Edited by Elaine Thomas is the earliest existing Clarinet Concerto by an English composerd. Mahon's first Concerto has not been found. John Mahon and his brother William were the first British-born professional clarinettists to emerge in the history of the instrument in England.

for Bb Clarinet and Piano (or 2 Bb Clarinets)-This charming lilting melody comes from the incidental music of Pelleas and Melisande composed by Faure in 1898.

66 chansons populaires, couvrant six décennies, offrant un répertoire complet pop pour le clarinettiste en herbe. Comprend des classiques de la pop, jazz, musique de film, de Broadway et du rock and roll / Niveau : Intermédiaire / Recueil / Clarinette et Piano

This volume presents clarinettists with the opportunity to play two movements (second movement from Spring and second movement from Winter) from Vivaldi's famous Four Seasons.

The complete resource for the Grade 4 clarinettist. Par . La série Grade By Grade (De degré par degré) explore le catalogue riche et diversifié des répertoires classique, contemporain et pédagogique dont dispose Boosey

Humoresque (1'10'') (fin cycle 2) pour Clarinettete si b et piano. Par Delacroix aux éditions Leduc. Partition / Livre de chansons pour Clarinette

Ballade mélancolique (cycle 2) (1'30'') pour Clarinettete en si b et piano. Par Phillips aux éditions Leduc. Partition / Livre de chansons pour Clarinette

Le chant de la clarinette accompagne les nuages annoncant le beau temps?Le compositeur Pascal Proust puise à volonté dans son immense expérience de musicien et professeur de musique ; son catalogue d?oeuvres englobe plusieurs centaines de compositions pour divers instruments. Il a notamment écrit Cumulus pourclarinettistes ayant environ une année de pratique dans un style musical accessible et coloré. De ce fait Cumulus est la pièce idéale pour tout examen ou audition de jeunes musiciens.

Le son de la clarinette nous rappelle les chants et danses de l?ancien temps? quelques décennies en arrière pour quelques minutes de nostalgie?Le compositeur Pascal Proust puise à volonté dans son immense expérience de musicien et professeur de musique ; son catalogue d?oeuvres englobe plusieurs centaines de compositions pour divers instruments. Il a notamment écrit Rétro pourclarinettistes ayant environ 3 à 4 années de pratique dans un style musical accessible et coloré. De ce fait Rétro est la pièce idéale pour tout examen ou audition de jeunes musiciens.

Overtures containe some of the best loved passages from stage works a selection of which of which are now available for clarinettists of a moderate standard.

Par DUBOIS PIERRE-MAX. Les Permiers Pas Du Clarinettiste. Dix pièces pour clarinette en sib avec accompagnement piano. Partitions séparées/ Recueil / Clarinette en Sib et Piano

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