For Henle's Urtext edition of the Clarinet Sonata op. 167 they were able to consult the autograph for the first time. 'At the moment I am putting my last ounce of energy into giving seldom considered instruments an opportunityto be heard' Saint-Saëns wrote to a friend in April of the year he died. A sonata for oboe one for clarinet and one for bassoon were thus composed; yet he was not to hear the premieres. As far as form and infl ection areconcerned the three wind sonatas op. 166 - 168 hark back to the gallant style of the 18th century and thus approach the neoclassicism movement around 1920. Humour wit and fine irony characterise these works for wind.

James Rae presents accessible arrangements of ten popular melodies ranging from Bach to Bacharach to give the early Clarinet soloist experience in a wide variety of musical styles. Includes full Piano accompaniments.

Camille Saint-Saens' Sonata For Clarinet And Piano Op.167 as edited by Paul Harvey. The solo clarinet part is also included on a separate insert.

Par SAINT-SAENS CAMILLE. C'est un mystère angoissant qui plane tout au long de ce brillantissime 4ème mouvement. L'agitation et la fébrilité de votre jeu doivent être le reflet de cette angoisse latente. Dans la conclusion, qui est la reprise du 1er mouvement, n'accentuez pas la croche du rythme de barcarolle au risque d'alourdir votre phrasé. - RENAUD ESCRIVA / Niveau : Difficile / Répertoire / Clarinette en Sib et Piano

Par SAINT-SAENS CAMILLE. Camille Saint-Saëns composed this Romance, Op. 51, in 1877, originally in the key of D major for cello and piano. The form of the piece is relatively simple, opening with a lyrical melody over a repetitive and somewhat rhythmic accompaniment. The middle section modulates to the key of the flattened 6th scale degree (B-flat major), using this to arrive at the dominant chord, in which there are some pseudo cadenza-like moments. Following this, a return to the opening melody with a slightly modified accompaniment, and subsequently a brief coda. To better accommodate the bass clarinet, the entire piece has been transposed up a half-step from the original version into a morecomfortable key of E-flat major. Additionally, for much of the piece, the solo part has been lowered by an octave, as to make the piece generally more accessible to students. Should there be a desire to hear the piece more in the range of the original version, one could simply play it on a standard B-flat clarinet to achieve this effect. Though only about four minutes in length, this relatively short vignette captures much of the true essence of Saint-Saëns, not only through the harmonic progressions and accompanimental figures used, but also demonstrating his gift of turning a 'simple' melody into something extraordinary. Camille Saint-Saëns composed this Romance, Op. 51, in 1877, originally in the key of D major for cello and piano. The form of the piece is relatively simple, opening with a lyrical melody over a repetitive and somewhat rhythmic accompaniment. The middle section modulates to the key of the flattened 6th scale degree (B-flat major), using this to arrive at the dominant chord, in which there are some pseudo cadenza-like moments. Following this, a return to the opening melody with a slightly modified accompaniment, and subsequently a brief coda. To better accommodate the bass clarinet, the entire piece has been transposed up a half-step from the original version into a morecomfortable key of E-flat major. Additionally, for much of the piece, the solo part has been lowered by an octave, as to make the piece generally more accessible to students. Should there be a desire to hear the piece more in the range of the original version, one could simply play it on a standard B-flat clarinet to achieve this effect. Though only about four minutes in length, this relatively short vignette captures much of the true essence of Saint-Saëns, not only through the harmonic progressions and accompanimental figures used, but also demonstrating his gift of turning a 'simple' melody into something extraordinary./ Répertoire / Clarinette Basse et Piano

Par SAINT-SAENS CAMILLE. Dans ce 2ème mouvement de la sonate, les articulations doivent être bien prononcées pour rester claires et compréhensibles malgré le tempo. Ayez un staccato léger et homogène sur toute la tessiture et ne forcez pas le son dans les nuances fortes - vous garderez ainsi un son ample et bien équilibré avec le piano. - RENAUD ESCRIVA / Niveau : Difficile / Répertoire / Clarinette en Sib et Piano

Par SAINT-SAENS CAMILLE. Dans ce 3ème mouvement, exploitez bien l'opposition des registres comme deux instruments qui se répondent. Votre grave 'quasi funèbre' doit être ample et sonore, sans acidité toutefois, tandis que pour l'aigu vous chercherez un son 'flûté' très doux, lointain et sans vibrato. - RENAUD ESCRIVA / Niveau : Intermédiaire / Répertoire / Clarinette en Sib et Piano

Arrangeur: John Glenesk Mortimer. Par SAINT-SAENS CAMILLE. / Niveau : Assez Facile / Répertoire / Clarinette et Piano

2X Clar. En Sib et Clar. Basse. Par SAINT-SAENS CAMILLE. Arr. : F. Lucato / Niveau : Fin 1er Cycle / Répertoire / 2 Clarinettes en Sib et Clarinette Basse

«?Musique française?» est une collection conçue pour les étudiants, les professeurs et les interprètes professionnels. Les volumes, qui présentent une analyse des chefs-d??uvre de la musique française, offrent de précieux conseils d?interprétation et des commentaires de caractère historique et stylistique rédigés par de grands professeurs. / Partitions classique / Bois / Clarinette / DURAND