Par WEISSENBORN JULIUS. German bassoonist and pedagogue Julius Weissenborn is known primarily as an author and composer of method and etude books familiar to all bassoonists. However, he also composed a number of solo works, including a collection of pieces in his Opus 9, for bassoon and piano. The first two works of this opus, Arioso and Humoreske, pair so well together that they are often performed together as a single piece, something slow and lyrical, followed by something quicker and technical. And it just so turns out that with a relatively simple transposition, they are perfectly suited for the bass clarinet. In this edition, for each movement, the piano part has been transposed down a whole-stepto better accommodate the bass clarinet. German bassoonist and pedagogue Julius Weissenborn is known primarily as an author and composer of method and etude books familiar to all bassoonists. However, he also composed a number of solo works, including a collection of pieces in his Opus 9, for bassoon and piano. The first two works of this opus, Arioso and Humoreske, pair so well together that they are often performed together as a single piece, something slow and lyrical, followed by something quicker and technical. And it just so turns out that with a relatively simple transposition, they are perfectly suited for the bass clarinet. In this edition, for each movement, the piano part has been transposed down a whole-stepto better accommodate the bass clarinet./ Répertoire / Clarinette Basse et Piano

Sonata for Bass Clarinet and Piano was commissioned by virtuoso former Houston Symphony clarinetist Richard Nunemaker, and takes full advantage of his prodigious technique and the instrument's extraordinary range. Although the sonata is traditional in its structure - with three movements whose tempi are ordered as fast, slow, fast - it is highly original in its musical content.
The first movement draws upon two rather disparate sources for its material - Dizzy Gillespie's bebop standard Salt Peanut , and Frank Zappa's art-rock masterpiece Eric Dolphy Memorial Barbeque , hence the title, Salt Peanut Memorial Barbeque. The second movement uses a technique much, much older, that of the isorhythmic motet. The piano accompaniment has a talea of five rhythmic events serving a color of four pitch events. The clarinet cantillates a monody against this that is comprised primarily of the pitches not displayed in the accompaniment; hence the title Motet - Ancient Incantations. The third movement is a bebob and boogie-woogie tour-de-force for the two instruments, at once paying homage to Eric Dolphy and to one of the great songs of his era, Green Dolphin Street , and hence the title, Green Dolphy Street Boogie. / Partitions classique / Bois / Clarinette / ALEA PUBLISHING

Par DAVID FERDINAND. Although Ferdinand David is mostly known as a composer for a couple of his instrumental works, namely a Concertino for Trombone, and this Concertino, Op. 12 for bassoon, perhaps he should be most well-known as the violinist who premiered the Violin Concerto of Felix Mendelssohn in 1845. He was appointed as concertmaster of the Gewandhaus Orchestra in Leipzig when Mendelssohn, a childhood friend, became the principal conductor in 1835. This Concertino for bassoon also exists in a version for viola, and now subsequently this edition for bass clarinet. It is a fun solo in two parts, first an aria-like melody, followed by a technical 'Presto agitato.' The key has been kept the same asthe original version, and although it is preferred to perform with an extended range instrument, indications are made for adapting it to a standard range bass clarinet. Although Ferdinand David is mostly known as a composer for a couple of his instrumental works, namely a Concertino for Trombone, and this Concertino, Op. 12 for bassoon, perhaps he should be most well-known as the violinist who premiered the Violin Concerto of Felix Mendelssohn in 1845. He was appointed as concertmaster of the Gewandhaus Orchestra in Leipzig when Mendelssohn, a childhood friend, became the principal conductor in 1835. This Concertino for bassoon also exists in a version for viola, and now subsequently this edition for bass clarinet. It is a fun solo in two parts, first an aria-like melody, followed by a technical 'Presto agitato.' The key has been kept the same asthe original version, and although it is preferred to perform with an extended range instrument, indications are made for adapting it to a standard range bass clarinet./ Répertoire / Clarinette Basse et Piano

Par SAINT-SAENS CAMILLE. Camille Saint-Saëns composed this Romance, Op. 51, in 1877, originally in the key of D major for cello and piano. The form of the piece is relatively simple, opening with a lyrical melody over a repetitive and somewhat rhythmic accompaniment. The middle section modulates to the key of the flattened 6th scale degree (B-flat major), using this to arrive at the dominant chord, in which there are some pseudo cadenza-like moments. Following this, a return to the opening melody with a slightly modified accompaniment, and subsequently a brief coda. To better accommodate the bass clarinet, the entire piece has been transposed up a half-step from the original version into a morecomfortable key of E-flat major. Additionally, for much of the piece, the solo part has been lowered by an octave, as to make the piece generally more accessible to students. Should there be a desire to hear the piece more in the range of the original version, one could simply play it on a standard B-flat clarinet to achieve this effect. Though only about four minutes in length, this relatively short vignette captures much of the true essence of Saint-Saëns, not only through the harmonic progressions and accompanimental figures used, but also demonstrating his gift of turning a 'simple' melody into something extraordinary. Camille Saint-Saëns composed this Romance, Op. 51, in 1877, originally in the key of D major for cello and piano. The form of the piece is relatively simple, opening with a lyrical melody over a repetitive and somewhat rhythmic accompaniment. The middle section modulates to the key of the flattened 6th scale degree (B-flat major), using this to arrive at the dominant chord, in which there are some pseudo cadenza-like moments. Following this, a return to the opening melody with a slightly modified accompaniment, and subsequently a brief coda. To better accommodate the bass clarinet, the entire piece has been transposed up a half-step from the original version into a morecomfortable key of E-flat major. Additionally, for much of the piece, the solo part has been lowered by an octave, as to make the piece generally more accessible to students. Should there be a desire to hear the piece more in the range of the original version, one could simply play it on a standard B-flat clarinet to achieve this effect. Though only about four minutes in length, this relatively short vignette captures much of the true essence of Saint-Saëns, not only through the harmonic progressions and accompanimental figures used, but also demonstrating his gift of turning a 'simple' melody into something extraordinary./ Répertoire / Clarinette Basse et Piano

Pour clarinette basse en sib et piano.Original pour basson, cordes et clavecin. Adaptation : Michel Bontoux Degré : difficile (8) Durée : 8 mn 30 s / Clarinette Et Piano / niveau : Avancé / Partition

Référence unique par son ISBN 9790043062615 cette partition musique de Dondeyne Désiré n'est autre que QUINTETTE POUR CLARINETTE BASSE EN SIB ET QUAT A CORDES - RED qui a été composée pour Clarinette Et Piano. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Billaudot. La référence catalogue de cette oeuvre est GB6261. / Clarinette Et Piano / Partition