Clarinet Concerto in E-flat Major

SKU: BR.EB-10996

ISBN 9790201809960. 9.5 x 12 inches.

Louis Spohr's technically, extremely demanding concertos have long been part of clarinetists' standard repertoire. Like the first clarinet concerto, this second concerto was composed for the clarinetist Johann Hermstedt, probably in the spring of 1810. Critics praised the concerto at its premiere, stating that it was undeniably one of the most accomplished works of art of its kind. Emphasized was also the great and brilliant treatment of the solo instrument, combined with a very original orchestra accompaniment, where every part, even the timpani, is obbligato. The concerto was even then a great success with the audience. For publication, Spohr supplemented the solo part with various ossia passages as simplifying alternatives. These can of course be found in the score as well as in the piano reduction presented in Ullrich Scheideler's new critical Urtext edition in collaboration with G. Henle Verlag, now for the first time in a reliable edition.

SKU: FH.WC6

ISBN 978-1-55440-582-4.

This new series offers a sequenced approach to the study of clarinet from the beginner to advanced levels. With a progressive collection of Repertoire, Etudes, Recordings, Orchestral Excerpts, and Technique, the Clarinet Series, 2014 Edition provides complete support for teachers and students at every level of study. Nine progressive volumes of Repertoire expose students to a wealth of music from the earliest works for clarinet to accompanied and unaccompanied contemporary compositions. Students will explore some of the most definitive solo pieces written for clarinet, along with popular folk tunes, Klezmer melodies, Classical solos, and contemporary compositions that incorporate traditional and extended techniques.
Technical Repertoire:
A Canticle for Ryan, op. 127 - Michael Conway Baker
Canzonetta in E flat Major, op. 19 - Gabriel Pierne
Clarinet Concerto in B flat Major: First Movement - Franz Anton Hoffmeister, arr. Mihaly Hajdu
Grande Sonate for Clarinet and Piano: Fourth Movement - Wolfgang Amadeus Mozart, arr. Franz Xavier Gleichauf
Concertino in E flat Major, op. 26, J 109 - Carl Maria von Weber, arr. Cyrille Rose
Lyrical Repertoire:
Grand duo concertante, op. 48, J 204: Second Movement - Carl Maria von Weber, arr. Carl Baermann
Sonatina for Clarinet: Second Movement - Joseph Horovitz
Sonata in E flat Major for Clarinet and Piano, op. 167: First Movement - Camille Saint-Saens
Clair matin (Idylle pour clarinette et piano) - Paul Jeanjean
Concertino in B flat Minor: First Movement - Gaetano Donizetti, arr. Raymond Meylan
Lied - Luciano Berio
Bee Navigation - Libby Larsen.

SKU: FH.WC5

ISBN 978-1-55440-581-7.

This new series offers a sequenced approach to the study of clarinet from the beginner to advanced levels. With a progressive collection of Repertoire, Etudes, Recordings, Orchestral Excerpts, and Technique, the Clarinet Series, 2014 Edition provides complete support for teachers and students at every level of study. Nine progressive volumes of Repertoire expose students to a wealth of music from the earliest works for clarinet to accompanied and unaccompanied contemporary compositions. Students will explore some of the most definitive solo pieces written for clarinet, along with popular folk tunes, Klezmer melodies, Classical solos, and contemporary compositions that incorporate traditional and extended techniques.
Technical Repertoire:
Concerto in B flat Major: Third Movement - Johann Stamitz, arr. Helmut May
Cantilene, op. 64 - Paul-Agricole Genin
Clarinet on the Town - Ralph Hermann
Clarinet Concerto No. 3: First Movement - Johann Melchior Molter, arr. Pamela Weston
Sonate: Second Movement - Paul Hindemith
Summer Fancy - William O. Smith
Lyrical Repertoire:
Sonata, op. 120, no. 1: Fourth Movement - Johannes Brahms
Tableau, from Le Cid - Jules Massenet
Fantasy Pieces, op. 43: First Movement - Niels W. Gade
Fantasy Pieces, op. 43: Second Movement - Niels W. Gade
Fantasiestuecke, op. 73, no. 1 - Robert Schumann
Concerto No. 2 in F Minor, op. 5: Second Movement - Bernhard Crusell, arr. Pamela Weston
Clarinet Quintet in E flat Major, op. 23: Second Movement - Heinrich Baermann, arr. Arthur H. Christmann
Concerto No. 1 in C Minor, op. 26: Second Movement - Louis Spohr, arr. Arthur H. Christmann.

SKU: BR.MR-1897

ISBN 9790004484920. 9 x 12 inches.

SKU: M7.BP-1214

ISBN 9790015121401.

Das 1781/82 in Paris entstandene Konzert dürfte durch die Kunst des Klarinettenvirtuosen Michel Yost inspiriert worden sein. Gesangliches wechselt mit virtuosen Passagen; der Tonumfang der Klarinette der Zeit wird voll ausgeschöpft.

SKU: BR.PB-15146

ISBN 9790004803400. 6.5 x 9 inches.

Louis Spohr's technically, extremely demanding concertos have long been part of clarinetists' standard repertoire. Like the first clarinet concerto, this second concerto was composed for the clarinetist Johann Hermstedt, probably in the spring of 1810. Critics praised the concerto at its premiere, stating that it was undeniably one of the most accomplished works of art of its kind. Emphasized was also the great and brilliant treatment of the solo instrument, combined with a very original orchestra accompaniment, where every part, even the timpani, is obbligato. The concerto was even then a great success with the audience. For publication, Spohr supplemented the solo part with various ossia passages as simplifying alternatives. These can of course be found in the score as well as in the piano reduction presented in Ullrich Scheideler's new critical Urtext edition in collaboration with G. Henle Verlag, now for the first time in a reliable edition.

SKU: BR.PB-15127

ISBN 9790004214282. 10 x 12.5 inches.

Louis Spohr's technically, extremely demanding concertos have long been part of clarinetists' standard repertoire. Like the first clarinet concerto, this second concerto was composed for the clarinetist Johann Hermstedt, probably in the spring of 1810. Critics praised the concerto at its premiere, stating that it was undeniably one of the most accomplished works of art of its kind. Emphasized was also the great and brilliant treatment of the solo instrument, combined with a very original orchestra accompaniment, where every part, even the timpani, is obbligato. The concerto was even then a great success with the audience. For publication, Spohr supplemented the solo part with various ossia passages as simplifying alternatives. These can of course be found in the score as well as in the piano reduction presented in Ullrich Scheideler's new critical Urtext edition in collaboration with G. Henle Verlag, now for the first time in a reliable edition.