Sometimes referred to as the Stadler Quintet Clarinet Quintet KV 581 is Mozart's only completed Clarinet Quintet and was written in 1789 for the clarinetist Anton Stadler.   This idyllic flowing piece was originally written for basset Clarinet but is almost always played on a Clarinet in A or B-flat. It remains to this day one of the composer's most admired works.   The work is arranged here for Clarinet and Piano.  

As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yetentirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

In addition to a busy performing career and a full-time teaching post at the University of Leicester the English composer James Walker produced at least 80 published works. His style is often witty and movements display clear thinking and unfussy construction. The first movement is somewhat reminiscent of early 20th-century neoclassical styles. The central slow movement must be legato throughout the almost constant metrical changes whereas the last movement has wit and drama.