Sonata In B flat For Clarinet and Piano

Performed by Jerome Bunke clarinet Accompaniment: Hidemitsu Hayashi piano Favorites of clarinetists and pinnacles of the repertoire these two sonatas are always popular on recital programs everywhere. Hear the piece performed by American virtuosoJerome Bunke then you play them again with his accompanist. Presented here in the original key with printed parts for B-flat clarinets this 2-CD set includes complete reference performance piano accompaniments plus a slow-tempo practice version of the accompaniments to help you as you learn the piece! Includes an expansive newly engraved music score for B-flat clarinet printed on high-quality ivory paper; and twocompact discs containing a complete version with soloist in digitally remastered stereo; then a second version in digitally remastered stereo of the accompaniment minus the soloist; plus a -20% slow-tempo version for practice purposes.

En plus de l'accompagnement jouables à la fois sur votre lecteur de CD et l'ordinateur, ces CD améliorés incluent un logiciel de réglage de tempo pour utilisation de l'ordinateur de CD-ROM seulement. / Clarinette Et Piano / 8 pages / Cd

Ian Parrott’s 1979 work Fantasy-Sonata for B Flat Clarinet and Piano is a superb example of his deeply felt chamber music. This expansive and dynamic piece was commissioned by the Academi Sant Teilo with funds provided by the Welsh Arts Council.

Barenreiter Urtext Edition of Brahms' Sonatas In F Minor And E-Flat Op.120 for Clarinet and Piano.Features:A pioneering Urtext edition with an extensive Performance Practice CommentaryFor further information on Romantic performance practice we recommend the text booklet: ?Performance Practices in Johannes Brahms? Chamber Music? BA 9600Brahms had already announced his 'retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter renewed Brahms' enthusiasm for Mühlfeld?s muchadmired playing and inspired him to write two new Clarinet sonatas in the summer of the same year. Brahms and Mühlfeld premiered the works and played them in several performances until the Sonatas Op.120 were first published in June 1895. These two works remain pivotal in the Clarinet?s recital repertoire establishing the Clarinet sonata as a distinct and viable chamber music genre.This edition features an extensive preface that informs about the sonatas? origins their compositional process pre-publication performances and their publication history as well as their early reception. Another truly remarkable aspect of this publication is the unique Performance Practice Commentary. Here the editors start from the premise that only a few decades after Brahms' death a widening gulf was already developing between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. The editors provide an indispensable assistance for a historically informed interpretation of the work through a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation Clarinet vibrato and portamento. At the same time the edition offers an exciting and often surprising

Edited for the first time based on the autograph.The only wind instrument for which Felix Mendelssohn wrote any solo works is the Clarinet. This Sonata written by a young Mendelssohn is genuine chamber music: the Clarinet and Piano are both used equally as a melody and an accompaniment instrument. The various playing characteristics of the Clarinet are not fully exploited; instead Mendelssohn focuses more on the cantabile character of the instrument.

Cet album contient neuf pièces de ABRSM de 2013 et 2014 syllabus Piano Grade 8. Caractéristiques principales: Trois pièces de chacune des listes A, B et C Répertoire attrayant et varié Edité avec soin et clairement présentées tout au long Informations utiles sur les pièces et l'examen / Piano

An important work for Clarinet with Piano accompaniment from Brahms' rich-textured romantic repertoire. A heavier moodier piece than the opening movement of the Opus 120 but they compliment each other magnificently.

Cet album contient neuf pièces de ABRSM de 2013 et 2014 syllabus Piano Grade 7. Caractéristiques principales: Trois pièces de chacune des listes A, B et C Répertoire attrayant et varié Edité avec soin et clairement présentées tout au long Informations utiles sur les pièces et l'examen / Piano

Cet album contient neuf pièces de ABRSM de 2013 et 2014 syllabus Piano Grade 4. Caractéristiques principales: Trois pièces de chacune des listes A, B et C Répertoire attrayant et varié Edité avec soin et clairement présentées tout au long Informations utiles sur les pièces et l'examen / Piano

Arrangeur: Matt Johnston. Par TELEMANN GEORG PHILIPP. Georg Philipp Telemann (1681-1767), is one of the most prolific composers of all time. He wrote a great amount of music for wind instruments, including many concerti and sonatas for flute, oboe and bassoon. The Sonata in F Major for bassoon and basso continuo, composed in four movements (Triste, Allegro, Andante, Vivace), was originally included in the collection Der getreue Musikmeister, dating back to 1728. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.Georg Philipp Telemann (1681-1767), is one of the most prolific composers of all time. He wrote a great amount of music for wind instruments, including many concerti and sonatas for flute, oboe and bassoon. The Sonata in F Major for bassoon and basso continuo, composed in four movements (Triste, Allegro, Andante, Vivace), was originally included in the collection Der getreue Musikmeister, dating back to 1728. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn./ Répertoire / Clarinette Alto et Piano

Arnold Cooke's Sonata in B flat for Clarinet and Piano was written for the Hampton Music Club in 1959. Duration of the work is 20 minutes.

for Violin and Piano-Brahms had already announced his ?retirement? from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year.Brahms conceived an alternate version of the works for Viola from the beginning and already before the publication of these two versions he intended to do another one for Violin a version which was to require changes and was to result in an independent edition. While the Clarinet and Viola versions havedeveloped a rich performance tradition the Violin version is almost unknown. Yet for the Violin version the composer revised the original Clarinet part much more extensively than he did for the Viola version and also rewrote the Piano part to achieve a thoroughly convincing Violin and Piano idiom. This Bärenreiter edition aims to bring the neglected Violin Sonatas Op. 120 back into players? hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and