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

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

Edward Gregson completed Tributes in the summer of 2010. Lasting some 16 minutes there are five pieces in the set each dedicated to a different composer and a different clarinettist (with whom Gregson had long musical associations). Each of the dedicatee composers wrote wonderfully for the Clarinet and as a tribute to them Gregson tried to invade indeed imitate their stylistic worlds in these pieces.They are as follows:To Francis Poulenc (for Emma Johnson) a rather dreamy toccata lyrical in feel but interrupted by typically quirky and disruptive rhythmic episodes.To Gerald Finzi (forJohn Bradbury) slow and lyrical with long melodic arches.To Igor Stravinsky (for Linda Merrick) asymmetric rhythms dominate with wide leaps in the solo line and bitonal harmony on the Piano.To Olivier Messiaen (for Nicholas Cox) based on the ravishing slow movement for Cello in his Quartet for the End of Time a seamless melody is woven around ever-changing repeated chords on the Piano.To Béla Bartók (for Michael Collins) the most virtuoso of the set; after a slow introduction a swirling folk-like dance unfolds mirroring Bartok?s penchant for simple modal shapes and ostinati rhythms.

Edward Gregson completed Tributes in the summer of 2010. Lasting some 16 minutes, there are five pieces in the set, each dedicated to a different composer and a different clarinettist (with whom Gregson had long musical associations). Each of the dedicatee composers wrote wonderfully for the Clarinet and, as a tribute to them, Gregson tried to invade, indeed imitate, their stylistic worlds in these pieces. They are as follows: To Francis Poulenc (for Emma Johnson) - a rather dreamy toccata, lyrical in feel, but interrupted by typically quirky and disruptive rhythmic episodes. To Gerald Finzi (for John Bradbury) - slow and lyrical with long melodic arches. To Igor Stravinsky (for Linda Merrick) - asymmetric rhythms dominate, with wide leaps in the solo line and bitonal harmony on the Piano. To Olivier Messiaen (for Nicholas Cox) - based on the ravishing slow movement for Cello in his Quartet for the End of Time, a seamless melody is woven around ever-changing repeated chords on the Piano. To Béla Bartók (for Michael Collins) - the most virtuoso of the set - after a slow introduction, a swirling folk-like dance unfolds, mirroring Bartok's penchant for simple modal shapes and ostinati rhythms. / Clarinette Et Piano

Sixteen easy-intermediate pieces for Clarinet and Piano edited selected and arranged by Paul Harris and Emma Johnson. This is a collection of imaginative and idiomatic arrangements and original pieces all carefully selected and written for Grade 1-4 player. From Bruch to Britten Telemann to Alkan and including such classics from the shows and television as Cole Porter's 'Night and Day' and Barrington Pheloung's theme from 'Inspector Morse' there is something here for every occasion.

Famous classical pieces for clarinet and piano-In Selected Classics you will make a musical journey through several centuries. Eleven highlights from musical literature - from the end of the 17th to the 19th century - are explored in turn including Brahms' Lullaby Mozart's Voi Che Sapete Schubert's Standchen (Serenade) and O For The Wings Of A Dove by Mendelssohn. These pieces are still played worldwide. The Piano parts are of course provided. Playing together with a pianist is very inspiring and instructive. If no pianist is available there's always the enclosed CD. Not only does it feature complete demo tracks it allso contains play-along tracks with the Pianoaccompaniments.

Herbert Howells (1892-1983) was an English composer and teacher who is perhaps best known for his choral music in the Anglican tradition.A Near Minuet however was written for Clarinet and Piano and is one of Howells’ most charming small-scale works. It was composed in 1946 while Howells was Director of Music at St Paul’s Girls’ School for one of his pupils there.

All aboard for another musical tour of the globe, led by Mike Mower! Junior Musical Postcards containes eleven brand-new pieces in eleven fascinating world music styles, tailor-made for younger players. The trip starts with a boisterous Cajun stomp, and finishes with an elegant Viennesse polka, taking in places as diverse as China, Jamaica and Wales along the way - all with accompaniments on the playalong CD.The Junior Musical Postcards book contains melody lines, with chord symbols to help improvisation. The pieces are brought to life by background information and illustrations, and playing hints too. The CD contains two versions of each tune - one with a solo part for listening and learning, the other without, for accompanying performances.Junior Musical Postcards is available for flute, clarinet, alto saxophone, trumpet and violin- there is also a book for keyboard accompaniments. / Clarinette Et Piano

Flute and Piano. Par BRYAN KELLY. Woodwind players in particular have cause to thank Bryan Kelly for so many tuneful and finely crafted collections of pieces written for their enjoyment. There are eight sparkling additions to the flautist's repertoire in Songs and Dances for flute and piano. An easygoing combination of baroque movements - an Intrada, Sarabande and Hornpipe - with a lively Polka and Ragtime, a Venezuelan Dance, a Grand Waltz and a soothing Irish Lament, makes for an entirely characteristic blend of moods. The standard is intermediate, and the style laconic, engaging, soigné - pure Kelly! / Niveau : Intermédiaire / Recueil / Clarinette et Piano

The Unbeaten Tracks series has made a profound mark on the music world with its volumes of specially commissioned pieces for intermediate-level players. The eight pieces in this volume are written in a kaleidoscopic mix of styles by some of today's most talented composers and are undoubtedly destined to become standard repertoire. There are also small 'Biopics' about each composer. These give titbits of information about the composer's inspiration and intention for their piece and offer musicians a greater insight into the music.

Prenez la graisse de plomb contient tous les plus grands succès de cette comédie musicale populaire, y compris des nuits d'été', ' We Go Together ' et ' You're The One That I want '. Les étudiants ont le choix de jouer avec le CD, un piano ou une guitare et toutes les pièces sont entièrement intégrés avec des arrangements pour les autres instruments de la série, ce qui en fait la ressource idéale pour les groupes scolaires et les petits ensembles. Utilisé comme un livre solo ces arrangements idiomatiques vont renforcer la confiance des joueurs et descendre une tempête en concert. Le plomb est une série intégrée pour saxophone alto, clarinette, flûte, piano, saxophone ténor, trompette et violon. Dans chaque édition, toutes les chansons sont dans la même clé au concert pitch, permettant aux différents instruments à jouer ensemble. Symboles de corde sont inclus au concert pitch pour utilisation par piano ou de la guitare. / Niveau : Intermédiaire / Recueil / Clarinette et Piano