Search results for: 'joshua hobbs'

3 Clarinets and Bass Clarinet

Dedicated to Prince Franz Joseph von Lobkowitz, String Quartet No. 1 in F Major, Op. 18, No. 1 was finished on June 25, 1799 with some revisions thereafter. Beethoven initially felt it to be a work in progress and commented that he had not yet “learned to write quartets properly”. Despite his perfectionism, only minor changes were made after the premier performance.

Compositionally, this work is best aligned with the string quartets of Mozart and Haydn – two of Beethoven’s largest influences; however, a seasoned listener can feel his strain against the established norms of the classical period. The opening motive of the first movement is a six-note turn that was originally heard over 130 times throughout the movement. The composer later scaled this number down to 109 in subsequent revisions. It follows closely to a sonata allegro form and, with the exception of his typical dramatic dynamic changes, follows the patterns established by his predecessors.

– Joshua Mietz (Arranger)

3 Clarinets and Bass Clarinet

Dedicated to Prince Franz Joseph von Lobkowitz, String Quartet No. 1 in F Major, Op. 18, No. 1 was finished on June 25, 1799 with some revisions thereafter. Beethoven initially felt it to be a work in progress and commented that he had not yet “learned to write quartets properly”. Despite his perfectionism, only minor changes were made after the premier performance.

The opening of this Allegro finale pays homage to Mozart with its wild swirls in the solo voices followed by a response of the whole ensemble. As the movement develops, the ensemble plays what we later discover as Beethoven’s true voice. Like the first movement, the last movement affords the ensemble dramatic dynamic changes and driving motor devices. The virtuosity required of the players makes this the most challenging of any of the movements in the quartet.

– Joshua Mietz (Arranger)

with Piano

Joshua Gardner arranged this virtuosic violin piece for clarinet and piano for clarinetist Robert Spring. Originally one of Heifetz’s signature works, this piece has been reinvented as a show-stopper for the clarinet by Robert Spring. It can be heard on his CD “Tarantelle,” and is guaranteed to wow any audience.

3 Clarinets and Bass Clarinet

Dedicated to Prince Franz Joseph von Lobkowitz, String Quartet No. 1 in F Major, Op. 18, No. 1, was finished on June 25, 1799 with some revisions thereafter. Beethoven initially felt it to be a work in progress and commented that he had not yet “learned to write quartets properly.” Despite his perfectionism, only minor changes were made after the premier performance. The Adagio is impassioned, tragic, and dark. Karl Amenda, Beethoven’s violinist friend, revealed that the composer contemplated the tomb scene from Shakespeare’s Romeo and Juliet when composing this operatic second movement. Toward the end of the movement, the rhythms of the solo voices become faster and, as such, become more severe. The Scherzo third movement closely resembles the playful quality found in Haydn’s quartets and is most closely aligned with the harmonic structures of the first movement.

A clarinetist approaching this work faces many of the same challenges of his string-playing colleagues including: interpretation, note length, tempi, dynamics, and all other musical decisions. To further complicate matters, clarinetists must also discuss and agree upon breathing strategies and alternative fingerings. While this work is orchestrated for three B-flat soprano clarinets and a B-flat bass clarinet with a low C extension, it may be performed by a larger clarinet-choir as well. Throughout the original work, there are places where a string player performs double or even triple stops and those notes have been included in this transcription for two reasons: the first is to provide options to the players performing in a quartet to add a slight variance in color, the second is to further enhance the harmony when the work is performed by more than four clarinetists. It is remarkable to observe the subtle variances in flexibility and tone when performed by a four-person ensemble as opposed to a larger group. This edition does not vary from the original in key or, to the extent possible, range with the exception of a few octaves that have been transposed to better promote facility on the clarinet.

with Piano

Joshua and Stefanie Gardner have arranged Johannes Brahms’ first violin sonata, op. 78 for clarinet and piano. As much as possible the work is unchanged from the original violin part, though there are several sections notated with an optional 8vb part when the violin’s range becomes prohibitively high. For the clarinetist who’s always wanted more Brahms to play, this arrangement is an excellent choice.

Modern clarinetists have a large repertoire available that demands an immense skill set. These skills range from the fine technical control required for Mozart to the guitar-like effects in Scott McAllister’s music. Clarinetists must have these numerous skills ready at any moment, which can be a daunting task. Any student, young or old, is likely to ask, “What can I do to prepare for the technical demands of the clarinet’s vast literature?” We, the authors, created Extreme Clarinet to combine the instruction of basic fundamentals, extended range, precise finger motion, precise and rapid single and multiple articulation, and circular breathing into one guide. By merging traditional methods with extended techniques, we hope to narrow the gap between the two and foster what can be considered contemporary clarinet technique.

– Joshua Gardner and Eric Hansen