Par CONNOLLY JUSTIN. Triad V was commissioned by the Extra-mural Department of Birmingham University, and performed for the first time on February 5, 1971, in the theatre of the Barber Institute of Fine Arts, by Antony Pay, clarinet, Jürgen Hess, violin, and Jennifer Ward-Clarke, violoncello. / Date parution : 2022-04-26/ Répertoire / Clarinette, Violon et Violoncelle

Musique de Richard Rodney Bennett Troubadour pour clarinette en si bémol et piano, écrite pour Chris Richards en 2006 est basée sur le XIIIe siècle Trouvère mélodie 'volez Vous Que je chant cous'. Convient pour intermédiaires pour les joueurs avancés. / Clarinette / niveau : Intermédiaire / Avancé / Partition

Par SATIE ERIK. A collection of arrangements of piano works of Eric Satie, arranged by Sidney Lawton for clarinet and piano. / Rép Classique / Répertoire / Clarinette

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

Debussy's most popular piano pieces arranged for clarinet with piano accompaniment. / Clarinette

Par BEATLES THE. Ten hit songs from the Fab Four in melody line arrangements for Clarinet by Paul Honey. Step into the spotlight and play along with the superb backing tracks on the specially recorded CD. / Niveau : Elémentaire / Rép International / Recueil / Clarinette

A collection of pieces by Faure, arranged for clarinet and piano by Sidney Lawton. / Clarinette

Frankel's Pezzi Pianissimi Op.41 is a short and delightful work in three movements, for B flat Clarinet, Cello and Piano. The piano score and individual clarinet and cello parts are all enclosed. / Clarinette

Modern Liverpudlian composer Giles Swayne's 'Murder Of Gonzago' score gains inspiration from Shakespeare's scene in 'The Tempest.'

Parts for Arthur Bliss's Quintet For Clarinet And String Quartet. Duration 26 minutes. Composed 1932.

Score and parts for Thea Musgrave's Pierrot arranged for Violin Clarinet and Piano. Duration 17 minutes.

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.