Clarinet

with Piano

The titular confusion of this work came about in this way: the tunes first appeared in a 1991 musical I wrote based on Moliere's Le Malade Imaginaire (The Imaginary Invalid). Lacking faith in the musical but liking the tunes, I fashioned a few of them into the symphony - a comic symphony. Yet, it seemed to lack luster. When the opportunity came to write a work for my friend and fellow Snark Ensemble performer Ben Redwine, I decided what the material lacked was a solo voice. The tunes are still there, but now greatly elaborated and expanded upon. The final work is still very much a symphony - and no other title seems to suit it - but symphonies are generally for orchestra. Still, the size and the instrumentation for the form we call "symphony" have varied greatly over the years, so perhaps it's the nature of the music that makes it a symphony and not the scoring.

- Maurice Saylor

Learn More

for Bb Clarinet and Trombone It is a special feeling to come back to something or someone that is precious to us, even though we may have neglected them for one reason or another. We often think we have good reasons for losing touch, but upon coming back we feel a twinge of regret that it took us so long to move in the right direction. Perhaps we come back to our family, or religion, or cultural roots; perhaps we come back to ourselves, having lost a sense of what it is that defines us. This piece is dedicated to my niece, Carrie Johnston, and to my family; may we never be too busy, distracted, or proud to come back. 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.

Learn More

The spirited march titled "Country Gardens" has arranged for Clarinet Ensemble (4 Clarinets, Bass Clarinet and Contrabass Clarinet). This piece is fun for the players, the audience and is sure to bring a smile to everyone's face. Learn More

From the arranger:

Danse Macabre is certainly a musical mini-adventure, and more of my compositions have been generated or inspired by adventures and imagination than, say, abstract feelings or focused method application (although there are some exceptions). Certainly Saint-Saens’ use of melody, rhythm and orchestration are creative and adventurous in this piece, but largely it is the form of this adventure that gives it such brilliance and effectiveness when presented to an audience. Therefore, the tempo, dynamic, and voicing shifts should be approached with sincerity and a cinematic perspective while the momentum of the piece continues to build. According to the original score performance notes, the piece (composed in 1874) was inspired by the poem by Henri Cazalis and is in the 3 sections: Midnight and Death tunes his violin—Dance of Death–Daylight and the cock crows.

Learn More

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

A modern yet tonal sonata in 3 movements: Florida Bound, Forest Whispers and Rendezvous. Although the musical material and its treatment involves great contrasts, on close analysis one discovers the tightly knit organic unity of this work. Florida Bound begins with energetic statements in both instruments followed by a rousing section characterized by driving rhythms and soaring melodies. A beautiful, melodious central section gives way to an exciting, developmental passage followed by a recapitulation of the opening section. The movement culminates with an exhilarating and fiery coda. The second movement, Forest Whispers, commences with an arabesque melody played on the clarinet with a background of lush, sustained chords on the piano. The mood becomes reflective and the pianist shifts from the piano to provide a soft, shimmering background for a gentle and beautiful melody (based upon a bird call) played on the clarinet. The piano reenters with a colorful passage involving delicate pedal shading and is joined by the clarinet in a variation of the opening arabesque to close the movement. Rendezvous is a jubilant rondo distinguished by flowing melodies supported by a lively accompaniment. Embedded in the final movement are references to thematic material from the previous movements. On the Maryland Contest List Level 4 - Movement 1 or 3. Learn More

with Piano

Luigi Bassi is one of the most well-known clarinetist/composers, and his Divertimento on themes from Donizetti’s “La Favorita” is one of his finest works. It is written in Bassi’s typical flashy style, and provides opportunity for the clarinetist to show off and genuinely enjoy themselves.

Learn More

with Piano

Dream Sonatina (2011) was commissioned by Marguerite Levin, former principal clarinet of the Baltimore Opera Orchestra and professor of clarinet at Towson University in Baltimore, MD. Marguerite asked me to reflect on recent experiences encompassing my 30s. Easily, those experiences are wrapped around my two children, who were both born in this same decade. The piece, written in three movements, captures some of the unique moments of early childhood. The first movement, Daydream, portrays a sleepy, yet active little one trying to interact with the new world around him. The second movement, Sweet Dreams, captures the peace and tranquility of two little boys sleeping in their beds after a fun and crazy day. The final movement, Bad Dreams, is a more aggressive movement that paints a picture of the occasional night terror that children sometimes experience. While it is sinister in nature, it also strikes a balance with a lighter playful quality as these dreams are never truly threatening.

Dream Sonatina was premiered on October 9, 2011 in Carnegie Hall (Weill Recital Hall) by Marguerite Levin (clarinet) and R. Timothy McReynolds (piano).

Learn More

3 Clarinets and Bass Clarinet: This well-known African American spiritual (the foot bone's connected to the leg bone, the leg bone's connected to the...), arranged by Howard Buss, makes a memorable concert feature as well as a rousing musical offering in church. Multiple players may be used on each part to expand the ensemble. This arrangement is hugely influenced by jazz. The extended two-part introduction begins hymn-like and then breaks out in a jubilant jazzy section. This is followed by a more traditional rendering of the spiritual; however, as the music reaches its climax, the jazz "licks" from the introduction are brought back as counterpoint against the main melody of the spiritual. The result is exhilarating, and for a bit of humor, just as the work ends, there is a "tongue-in-cheek" plagal cadence. On the Texas Contest List Grade 2 - UIL 244-2-26486. Learn More

Bass Clarinet or Euphonium and Marimba

From the composer:

Duende is a commission from Duo Antwerp, formed by Daniel Bellovi (Bass Clarinet) and Adilia Yip (Marimba), to promote the growth of bass clarinet as a solo instrument, and include Spanish music in the repertoire of this wonderful instrument.

It has been performed in its concerts by the Duo Antwerp in various countries. The version for euphonium and marimba was premiered at the AETYB Festival Madrid 2019- Super Regional ITEA by the Moreau VanTuinen Duo.

After an initial introduction in the form of lament, Duende develops between the first theme marked by the rhythmic ostinato of the marimba (register to low E) and the second theme in the form of buleria in which the two instruments alternate the melodic role. Interspersed between the two themes appear the demanding and suggestive cadences for the bass clarinet or the euphonium and the marimba.

The marked Spanish character of the piece, a good dose of virtuosity in the solo cadenzas, and catchy melodies to the rhythm of buleria, make Duende an irresistible score for a recital of bass clarinet or euphonium with marimba, for the performers and for the public.

- Eduardo Nogueroles

Learn More

8 Duets Learn More

with Piano

Eight melodies from Vincenzo Bellini’s 1831 tragedia lirica opera “Norma” are used to create this virtuosic fantasy for clarinet and piano. Appearing out of sequence from their original order within the opera, the themes are presented with a high degree of embellishment in Antonio Spadina’s operatic fantasy.

Learn More

3 Clarinets and Bass Clarinet

Duke Front Five (2007) is a short work inspired by the brilliant works of one of America’s greatest composers: Duke Ellington, The title is a reference to the front row of five reed players who played everything from tin whistle to bass saxophone. The so-called “Ellington” saxophone sound can be characterized by tight parallel voice leading which I have paired with asymmestrical, minimalistic patterns in the work’s opening section. The form of the piece is a fairly straightforward rondo with a contrasticing mambo idea and a brief four-voice fuge (nods to Ellington’s love of both Afro-Latin and European art music). For the analytically minded, there are lots of mathematical processes involved, but the listener can choose to ignore these if desired! The piece was commissioned by the excellent young clarinet ensemble known as 10th and Broadway who will perform the work at the 2011 International ClarinetFest in Los Angeles.

Learn More

3 Clarinets and Bass Clarinet (alternate Alto Clarinet included for Clarinet 3) Learn More

2 Clarinets and 2 Bass Clarinets; I. Air II. Earth III. Water IV. Fire Written for the Miami Clarinet Quartet, 2013 Learn More

9 Clarinets and 2 Bass Clarinets

ELEVEN was written for the San Francisco Conservatory clarinet studio as a companion piece to Steve Reich’s New York Counterpoint (both are scored for 9 Bb and 2 bass clarinets). I am a great admirer of Reich’s intricately interlocking patterns, jazzy harmonic palette, and rhythmic vitality, but I am less patient than he is. I want the patterns to change more rapidly, I want more dramatic shifts, and I tend to prefer more narrative forms. In ELEVEN, I use very Reich-ish materials, but treat them in a freer, more narrative, more whimsical manner than he would. This piece is both an homage to a composer I greatly admire, and a declaration of independence from the strict processes and careful control that characterize his music.

–Jonathan Russell

Learn More

unaccompanied

Eloquence II was composed in 2010 as the second in a series of solo works for various orchestral instruments. The work is in ABA’ form, with a free and flowing A section that emphasizes intervals centered around seconds and sevenths. The style is expressive, focusing on tone color and lyricism. The B section calls for more motion and the use of resonance trills for added coloristic effect. Demanding technical passages accompany these timbral effects. The final A’ brings back the free flowing intervallic connection with interruption of percussive interjections and extreme dynamics.

–Lori F. Ardovinio

Learn More

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.

Learn More