more intimate forms too, such as those readily to be heard in these three charming Miniatures Op.42, originally composed for piano.Clarinet and PianoTranscribed by Mark TannerGrades 6 & 7 (Trinity Grades 6 & 7 syllabuses)Former Spartan Press Cat. No.: SP1360.
SKU: HL.48181417
UPC: 888680855727. 9.0x12.0x0.114 inches.
Having won many prizes at the Paris Conservatoire during the 1920s-1930s, Eugene Bozza went on to conduct the orchestra of the Opera-Comique and to become Head of the Conservatoire in Valenciennes. As a major figure on the classical music frontline, Bozza's compositions were well-received by audiences, particularly those for wind instruments, and his Clarinet Concerto is no exception. This Bozza piece for Clarinet is expressive and virtuosic, displaying the entire range of the instrument, accompanied by an equally virtuosic Piano reduction. The Concerto comprises three movements and is one of 19 Concertos written by the composer. As music educationalist, Paul Griffiths has written of Bozza's compositions, his works reveal melodic fluency, elegance of structure and a consistenly sensitive concern of instrumental capabilities. Clarinet Concerto is a suitable and significant addition to the advanced clarinetist's repertoire..
SKU: HL.14028056
ISBN 9788759861592. English.
Throne (1988) for Clarinet and Piano was composed on a commission from the Swedish clarinetist Hakon Rosenberg. Structurally it is organized in an arch form. Although it begins in the piano, the work can be considered as one long clarinet solo, where the piano's role is that of extending and mirroring the clarinet, both in register and motif. As such the piano is treated as a monody throughout, until the last warm B Major chord embraces the final notes of the clarinet. On the title page the composer tells us that Throne is Elevation, Unity, Diamonds, Crown, Glory, Velvet, Frailty, Decline, Oblivion, Nothing. In short Throne is and abstract tone-poem on the transitoriness of Life. Poul Ruders 1988.
SKU: BR.EB-32111
The first edition of a forgotten treasure
ISBN 9790004186763. 9 x 12 inches.
There are many composers of whom it is said today that they had gone back in time or had composed against contemporary taste. Today, the question arises, though, as to what of value is to be extracted, rediscovered, or re-edited. Camillo Schumann (1872-1946) is one of these nearly forgotten composers. His works are still largely unknown today. Schumann's tonal language combines the Brahmsian sound scape with the grand late romantic Liszt school. His piano pieces range even to sounds reminiscent of Rachmaninoff and are of tremendous power and virtuosity. The pronounced and inventive melody makes the works the testimony of a composer who has not yet come to the fore. His two sonatas for clarinet and piano have hitherto remained completely unknown. This is astonishing, for they are on the level of the sonatas of Johannes Brahms, who probably contributed the most essentially to this genre. Surfacing as a special treasure from the estate of the Saxon musicologist and collector Harald Schurz were the autographs of both clarinet sonatas, now to be published for the first time. Remember falling in love with the expressive qualities of the Brahms sonatas? You can rekindle that feeling with these works by Camillo Schumann. Commentators have compared Schumann's works not only to Brahms, but also to Liszt and Rachmaninoff. Run to your shop and order now.(Gregory Barrett, The Clarinet)The first edition of a forgotten treasure.
SKU: BR.EB-32112
ISBN 9790004186770. 9 x 12 inches.
SKU: HL.48181342
UPC: 888680856731. 9.0x12.0x0.096 inches.
“Jeanine Rueff (1922-1999) was a French composer and music educator. Her Concertino for Clarinet and orchestral or Piano accompaniment was first published in 1950 and remains a popular, alternative piece in the advanced clarinetist's performance repertoire. Rueff wrote extensively for the Saxophone and Clarinet and her compositions are often used as required contest solos. Concertino is fast and contains complex rhythms. Other appealing musical features include chromaticism, triplet motifs and the exploitation of the entire range of the Clarinet. Rueff's Concertino provides a challenging yet riveting piece for advanced clarinetists.â€.
SKU: HL.48181192
UPC: 888680864644. 9.0x12.0x0.06 inches.
Raymond Gallois Montbrun (1918-1994) composed his Concertstuck for Clarinet and Piano in 1946, two years after he won the Grand Prix de Rome. His Violin Concerto, Japan Symphony and Concertstuck for Clarinet and Piano remain popular to this day. Concertstuck for Clarinet and Piano begins with a virtuosic clarinet cadenza, covering a wide range on the instrument. The piece remains virtuosic throughout, with many changes of tempo, articulation, dynamics, rhythms, key signatures and time signatures throughout. As a suitable and varied piece for the repertoire of advanced clarinetists, Gallois Montbrun's Concertstuck for Clarinet and Piano cannot be missed.
SKU: HH.HH555-FSP
ISBN 9790708185703.
Jean-Xavier Lefèvre’s Clarinet Method, published at the beginning of the 19th century, contains a number of sonatas that are significant stepping-stones to the more difficult clarinet master works of Mozart and Weber. They are also invaluable first pieces for those studying period performance on the classical clarinet. Lefèvre’s original notation for the instrument has been retained, and the bass lines are transposed down a tone so that the sonatas are playable on the B flat clarinet. The piano accompaniments, whose right-hand parts have been realized from a single, unfigured bass line probably intended for the cello, are stylistic, always complementary to the clarinet line, and satisfying (if occasionally challenging) to play.
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