Clarinet Solo

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

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For Clarinet and Piano, this is an easy version of the classic hymn "Be Thou My Vision". Learn More

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

with Strings (2 Violins, Viola, Cello and Bass) Learn More

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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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

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

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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

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"Reflections on the Last Post" for clarinet and band (or wind ensemble) by Howard J. Buss was inspired by The Last Post Ceremony at the Menin Gate Memorial in Ypres, Belgium. It honors the thousands of soldiers who died to free Belgium from the Germans in WWI. The Last Post Ceremony was first held on July 1928 and has been performed every night since November 11, 1929 at the Menin Gate Memorial, except during the years of the German occupation of Ypres from May 20, 1940 to September 6, 1944. During the occupation the ceremony was continued at the Brookwood Military Cemetery in Surrey, England. The composition develops the “Last Post” bugle call, which is performed near the beginning of the ceremony. The work also has stirring sections signifying the youthfulness and vitality of those who fought and died on the Ypres battlefields. Learn More

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unaccompanied: This tribute to the world-renown Chilean clarinetist and instrument maker, Luis Rossi, is designed to showcase the expressive and technical capabilities of the distinct registers of the clarinet. Beautiful lyrical lines contrast with rhythmic and dramatic passages. If you are looking for an impressive unaccompanied piece for an important recital, audition, or just for the fun of it- this is it! Learn More

Twist and Shout had its origins in some recitals that Sivelöv played with one of Sweden's brightest young clarinet virtuosos, Martin Fröst. Learn More

"Sylvan Magic" for clarinet and vibraphone by Howard J. Buss was written in the autumn of 2016 and is dedicated to clarinetist Barry McGinnis. He and vibraphonist John Roberts premiered it on March 28, 2017 at Newberry College in Newberry, South Carolina. The three movements, "Seasonal Transformations," "Musing," and "Bustle," were inspired by the change of the seasons in the beautiful Lehigh Valley area of Pennsylvania. The durations of the individual movements are 4’27”, 3’43”, and 3’34” respectively. Learn More

The titles of the 2 movements, A Time of War, and A Time of Peace, as well as that of the larger work are derived from Ecclesiastes 3 in the Old Testament of the Bible. This striking work was written during the Second Iraq War is loosely programmatic. The 1st movement is tense and has militaristic character with dramatic proclamations culminating in an exciting solo passage for the percussion. The second movement begins with an atmosphere of apprehension that gives way to a spirited dance-like section. Eventually the sonic disposition becomes reflective, but during the clarinet cadenza the mood brightens and returns to the animated and joyous mood exhibited earlier in the movement. Learn More

For Clarinet and Piano, composer William Pardus has a composed a three movement work that is appropriate for an upper High School or College student.

1. Overture

2. Lullaby

3. Bittersweet - theme and variations

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“Urban Idyll” is one of many terms associated with the San Francisco Bay Area. The two words “Urban” and “Idyll” are somewhat contradictory since “Idyll” is defined as, “a scene, event or condition of rural simplicity and happiness.”   But, the two words go together rather well when used to describe the many contrasts of San Francisco -- its diversity ranged from the modern architecture of the Transamerica Pyramid to the scenic views of Golden Gate Park.

When I began writing “Urban Idyll”, my goal was to write a piece that was a true Twentieth-Century composition.  The piece begins with the clarinet stating the first motive without piano accompaniment. The A section is based on quartel harmony and features several rhythmic devices in the piano accompaniment. The second half of the A section begins with a dissonant piano accompaniment and contains a rhythmic pattern that is restated several times throughout the work.

The B section begins with the clarinet stating a legato and expressive theme that is based on the original motive.  The work is concluded by a partial restatement of the first theme.

I’ve dedicated this piece to Dr. Mary Jeanne Van Appledorn; she has put a lot of effort into getting my pieces performed on concerts, as well as helping organize my own recital programs.      

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