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

12 pieces from Christmas and A Fresh Aire Christmas for instrumentalists. Books includes piano accompaniment.

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

Composed by Pierre Gabaye Sonatina is a piece for Bb Clarinet and Piano lasting 12 minutes. Divided into three distinctive parts this piece is rated as difficult and can be played by advanced players and above levels. The first part Allegro (4/4 tempo: 120-126) is really energetic as a start evolved shortly after between slower and faster sections. The second part slower (Largo) starts with the Piano on its own for two measures. This part is strongly influenced by Jazz and features long Clarinet lines supported by a rich Piano accompaniment. Finally the third part is really fast (Prestissimo) and displays a Piano more present slightly taking over the Clarinet. This really melodious piece is perfect to be played in contests or for a recital.

G.F.Handel's (1685-1759) Sonata In B Flat is well-known to the Oboe repertoire. Therefore when French clarinetist Emile Stievenard arranged the popular piece for the Clarinet it was very well-received. The Sonata In B Flat is made up of four movements; Adagio Allegro Adagio and Allegro. Handel's Sonata In B Flat was first published in 1707-10 for Oboe. Stievenard's editions ensure that the Clarinet part contains the articulation performance directions phrasing and breath marks necessary to the instrument. For all clarinetists thisarrangement of the popular Sonata In B Flat is essential.

This piece is a paraphrase of a song that Wood wrote between 30 January and 1 February 1983 to a poem by Robert Graves called ‘Bird of Paradise’.The music is continuous but falls into five sections of which the first threeare variations on the emerging material of the song. In the fourth (which is the loudest) the original vocal line may most clearly be heard: it has been somewhat extended both in length and in register. In the fifth and finalsection the pianoforte plays the song line in the manner of a chorale; and later the clarinet recapitulates the closing phrase of the song quite fairly exactly. The opening of the song is heard on the highest register of theclarinet before the close.'Paraphrase' was written for Nicholas Cox and was first performed with Vanessa Latarche at the Wigmore Hall on 4 March 1985. It was composed during 1984/85.

14 Stücke aus 4 Jahrhunderten. Par . The last book in the clarinet?s Easy Concert Pieces series. Contains pieces for intermediate players from a broad range of eras, Baroque to Modern. Recordings and backing tracks for all the pieces are included (mp3). This volume is part of the series Easy Concert Pieces which offers a rich treasure trove of easy-to-play musical literature for lessons, concerts and leisure time. There are three books per instrument in the Easy Concert Pieces series, ascending in difficulty from very easy to intermediate. / Date parution : 2023-10-31/ Recueil / Clarinette et Piano

'Easy pieces for beginners including music from different styles cultures and times - classical pop jazz and world music. Can be used with stages 1-4 of the Boosey Clarinet Method book 1 or as a repertoire book by any beginner player. The Boosey Woodwind and Brass Method responds to the new and changing demands in teaching designed to help make individual and group teaching easier more integrated and more effective. The Boosey Woodwind and Brass Method provides everything you need for teaching music through the instrument. Its unique approach develops general musical skills through a programme of quality solo and ensemble music with additional activities and an audio CDincluding listening activities. Because the method is based on a clear curriculum it provides an easy to use system for teaching and all the flexible resources you need for every situation whether individual group or mixed instrument teaching. This series provides a complete instrumental curriculum whilst developing technique and musicianship.

Suite for Emma is written in four movements – Valse the haunting Pavane Ballade and the Scherzo finale – and calls upon the entire range of the clarinet as well as demanding a very high level of musicianship inthe Piano. Although written for Emma Johnson’s clarinet the Suite is a partnership between the instruments.John Dankworth was a towering figure in British jazz almost from the earliest years of his career as a jazzcomposer Saxophonist and clarinetist and as an educator and speaker until his death in 2010. This piece was written for Emma Johnson the 1984 Young Musician of the Year. She has since recorded it.

Claribel is a piece for Clarinet and Piano composed by Eugène Bozza. Written for upper intermediate players as quite challenging this melodic work is dedicated to Henri Dubois a French professor at the Valenciennes Conservatoire. Divided into seven distinctive parts Claribel begins with the Piano the parts being in the following order:  - Moderato - Andantino - Piu vivo - Vivo - Allegro Vivo – on the last measures of the Clarinet Solo - Meno Mosso - Allegro Vivo – for the final It also features a Clarinet solo startingat the number 11. Eugène Bozza won different prizes at the Conservatoire de Paris such as the First Prize for the Violin conducting and composition as well as the Grand Prix de Rome. He composed several operas chamber works and ballets among others.

French organist composer and teacher Charles-Marie Widor (1844-1937) is predominantly known for his Organ symphonies. However his Introduction et Rondo for Clarinet and Piano also remains popular and is still regularly performed today. Widor became Director of Organ Studies at the Paris Conservatoire in 1890 and soon followed this by taking charge of the composition class. His Introduction et Rondo was composed in 1898 during his period at the Conservatoire and at the height of his career. The piece exploits the Clarinet to its full potential creating a challenging yet exciting performance on the instrument.Widor's Introduction et Rondo is essential to the repertoire of all advanced clarinetists.

Composed for the Paris Conservatoire contest  Fantaisie Orientale is a piece by Max d'Ollone for Bb Clarinet and Piano accompaniment. Really melodious this piece is quite complex to play. This work starts slowly with some accelerations followed by a more quiet and melancholic part. The end is more lyrical and features some trills and numerous accidentals. Max d'Ollone (1875-1959) is a French musician who won the first Grand Prix de Rome in 1897. He was a great professor and composer who produced numerous pieces including ballets symphonies and chamber music.

This short work for clarinet and piano began as an unaccompanied melody which Bernstein copied from the wall of his periodontist friend Dr. Ron Odrich and later dished-up as a jazz clarinet melody for his friend who also happened to be a jazz clarinettist. Odrich and his composer partner Larry Fallon then used the tune as a basis for a very stylish work for clarinet and piano.

Compositeur/Auteur : ALLERME Jean-Marc Discipline/Instrument : clarinette et piano Support : Partition + CD Style/Genre : variété - jazz Date de parution : juin-98 Nombre de pages : 46 + 15