Clarinet Concerto in B-flat Major, Op. 11

The composer and violin virtuoso Johann Stamitz not only established the world-famous Mannheim school in the 18th century but is known among clarinettists above all for presumably being the first to present them with a true solo concerto. Even though Stamitz left it at just this one concerto, it has enjoyed great popularity since its rediscovery in the 20th century and has become a standard work in the concert repertoire. Due to its moderate technical demands, it is ideally suited for music students as a ?first? solo concerto, and as preparation for the more demanding solo parts of Mozart, Weber and Spohr. The newly prepared piano reduction was undertaken with a view to make it easy to play so that also less experienced piano players can undertake the accompaniment of the soloist; a renowned clarinettist, editor Nicolai Pfeffer also contributes suggestions for the cadenzas ? the result is an ideal Urtext edition for student recitals and music schools.

Stamitz: Concerto No. 3 in B Flat for Clarinet-Performed by Keith Dwyer clarinetAccompaniment: Stuttgart Festival OrchestraConductor: Emil KahnNo composer likes to write music without feeling that an artist exists both capable of and willing to playit to good advantage. When Carl Maria von Weber met Heinrich Joseph Baermann one of the greatest clarinetists of the early nineteenth century he delightedly began writing all sorts of work for him including several chamberpieces and the two famous clarinet concerti. In his F-minor Concerto No. 1 it is clear that Weber knew the virtuosity of his player-he makes the soloist range over the entire compass of his instrument and such quiet moments asdo occur are invariably surrounded by runs leaps and passagework of the utmost brilliance. A fantastic concerto. Also in this edition is Carl Stamitz's lovely B-flat-major concerto a most beautiful Classical-era work. Includes aprinted solo part for B-flat clarinet and two compact discs containing a complete version with soloist in digitally remastered stereo; then a second version of the orchestral accompaniment minus the soloist; and a -20%slow-tempo version of the accompaniments for practice purposes.

The Concerto for Clarinet and Orchestra was written in October 1791 about two months before Mozart's death and destined for Anton Stadler the famous clarinettist. The first movement exists in a sketch in G major for Basset Horn and Orchestra composed towards the end of 1789.This edition has been published in two versions: in the original in A for Clarinet in A and in a transposed version in B-Flat for Clarinet in B-Flat in order to comply with the popular request for that instrument. Available here is the version for Clarinet in B-Flat as arranged by Ernest Roth and revised by Frederick J. Thurston.

Transposed version into B-flat major for Bb Clarinet & Piano-In late 1791 Mozart wrote his famous work the Concerto for ?Bassettklarinette? and Orchestra K.622 known today as his Clarinet Concerto. The challenging virtuoso piece was written for Anton Stadler and the music follows the three-part structure of Allegro Adagio and a Rondo finale.This work was first published in 1801 and by no less than three publishers. It is one of the most important works in the Clarinet repertoire and remains a popular work to the present date.Urtext of the New Mozart EditionFull score & performance material (BA4773) Clarinet in A & Piano reduction (BA4773-90) and study score format 22.5 x16.5cm (TP254) available for saleClarinet in B-flat & Piano reduction (BA4773-38)Reconstructed version for Basset Clarinet and Orchestra full score (BA4773-01)

Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano

Concerto for Bassoon in B-flat Major, K.191 Allegro Andante ma Adagio Rondo. Tempo di Menuetto Concerto for Flute and Harp in C Major, K.299 Allegro Andantino Rondo. Allegro Concerto for Flute in G Major, K.313 Allegro maestoso Adagio non troppo Rondo. Tempo di Menuetto Concerto for Flute in D Major, K.314 (probably an arrangement of an oboe concerto) Allegro aperto Andante ma non troppo Allegro Andante for Flute and Orchestra in C Major, K.315 (perhaps a simpler slow movement for K.313) Concerto for Horn in D Major, K. 412 (left incomplete by Mozart) (Allegro) Allegro Concerto for Horn in E-flat Major, K.417 Allegro maestoso Andante Rondo Concerto for Horn in E-flat Major, K.447 Allegro Romanze. Larghetto Allegro Concerto for Horn in E-flat Major, K.495 Allegro moderato Romanza. Andante Rondo. Allegro vivace Concerto for Clarinet in A Major, K.622 Allegro Adagio Rondo. Allegro

Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Clarinet (in B-flat) (2) Bassoon (2) Horn (2) Clarin trumpet (2) Kettledrum Violin (2) Viola (2) Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulatedscholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Piano or Orchestra-Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Clarinet (in B-flat) (2) Bassoon (2) Horn (2) Clarin trumpet (2) Kettledrum Violin (2) Viola (2) Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulatedscholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Clarinet (in B-flat) (2) Bassoon (2) Horn (2) Clarin trumpet (2) Kettledrum Violin (2) Viola (2) Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarlycritical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.