Clarinet Solo

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  1. Agents of Espionage

    Composer: Bramble, Zachary
    Instrumentation: Solo and Electronics Instruments: Clarinet, Electronics
    Genre: Contemporary

    with downloadable backing track

    Composer Zachary Bramble says, “As the title conveys, Agents of Espionage was inspired by the artful prowess of the spy. This work is composed for clarinet and electronic medium. The piece begins and ends illusively, carefully sneaking in and out until it finally ends with a stealthily fades out, much like the swiftness of a spy in pursuit. Though the piece has a distinct form, it includes somewhat of a programmatic feel with its ‘spy’ image becoming the work’s main engine. The clarinet is formidably cast as the spy as it jumps in and out unexpectedly, but also carries a major structural role when playing the main themes. The electronic track accompanies the clarinet and is essentially its rival, pushing the clarinet to its extremes in register, dynamics, and color. The interplay between the two instruments provides a dark, yet distinct musical image of the spy’s many talents, but also brings to light the many challenges that an agent of espionage must inevitably face.”

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  2. Alien Loop de Loops

    Composer: Buss, Howard J.
    Instrumentation: Solo and Electronics Instruments: Clarinet, Electronics
    Genre: Contemporary
    ALIEN LOOP DE LOOPS for solo instrument and electronic recording by Howard J. Buss is a playful and capricious fantasy piece designed to appeal to a wide range of audiences. The title refers to both programmatic and technical elements in the composition. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she is playing unaccompanied, but then is joined by the recording which contains sounds generated by traditional instruments as well as an "alien" voice, the spacecraft, and various electronic effects. Technically, the title refers to how the recording was made. It consists of numerous sound loops combined to form an imaginative and picturesque sonic tapestry. The publication includes the sheet music and a CD (attached to the inside of the back cover) that contains a performance track and the accompaniment track. Learn More

    From $20.00

    To $40.00

  3. Arioso Gloria

    Composer: York, Barbara
    Instrumentation: Solo Instruments: Clarinet, Piano
    Genre: Contemporary
    with Piano Learn More

    As low as $17.00

  4. Awwwww...

    Composer: Oxford, Josh
    Instrumentation: Solo and Electronics Instruments: Clarinet, Electronics
    Genre: Contemporary

    with downloadable backing track

    Composer Josh Oxford writes, “This piece is in the style of Kenny G. The title comes from Airika’s frequent usage of that word. One can add even more embellishments than the ones already written. The accompaniment was mixed by Colleen Harwood.”

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  5. Be Thou My Vision

    Composer: Traditional Arranger: Wall, Robert
    Instrumentation: Solo Instruments: Clarinet
    Genre: Hymn
    For Clarinet and Piano, this is an easy version of the classic hymn "Be Thou My Vision". Learn More

    As low as $15.00

  6. Capriccio sull' Opera Foscari

    Composer: Cappelli, Giuseppe Arranger: Crawford, Elizabeth
    Instrumentation: Solo and Piano Instruments: Eb Clarinet, Piano
    Genre: Romantic

    with Piano

    Capriccio sull’ Opera Foscari is Giuseppe Cappelli’s fantasy on themes from Giuseppe Verdi’s (1813-1901) opera I due Foscari, a three-act lyric opera set to a libretto by Franceso Maria Piave and adapted from Lord Bryon’s five-act play The Two Foscari. The first performance took place on November 3, 1844, a the Teatro Argentina in Rome.

    Il due Foscari takes place in 15-th century Venice. The two Foscari are the city’s Doge, Francesco, and his son, Jacopo, who has just returned from exile for a murder he did not commit. He has been brought back to Venice to stand trial for treason, a crime for which he is also innocent. Since Venice has come under the power of the corrupt I Dieci (The Council of Ten), neither the pleas of the powerful Doge nor his wife, Lucrezia, can save him. Jacopo is found guilty and dies on the ship as it leaves to take him to exile. His father is forced to step down as Doge and, realizing that his life is almost over, falls to the ground and dies.

    Opening music from Giuseppe Capelli’s Capriccio comes from the agitated string tutti of Act I, Scene 2, interspersed with cadenzas in the Eb clarinet. At measure 9, the Eb clarinet solo is a direct statement of Lucrezia’s plea to God for comfort, Ah, si confronto ai miseri! Lucrezia’s aria at bar 18, Tu pur lo sai, occurs in the Finale to Act I. Here she pleads with the Doge to do something to stop her beloved Jacopo from being condemned. His impassioned reply at bar 35, Oltre ogni umano cedere, begs her to console him in his misery for there is nothing he can do. Their duet from bar 50 concludes the andante section with Lucrezia’s role played by the E-flat clarinet and the piano contributing the voice of the Doge. Closing music to Cappelli’s Capriccio is a large choral number taken from Act III, Scene 1 where the piano is the voice of Jacopo as he bids farewell to his wife and father. The work concludes with original music by Cappelli.

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  7. Coexistence

    Composer: Buss, Howard J.
    Instrumentation: Solo and Percussion Instruments: Clarinet, Percussion
    Genre: Contemporary
    Dramatic tension permeates this work as the solitary clarinet is pitted against the potentially explosive and overpowering might of the percussion ensemble.The state of fragile coexistence between the clarinetist and the percussionists at times requires the conductor to function as a “referee” in order to preserve the dynamic balance. The most theatrical example of this occurs about midway through the composition. At this point the music builds to a deafening, chaotic fury during which the clarinetist has no chance of being heard. The director restores order by “disciplining” the percussionists with a piercing blast on a police whistle. In contrast, Coexistence contains sections of relatively low intensity with delicate coloristic shadings and intricate ensemble coordination. Timbral modulations figure prominently throughout the work. Percussion distribution: Percussion 1: Xylophone, chimes (tubular bells), orchestra bells, 4 tom toms, sizzle cymbal, tam-tam, triangle and wind chimes; Percussion 2: Vibraphone, celesta (muted orchestra bells may by substituted), triangle, tambourine, temple blocks, maracas, and snare drum; Percussion 3: 2 suspended cymbals, triangle, cow bell, snare drum, bass drum, and tam tam; Percussion 4: Marimba, timpani (1), cow bell, large tam-tam (which may be shared with players 1 and 3), ratchet, whip, hi-hat, and wind chimes.“An exquisite concert piece that will keep listeners on the edges of their seats! “ - The Clarinet.”This is recommended literature.”- Percussive Notes Learn More

    From $34.00

    To $68.00

  8. Concerto for Bass Clarinet

    Composer: Bowyer, Don
    Instrumentation: Solo and String orchestra Instruments: Bass, Bass Clarinet, Cello, Viola, Violin
    Genre: Contemporary
    with Strings (2 Violins, Viola, Cello and Bass) Learn More

    From $40.00

    To $80.00

  9. Concerto for Bass Clarinet and Piano

    Composer: Bowyer, Don
    Instrumentation: Solo and Piano Instruments: Bass Clarinet, Piano
    Genre: Contemporary

    This concerto, commissioned by music teacher William T. Robinson, was originally scored for Bass Trombone and String Orchestra. This version for Bass Clarinet and Piano was done by the composer and is a three-movement work approximately nine minutes long, each movement leading directly to the next.

    The first movement opens with a slow introduction based on quartal harmony. The main portion of the movement is an allegro that explores changing meters. The second movement is slow, with a mournful character. The modal harmony is centered around D minor. The third movement is in an Afro-Caribbean style. The second and third movements include cadenzas for the soloist.

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    As low as $17.00

  10. Devils Advice to Storytellers, The

    Composer: Balentine, Scott
    Instrumentation: Solo Instruments: Clarinet
    Genre: Contemporary
    unaccompanied: 1. Suspect Your Tale to be Untrue (Eb Clt) 2. To Forge a Picture (Bb Clt) 3. Scherzo - The Teashop Sort (A Clt) 4. Sigh Then, or Frown (Bb Bass) Learn More

    As low as $13.00

  11. Eloquence IV

    Composer: Ardovino, Lori
    Instrumentation: Solo Instruments: Eb Clarinet
    Genre: Contemporary

    Unaccompanied

    From the composer:

    Eloquence IV for solo Eb clarinet was composed for Dr. Elizabeth Crawford in 2017 as the fourth in a series of solo works for various orchestral instruments. The style of the opening section is expressive, focusing on tone color and lyricism. The contrasting presto section is much faster with demanding technical passages. The return of the opening motif is brought back near the end with the free flowing intervallic connection, soon to be interrupted with the return of the presto.

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  12. Fantasia di Ruy Blas

    Composer: Cappelli, Giuseppe Arranger: Crawford, Elizabeth
    Instrumentation: Solo and Piano Instruments: Eb Clarinet, Piano
    Genre: Romantic

    with Piano

    Giuseppe Cappelli composed Fantasia di Ruy Blas after Filippo Marchetti’s (1831-1902) opera Ruy Blas, in 1886. The opera was a four-act dramma lirico set to a libretto by Carlo d’Ormeville after Victor Hugo’s 1838 historical drama of the same name. It premiered at Teatro alla Scala, Milan, on April 3, 1869, and was Marchetti’s most notable opera. Forced into exile by Regina, the Queen of Spain (soprano) for rejecting her lady-in waiting, the wicked Don Sallustrio (baritone) plots revenge. He presents to the queen his valet, Ruy Blas (tenor), who is secretly in love with the queen, as the noble Don Cesare. Ruy Blas gains the queen’s favor and is promoted to prime minister and made a member of the Order of the Golden Fleece. When Don Sallustrio reveals to the queen that she has fallen in love with a mere servant, Ruy Blas kills Don Sallustrio in a duel and then kills himself by drinking poison, an act that earns him the forgiveness of the queen. Giuseppe Cappelli’s Fantasia di Ruy Blas begins with a dramatic opening for e-flat clarinet and piano taken from the Preludio of Marchetti’s Ruy Blas. This leads into the first andantino, the Duetto for soprano and tenor of Act 3, Scene 3, “Dietro quell’uscio.” Music in the Andante sostenuto section is lifted from Marchetti’s most famous aria of the opera (and his career)—“O dolce volutta!” Here an impassioned Ruy Blas shares his joy at the news the queen is in love with him. Though out of order from the opera, the queen’s light-hearted love song, “Che t’amo,” follows and Cappelli affords the e-flat clarinet an opportunity for embellishment of the original aria. One final lyrical passage, taken from Regina’s somber aria, “O madre mia,” of Act 2, Scene 1, concludes the fantasy before Cappelli’s energetic finale of original material.

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  13. Five Places

    Composer: Emmons, Stephen
    Instrumentation: Solo Instruments: Clarinet, Piano
    Genre: Contemporary
    For Clarinet and Piano, each movement of "Five Places" evokes a different place or atmosphere. On the Mountain depicts a hazardous mountain climb. Uncertain footing, cliffs, and other unknown hazards confront the climber, but he is rewarded with an awe inspiring vista upon reaching the top. In the Deep evokes the mystery of the deep ocean, where only faint glimmers of light penetrate. This movement utilizes the lowest register of the bass clarinet and piano to suggest the murky depths and a great sea beast. In the Cathedral uses as its main theme an ancient Aquitanian monophonic versus titled Novum festum celebremus. This melody, tossed back and forth between the bass clarinet and piano, is usually accompanied by a melismatic line that recalls the florid organum of a millennium ago. Under the Stars evokes a night spent under a blanket of twinkling stars. On the Edge of a Cloud is about a ride on the edge of a fast moving cloud, with its thrills and perils. The piece is based on a 12-tone row, but the row is used freely and is often combined with minimalistic patterns that help to rhythmically propel the piece. Learn More

    As low as $20.00

  14. Funked Up

    Composer: Oxford, Josh
    Instrumentation: Solo and Electronics Instruments: Clarinet, Electronics
    Genre: Contemporary

    with downloadable backing track

    This piece examines the relationships of the notes C#-C-A and Db-C-Ab. The accompaniment was inspired, in part, by Herbie Hancock, and also features Alejandro Bernard on the Yamaha CP70 electric grand. The title comes from a band name hipped to me by Andre Baruch.

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  15. Invisible Orthodoxy

    Composer: Boots, Cornelius
    Instrumentation: Solo and Electronics Instruments: Clarinet, Electronics
    Genre: Contemporary

    with downloadable backing track

    Invisible Orthodoxy is the winner of 1st prize at the 2013 International Clarinet Association Composition Competition. It features extremes of density and space: the densities give way to the space. Ideally this piece will be performed in a small to medium sized recital hall where the performer can play acoustically (no microphone on the clarinet) and the playback will need to be in stereo. The timing of the tape and the solo part are very flexible in terms of how they should line up with each other for any given performance. The soloist should rehearse with the recording and establish their own timeline, similar to the one that is provided as an example, but ideally the soloist will build in a good amount of flexibility to their own version of the timeline. The core idea here is “don’t panic.” Audiences are very sensitive to the tension within a performer, and this piece is meant to prioritize the calm, solid core of the performer’s attitude and personality, i.e. the performer is calm and in control, both when playing very dense, rapid material and when leaving large gaps of space for the recording and the ambience of the performance space to speak louder than the solo for extended periods. IF you are getting ahead of the recording when practicing with it, just add more space between phrases and statements, particularly in movements II, IV, and V.

    Specifically, when exiting and re-entering the stage area in movement IV, do not run, rush or hurry. There is plenty of time built into the tape part for you to get back to the stage, even if you went up to a balcony (which is recommended when possible) to play your half-clarinet part. note that you should slowly move between several locations to play these ad lib. statements, and slowly return to the stage during or after the truck sond. Optimally you would have a dress rehearsal in the performance space, rehearsing with the feel of the space and timing within it so you can rehearse not hurrying. Again in mvt. V, leave plenty of space and really take some expressive freedoms in terms of the timing of the solo. You should actually be feeling the energy field of your heart during this movement; audiences are also sensitive to that, so make yourself vast and humble.

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  16. La Traviata Pot-Pourri

    Composer: Cappelli, Giuseppe Arranger: Crawford, Elizabeth
    Instrumentation: Solo and Piano Instruments: Eb Clarinet, Piano
    Genre: Romantic

    with Piano

    Giuseppe Cappelli adapted themes from Giuseppe Verdis’ (1813-1901) opera La Traviata to create this short ‘pot-pourri’ for Eb clarinet and pinao. La traviata is a three-act lyric opera set to a libretto by Franceso Maria Piave. The opera was based upon Alexandre Dumas’ novel, La dame aux Camelias, and its first performance took place at the Gran Teatro La Fenice in Venice, on March 6, 1853.

    La traviata was set in Paris in 1700 and is the story of a famous high-society prostitute named Violetta who, at the opening of the opera, has recently recovered from consumption. She falls in love with Alfredo Germont and abandons the life she has been living, but Alfredo’s father, Giorgio Germont, demands she break off the relationship for the sake of his family. With great regret Violetta agrees, but she is heartbroken. Sadly, she returns to her previous life. When she appears at a party with her former lover, Baron Douphol, Alfredo challenges her to admit that she loves the Baron. After Violetta reluctantly agrees, an enraged Alfredo denounces her and she faints in front of everyone. Soon, she becomes ill with consumption again. Alfredo rushes to her bedside, but it is too late and Violetta dies in his arms.

    Giuseppe Cappelli’s pot-pourri for E-flat clarinet begins with the music from the Baccanale at the opening of Act III, a scene in which the revelry of Carnevale is contrasted with the image of Violetta dying. At the Andante (m. 49) Cappelli uses the E-flat clarinet to express Alfredo’s aria ?De? miei bollenti spiriti,? from Act II Scene 1, in which Alfredo sings of his happy life with Violetta in their country house. Music at the Allegro vivace (m. 79) comes from the orchestral tutti of Act 1 Scene 2 at the house of Violetta and is followed by an adaptation of Alfredo’s aria, O mio rimorso! from Act II Scene 3a (m. 99). Cappelli closes the work with a spirited finale of original music.

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  17. Liebesfreud (Love's Joy)

    Composer: Kreisler, Fritz Arranger: Werden, David
    Instrumentation: Solo Instruments: Clarinet
    with Piano Learn More

    As low as $15.00

  18. Millennium Visions

    Composer: Buss, Howard J.
    Instrumentation: Solo and String quartet Instruments: Cello, Clarinet, Viola, Violin
    Genre: Contemporary
    In 3 captivating movements: First Dawn, Meditation, and Quest, this composition was composed in the latter months of 1999 when most of the world was looking forward with eager anticipation to the turn of the Century, and in many minds, the Millennium. The conflict between man’s desire to “progress” in our technological age and his desire to connect to his spiritual past is symbolically represented by an array of musical styles and compositional procedures. The modern world is suggested by passages influenced by popular music styles and 12-tone technique. The longing for spirituality is manifested in the poignant lyricism of the work and its reliance on classical formal structures. Commissioned by ClarinetFest 2000, premiered by Tom Martin (Boston Symphony). Learn More

    From $46.00

    To $92.00

  19. Piccolo Mosaico from Faust

    Composer: Cappelli, Giuseppe Arranger: Crawford, Elizabeth
    Instrumentation: Solo and Piano Instruments: Eb Clarinet, Piano
    Genre: Romantic

    with Piano

    Piccolo Mosaico is Giuseppe Cappelli’s fantasy on themes from Charles Gounod’s (1818- 1893) opera Faust. Faust was a five-act grand opera set to a French libretto by Jules Barbier and Michel Carré, from Carré’s play Faust et Marguerite and Gérard Nerval’s translation of Part I of Goethe’s Faust. The opera debuted at the Théâtre Lyrique in Paris on March 19, 1859. The elderly philosopher Dr. Faust is frustrated with his life and considers suicide. After the devil (Méphistophélès) makes an image of Marguerite at her spinning wheel appear before him, Faust sells his soul in return for wealth and eternal youth. Now a handsome young man, Faust enters the town square where townsfolk are singing and dancing as soldiers prepare to go to war. Valentin, Marguerite’s brother, entrusts the care of his sister to his friendSiebél, who is secretly in love with her and leaves a bouquet of flowers at her door. Méphistophélès sees this and leaves a box of jewels for her (on behalf of Faust). Flattered by the attention, Marguerite succumbs to Faust. Marguerite gives birth to a child, but Faust abandons her and she is an outcast. When Valentin returns, Siebél begs him to forgive his sister, but he cannot. Faust and Méphistophélès appear and the devil sings a mocking song outside Marguerite’s window. Valentin goes out to fight the two men, but Faust kills him. As he lay dying, Valentin damns his sister to hell for eternity. Giuseppe Cappelli’s Piccolo Mosaico begins with Siebél’s aria, Faites-lui mes aveux, also known as The Flower Song, which occurs at the opening of Act III of Faust. A virtuoso passage in the E-flat clarinet brings thislilting section to a close at bar 49. After a pause, Cappelli shifts the mood to the beautiful duet between Faust and Marguerite, Il se fait tard!, from the end of Act III. Cappelli’s transcription of the orchestral tutti leads directly into Marguerite’s beautiful statement of the aria. The section closes with orchestral music from the final scene of Act III, Tenez! Elle ouvre sa fenêre, ietro. Cappelli’s treatment of Gounod’s famous waltz at the end of Act II, Ainsi que la brise légère, is an uplifting conclusion to the work.

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  20. Pie Jesu

    Composer: Faure, Gabriel Arranger: Doughty, Bryan
    Instrumentation: Solo Instruments: Clarinet, Piano
    Genre: Romantic
    with Piano Learn More

    As low as $15.00

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