Doll Steps In Venice by the Danish composer Bent Sørensen. Scored for solo Clarinet and Orchestra. Sørensen's musical language is said to be undeniably of the present day both aesthetically and technically. The music does however appear to be pervaded with memories wisdom of experience and old dreams of the inevitability of transitoriness and parting. It is a flickering glittering world where things seem to disappear at the slightest touch.

Par MANTOVANI BRUNO. Le concerto a toujours été le genre où je me suis senti le plus à l'aise. La rhétorique de la virtuosité étant une valeur forte dans mes conduites dramatiques, la relation de conflit entre un soliste volubile et un ensemble est un élément narratif important dans mon langage. Même dans des effectifs 'démocratiques' comme le quatuor à cordes ou la symphonie, j'aime jouer sur l'opposition et le contraste. Dans cette nouvelle oeuvre, la clarinette, mon instrument fétiche, occupe une place ambiguë. En effet, elle est à la fois membre de l'orchestre et soliste récurrent. Le modèle est ici clairement avoué : il s'agit du Prélude à l'après-midi d'un faune de Claude Debussy. Comme dans cette pièce de référence, l'instrument principal guide le discours et contamine la texture générale d'un orchestre de vastes dimensions, oscillant sans cesse entre la musique de chambre et le gigantisme sonore. La pièce n'aurait jamais vu le jour sans la sonorité inspiratrice de David Minetti, avec qui j'éprouve un plaisir permanent à travailler depuis quelques années. Bruno Mantovani/ Répertoire / Clarinette et Orchestre

Published in 1953 the Concerto for Clarinet and Orchestra was composed by the French composer conductor and winner of the Grand Prix de Rome in 1927 Henri Tomasi (1901-1971). This concerto was dedicated to Ulysse Delécluse (1907-1995) a French Clarinettist known for his transcription of 'Quinze études' by J. S. Bach for the clarinet. Each of its three movements were chosen to be the examination pieces at the Paris Conservatoire the first movement for the Examination Solo in 1953 and the second and third for the Contest Solo in 1966. This concerto begins with an unconventional start the clarinet playing on its ownand being joined later by the orchestra. It also contains some unusual material such as polychords and dissonances through the piece. Notes on this concerto by Henri Tomasi himself were written in 1957 describing the importance of the improvisation for the principal topic.

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.Miniature score.

pour clarinette et orchestre-Claude Debussy's Première Rhapsodie for Clarinet and Orchestra. Study score.

Debussy?s Première Rhapsodie is one of two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussy orchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention among clarinettists for over a century. The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source that sheds new light on the piece. ? First Urtext edition of the orchestral version ? First scholarly-critical edition of a pioneering work for clarinet ? Trilingual Foreword (Eng/Fr/Ger) with Critical Commentary (Eng)

Mozart's Clarinet Concerto is one of the most popular works in the classical concert repertoire. This edition, edited by Sabine Meyer and Reiner Wehle, reconstructs the original version written by Mozart for the basset horn. / Clarinette Et Orchestre

Commandé pour les célébrations de 1997 de l'année de Ninian, un des pères fondateurs du christianisme en Ecosse. On croyait que Saint Ninian, premier évêque de Whithorn, sont arrivés en Galloway dans le sud-ouest du pays en 397 AD, près de deux siècles avant l'atterrissage sur Iona St Columba. Les trois mouvements sont basés sur trois de la soi-disant Miracles de Ninian, ' le reiver et le taureau ', ' Le rêve de Pectgils ' et ' Une vision mystique de l'enfant-Jésus '. Ces contes étranges et évocateurs sur le saint et ses disciples ont été documentés dans un poème Latin écrit quelques siècles après sa mort. En plus d'être un concerto, le travail est donc également une collection de ton-tableaux qui donnent une impression de ces contes antiques. Un concerto vibrant et accessible qui offre un équilibre satisfaisant entre la profondeur de l'expression et affichage technique. / Clarinette Et Orchestre