Having won many prizes at the Paris Conservatoire during the 1920s-1930s Eugène Bozza went on to conduct the orchestra of the Opéra-Comique and to become Head of the Conservatoire in Valenciennes. As a major figure on the classical music frontline Bozza's compositions were well-received by audiences particularly those for wind instruments and his Clarinet Concerto is no exception. This Bozza piece for Clarinet is expressive and virtuosic displaying the entire range of the instrument accompanied by an equally virtuosic Piano reduction. The Concerto comprises three movements and is oneof 19 Concertos written by the composer. As music educationalist Paul Griffiths has written of Bozza's compositions 'his works reveal melodic fluency elegance of structure and a consistenly sensitive concern of instrumental capabilities.' Clarinet Concerto is a suitable and significant addition to the advanced clarinetist's repertoire.

Landscape with Blues-This new edition offers for the first time a clarinet solo part edited with commentary by internationally-acclaimed clarinet artist Richard Stoltzman. Includes piano reduction by Sarah Gibson along with a CD containing Stoltzman'soriginal recording with the IRIS Chamber Orchestra.

For Clarinet and Orchestra. Par MILHAUD DARIUS. / Répertoire / Clarinette et Piano

for Solo Bb Clarinet and Piano-Cette oeuvre en deux mouvements pour clarinette et orchestre fut commandée par Musica Reservata vof Belgique et est dédiée à Eddy Vanoosthuyse un bon ami et confrère du compositeur. Elle connut du succès à sa première mondiale le 10 décembre 2008à Salt Lake City (Etats-Unis) interprétée par l?orchestre Utah Philharmonia sous la direction de Robert Baldwin avec Eddy Vanoosthuyse comme soliste. Par la suite l?oeuvre fut mise de côté pendant quelques années surtout parce que les agendaschargés des deux protagonistes ne leur permettaient pas de trouver le temps pour un enregistrement discographique. Pour finir l?oeuvre fut enfin enregistrée en juin 2015 à Nagoya (Japon) avec le Central Aichi Symphony Orchestra mené par l?étoilemontante vénézolane SergioRosales. La même semaine le 12 juin l?oeuvre fut présentée en concert pour la première fois au Japon par les mêmes interprètes et connut ici aussi un grand succès. Après Concerto Doppio pour deux clarinettes et orchestre à cordes composé en 2001 voici la deuxième oeuvre de concert de Jan Van der Roost qui met la clarinette en vedette.Le premier mouvement Doloroso e Contemplativo transmet le côté sérieux de la clarinette et par conséquent il n?y figure presque pas de virtuosité ou de spectacle. Au contraire l?orchestration colorée et variée qui est entrelacée autour de lapartie solo est bien plus qu?un simple accompagnement et prend la forme de partenairemusical d?importance comparable au soliste. Une introduction un peu mystérieuse mène à une première apogée orchestrale en passant par des cellules musicales ascendantes. Ensuite on entend l?entrée du soliste d?abord par des idées musicales plusfragmentaires puis par des lignes mélodiques plus longues. L?orchestre entre en dialogue avec le soliste et son instrumentation délicate et colorée crée un parfait encadrement musical. Vers la fin l?atmosphère du début est réaffirmée et lesoliste finit par la même note par laquelle il avait commencé.Le deuxième mouvement Giocoso e Con Bravura est une toute autre histoire : ici le côté virtuose et parfois presqu?acrobatique de la clarinette est exploré. Des cascades imposantes et continuelles de notes demandent une dextérité exceptionnelleau soliste ce qui à un certain moment et « récompensé » par l?orchestre par un clin d?oeil au « Hallelujah » de Handel ? vraiment mérité après ces feux d?artifice ! De temps en temps l?instrument solo présente une phrase humoristique : laclarinette ne peut pas que chanter briller et pleurer mais aussi rire et plaisanter. Plusieurs passages sont presque caricaturaux ! La palette variée de cet instrument magnifique est démontrée parfaitement parfois avec un brin d?humour oud?ironie. En effet les deux mouvements contrastants de ce concerto démontrent les différentes facettes de l?instrument qui s?est établi sur la scène de musique classique ainsi que la musique légère (quel nom peu prom

Davies's feeling for the potency and bravura of the clarinet goes back to works of the 1960s; his concerto for the instrument is predictably a big ranging piece in two linked movements. The first fast with a brief slowintroduction has the soloist in propulsive melodic flights slipping over into florid runs but it is a virtuoso piece for the orchestra especially for the marimba and pair of horns. The Adagio that follows is in the spare cold birdcall-riven style of other recent Davies slow movements exploiting first the clarinet's low register and then at its climax the instrument's high extremes. A cadenza leads to the coda where Davies introduces a Scots tune previously hinted at with which he brings the work to an end in F sharp major.Clarinet part with piano reduction of the orchestral score.

Concert Pieces from the Clarinet Method. Par BAERMANN CARL. The clarinet method op. 63 by Carl Baermann from 1867 is still a standard work in classical clarinet education today. The thoroughly revised new edition aims at reviewing the educational concept, which is still valid today, for modern lessons, adjusting the music and texts, and sensibly complementing the teaching contents. The editor who draws on many years of experience as a clarinettist in an orchestra and university lecturer of clarinet has succeeded in adapting the valuable teaching material to the requirements of today while maintaining the basic methodology. The result is a total of 7 volumes: Clarinet Method Vol. 1 and Vol. 2 (ED 21761, ED 21762) Clarinet Method Vol. 1 and Vol. 2, with 2 CDs each (ED 21761-50, ED 21762-50): The CDs contain the piano accompaniment for the performance pieces, with and without clarinet Tune Book 1 and 2 (ED 21763, ED 21764): piano score of the method\'s performance pieces, with additional inserted clarinet part Daily Exercises (ED 21765): systematic scale, interval and chord exercises in all keys, complemented and published separately from the original method Due to trilingual nature of all editions (German, English, French), they can be used universally. About the revision: The musical text is based on the first edition of the method. Only a few differences concerning the articulation as well as some misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. The content of the text and the performance directions of the original were linguistically modernized and occasionally extended by further ideas from the teaching practice, such as concepts for warming up, breathing exercises, literature suggestions or tips for daily practising. Further additions of scale and triad studies in all major and minor keys make this method a comprehensive and thorough work of study which not only serves as teaching material for young and adult beginners, but is also a valuable compendium of scale exercises and studies for advanced musicians and is ideal for training velocity and dexterity. The tune books contain all performance pieces from the Clarinet Method Op. 63 by Carl Baermann for clarinet and piano. Thanks to the revised editions, they are now available as scores with inserted solo part for the first time. Thus, the popular performance pieces and studies can also be used separately from the textbook ? as an addition to the repertoire of music lessons or simply as a collection of attractive performance pieces for pupils and advanced clarinettists. As with the two volumes of the Clarinet Method, the musical text of the tune books is based on the first edition of the method, and only few differences concerning articulation as well as several misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. / Éducatif / Recueil / Clarinette en Bb et Piano

arrangiert für Klarinette und Klavier-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 A with Piano reduction by Ernest Roth and Clarinet arrangement by Frederick J. Thurston.

Having won many prizes at the Paris Conservatoire during the 1920s-1930s Eugène Bozza went on to conduct the orchestra of the Opéra-Comique and to become Head of the Conservatoire in Valenciennes. As a major figure on the classical music frontline Bozza's compositions were well-received by audiences  Bucolique for Clarinet and Piano being no exception. This Bozza piece for Clarinet is expressive and virtuosic displaying the entire range of the instrument accompanied by rhythmic and spread chords in the Piano. As music educationalist Paul Griffiths has written of Bozza's compositions 'his works reveal melodic fluency elegance of structure and a consistenly sensitive concern of instrumental capabilities.' Bucolique for Clarinet and Piano is suitable to the advanced clarinetist's repertoire.

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.

Ignaz Joseph Pleyel's Concerto for Clarinet and Orchestra In C Major published by Breitkopf & Hartel is a perfect piece for the intermediate Clarinet player looking for a rewarding addition to their repertoire. This piece is arranged for Clarinet solo and Piano Reduction.

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.

Clarinet and Piano-In this clarinet & piano reduction:Urtext solo clarinet partReconstructed basset-clarinet partPreface with suggestions for the embellishment of the first movement fermatas from an early 19th century sourceIn late 1791 Mozart wrote his famous work the Concerto for ?Bassettklarinette? and Orchestra K.622 known today as his Clarinet Concerto. The challenging virtuoso piece was written for Anton Stadler and the music follows the three-part structure of Allegro Adagio and a Rondo finale.This work was first published in 1801 and by no less than three publishers. It is one of the most important worksin the Clarinet repertoire and remains a popular work to the present date.Urtext of the New Mozart EditionFull score & performance material (BA4773) Clarinet in A & Piano reduction (BA4773-90) and study score format 22.5 x 16.5cm (TP254) available for saleClarinet in B-flat & Piano reduction (BA4773-38)Reconstructed version for Basset Clarinet and Orchestra full score (BA4773-01)

Concert Pieces from the Clarinet Method. Par BAERMANN CARL. The clarinet method op. 63 by Carl Baermann from 1867 is still a standard work in classical clarinet education today. The thoroughly revised new edition aims at reviewing the educational concept, which is still valid today, for modern lessons, adjusting the music and texts, and sensibly complementing the teaching contents. The editor who draws on many years of experience as a clarinettist in an orchestra and university lecturer of clarinet has succeeded in adapting the valuable teaching material to the requirements of today while maintaining the basic methodology. The result is a total of 7 volumes: Clarinet Method Vol. 1 and Vol. 2 (ED 21761, ED 21762) Clarinet Method Vol. 1 and Vol. 2, with 2 CDs each (ED 21761-50, ED 21762-50): The CDs contain the piano accompaniment for the performance pieces, with and without clarinet Tune Book 1 and 2 (ED 21763, ED 21764): piano score of the method\'s performance pieces, with additional inserted clarinet part Daily Exercises (ED 21765): systematic scale, interval and chord exercises in all keys, complemented and published separately from the original method Due to trilingual nature of all editions (German, English, French), they can be used universally. About the revision: The musical text is based on the first edition of the method. Only a few differences concerning the articulation as well as some misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. The content of the text and the performance directions of the original were linguistically modernized and occasionally extended by further ideas from the teaching practice, such as concepts for warming up, breathing exercises, literature suggestions or tips for daily practising. Further additions of scale and triad studies in all major and minor keys make this method a comprehensive and thorough work of study which not only serves as teaching material for young and adult beginners, but is also a valuable compendium of scale exercises and studies for advanced musicians and is ideal for training velocity and dexterity. The tune books contain all performance pieces from the Clarinet Method Op. 63 by Carl Baermann for clarinet and piano. Thanks to the revised editions, they are now available as scores with inserted solo part for the first time. Thus, the popular performance pieces and studies can also be used separately from the textbook ? as an addition to the repertoire of music lessons or simply as a collection of attractive performance pieces for pupils and advanced clarinettists. As with the two volumes of the Clarinet Method, the musical text of the tune books is based on the first edition of the method, and only few differences concerning articulation as well as several misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. / Éducatif / Recueil / Clarinette en Bb et Piano

Four Pieces may be performed complete as a four-movement work. Each piece may also be performed separately or a selection together in any combination.1. Leap Commissioned by NJO: Dutch Orchestra and Ensemble Academy.. First performed on 13 August 2010 at Radio Kootwijk, Apeldoorn, Netherlands, by Anna voor de Wind, young artist in residence.2. Cradle SongWritten for Mark Simpson. First performed by Mark Simpson (clarinet) and Vikingur Olafsson (piano) at Holywell Music Room, Oxford on 2 December 2009.3. Carnac Written for Jon Carnac. First performed on 7 January 2014 in the Purcell Room, London, by Max Welford (clarinet) and Katherine Tinker (piano).4. Falling ApartWritten for Jon Carnac. First performed on 15 February 2013 at Regent Hall, London, by Max Welford (clarinet) and Katherine Tinker (piano). / Clarinette Et Piano