This is an updated edition of Francis Poulenc's 1962 work Sonata For Clarinet And Piano edited by Millan Sachania. Featuring the full score and separate Clarinet part this exclusive editionalso includes a download card giving you instant online access to demonstration and accompaniment tracks.   Originally completed in 1962 Poulenc tragically passed away before it could bedefinitively engraved leaving behind a work with a number of ambiguous notational marks that resulted in an incomplete first edition published just a year later. A number of revisions have taken place but this expertly editedby Millan Sachania aims to provide a playable legible precise and authoritative score that reflect closest Poulenc's intentions.   This new edition includes accidentals that may havebeen intended by Poulenc within square brackets as well as cautionary accidentals and the deletion of redundant accidentals. Other amendments like the redistribution of notes between the Piano staves extendingslurs so as to incorporate second or final tied notes in contrast to the previous edition. At all points Sachania has aimed to reproduce an authoritative and accurate score that is at once playable and a reflection ofwhat Poulenc himself may have intended.   What makes this edition of Sonata For Clarinet And Piano really special is the unique download card that provides exclusive onlineaccess to demonstration and accompaniment audio tracks. Professionally-recorded by renowned clarinettist Joy Farrall and pianist Huw Watkins the demonstration track allows you to hear exactly how the piece as a whole shouldsound before the independent Piano-only track lets you take the place of the clarinettist in your very own performance. This is a unique opportunity for clarinettists to learn from an authoritative score and play along to a

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

Barenreiter Urtext Edition of Brahms' Sonatas In F Minor And E-Flat Op.120 for Clarinet and Piano.Features:A pioneering Urtext edition with an extensive Performance Practice CommentaryFor further information on Romantic performance practice we recommend the text booklet: ?Performance Practices in Johannes Brahms? Chamber Music? BA 9600Brahms had already announced his 'retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter renewed Brahms' enthusiasm for Mühlfeld?s muchadmired playing and inspired him to write two new Clarinet sonatas in the summer of the same year. Brahms and Mühlfeld premiered the works and played them in several performances until the Sonatas Op.120 were first published in June 1895. These two works remain pivotal in the Clarinet?s recital repertoire establishing the Clarinet sonata as a distinct and viable chamber music genre.This edition features an extensive preface that informs about the sonatas? origins their compositional process pre-publication performances and their publication history as well as their early reception. Another truly remarkable aspect of this publication is the unique Performance Practice Commentary. Here the editors start from the premise that only a few decades after Brahms' death a widening gulf was already developing between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. The editors provide an indispensable assistance for a historically informed interpretation of the work through a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation Clarinet vibrato and portamento. At the same time the edition offers an exciting and often surprising

Clarinet in B-flat and Piano with Online Accompaniments. This collection features intermediate-level arrangements for clarinet and piano accompaniment in a range flattering to the clarinet. The music has been edited with added dynamics, articulations and phrasing, making it appropriate for lessons or performances. The accompaniments have been recorded on an acoustic grand piano. Includes separate pull-out solo part. Songs include: Agony · Anyone Can Whistle · The Ballad of Sweeney Todd · Children Will Listen · Green Finch and Linnet Bird · Johanna · Night Waltz · Not While I'm Around · Pretty Women · Send in the Clowns · Sunday · With So Little to Be Sure Of. The price of this book includes a unique code that provides access to audio tracks online, for download or streaming. The tracks include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right - available exclusively from Hal Leonard.

Par MIER MARTHA. Jazz is an important and distinctive American contribution to 20th-century music. The Jazz, Rags and Blues series includes pieces that reflect the variety of styles that represent the Jazz idiom---from the lyrical, sophisticated sound of 'Clarinet Blues,' to the driving rhythms of 'A Neat Beat.'Jane Sebba's exciting new arrangements now make this hugely popular and successful series available for the clarinet and piano. The syncopated rhythms, colorful harmonies, and authenticity of the originals can be shared between friends, or played as a flute solo using the superb backing tracks from the accompanying CD!   / Instrumental Music, Scores / Recueil / Clarinette et Piano

André Messager (1853-1929) composed Solo De Concours for Clarinet in 1899 as a Paris Conservatoire Contest piece. Composed in three sections the cheerful first part contains triplet figures by the Clarinet that can easily be heard over the Orchestra. The second part has a strong French melody that can be heard as an exchange between the Clarinet and the Orchestra. A cadenza followed by trills ends this section and leads to the final part where the Clarinet stands out from the Orchestra with a rich melodic energy. André Messager is a previous student of Gabriel Fauré and CamilleSaint-Saëns who wrote numerous operas operettas and ballets. He was later appointed Commander of the Legion d’Honneur.

Revised Edition - Based on Manuscript Sources-The 'Sonata for Clarinet and Piano' was Bernstein's first published composition. Sources for this new revised edition were Bernstein's pencil manuscripts of the clarinet and piano score as well as the separate clarinet part. Every detail of the sonata has been carefully prepared and reconsidered. The enharmonic note spellings in the clarinet part are different from the previous edition of the sonata and are likened more closely to that of the first published edition. The result is a fresh look at one of the most important and beloved pieces of twentieth century clarinet repertoire.

Robert Schumann wrote his Fantasy Pieces for clarinet and piano in the course of two days in February 1849. Only a few days later they were premiered by Clara Schumann and the Dresden clarinetist Johann Gottlieb Kotte. Initially choosing the title Soirée Pieces for his works, Schumann finally decided to have them published as Fantasy Pieces, thereby emphasizing their poetical aspects. These connotations are also at the centre of clarinetist Elisabeth Eichenberg's notes on interpretation with special reference to the contemporary aesthetics of the clarinet sound. The edition is based on the first edition published in 1849 and also incorporates subsequent corrections in Schumann's personal copy. The compositional manuscript that has survived served as an important corrective. Besides the original clarinet part in A the edition also includes a transposed part for the B clarinet in order to make these standard works of the Romantic clarinet repertoire available to a wider circle of the clarinet community. / Clarinette Et Piano

Pindar is Dead is a short scherzo for clarinet and piano written in 1968 for Alan Hacker who gave it its first performance in London that year. Pindar is Dead is from Louis MacNeice and the poem expresses disillusionment at the banal activities of an Easter bank holiday. Dalby's music is simple and lighthearted and includes some of the effects with which Alan Hacker was experimenting at that time. The composer's use of the title refers goodnaturedly to his own disillusionment at the August bank holiday which he spent writing it.

Par XIAO XINZHOU. Duet for Clarinet and Piano 'Subconscioius light' by XIAO Xinzhou. From the composer: 'The word 'subconscious' came from the book 'The Aesthetic Unconsciousness' by Jacques Rancière. The 'light' of this piece comes from an accidental feeling that I try to grasp but is elusive... It seems that neither 'subconscious' nor 'light' can directly feel its concrete existence in music, and the connection between them seems indistinctive or ambiguous. To express the feeling of the relationship between these two concepts in my mind, I used my work to compose a world, deconstructed, extracted and reconstructed the integer multiple harmonics of note D in the writing process, therefore, condensing them into the pitch material of this piece and cast them on the dynamic textures. These textures take a large portion of the whole music, constantly evolving under control, which can be viewed as the intention of grasping something. Simultaneously, I arranged some appearance of harmonic series prototypes to symbolise the light I long to see.' / Date parution : 2022-11-29/ Répertoire / Clarinette et Piano

Arranged for Clarinet and Piano-Taking inspiration from Jascha Heifetz masterful transcription of George Gershiwns wonderfully original Three Preludes Charles Neidich has created a work that functions as a real duet between the clarinet and piano. Rather than simplytranspose the Heifetz violin part Neidich adapted the work to fit the clarinet taking what works well and changing other parts often returning to Gershwins original to fit the character of the clarinet. The transcription includes an A clarinetpart in E minor for those who find the 2nd Preludes original key of D# minor daunting.

Clarinet and Piano Charles Neidich 21st Century Series for Clarinet-Written for virtuoso clarinetist Heinrich Baermann Concertino would become the first work of an impressive oeuvre for clarinet one which along with that of Mozart Spohr and Brahms constitutes the backbone of the repertoire.Internationally-recognized clarinetist Charles Neidich unites for the first time Weber's original text with the edition published by Baermann's son which had formed the basis of most subsequent editions. Also presented areexamples from Cyrille Rose's 1879 edition which was the foundation of the French tradition and which held much more closely to Weber's original. This new critical edition inspires those learning the piece to develop their ownpersonal yet informed interpretation of Weber's premiere clarinet masterpiece.

Weber’s Concerto No.1 In F Minor Op.73 for Clarinet and Orchestra is a fantastic work and remains ever popular in the instrument's repertoire today. This is an exciting and demanding piece that will provide an enjoyable challenge for the accomplished clarinetist.This version is for Clarinet with Piano Accompaniment and has been revised and edited by Carl Barmann. The solo clarinet part has also been included on a separate insert.

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 B-Flat as arranged by Ernest Roth and revised by Frederick J. Thurston.