Clarinet

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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Endorphins is the last of four works commissioned by and dedicated to 78 adventure-seeking tubists representing 30 states and three countries, who fearlessly joined the 2001 Solstice/Equinox Commissioning Consortium to commission James Grant to write four new recital pieces. As each Solstice and Equinox approached during the year 2001, a new piece was sent out to the participants. All four pieces (Stuff, High Autumn, Just A Thought, Endorphins) now exist in multiple versions for orchestral and band instruments and are programmed frequently at conferences and on student and faculty recitals throughout the year. Endorphins is marked “aerobic” and features, in its middle section, a recap of the principal themes from the first three recital pieces in the set, as well as a brief yet dramatic cadenza for the clarinet.

–James Grant

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with downloadable backing track

Exit the Foundry was originally commissioned for euphonium by Matthew Turek, a University of Wisconsin-Eau Claire student completing a research project that explored the psychological experience of composition. Turek commissioned works from seven student composers, offering them very few guidelines save the inclusion of his instrument, euphonium. Hase’s contribution, Exit the Foundry, incorporates three contrasting sonic elements. The first element, recorded and sampled mechanical sounds, includes various metallic hits, blowtorches, saws, fans, and other industrial noises. The second element, synthetic electronic instruments, consists of synth pads, leads, arpeggios, and an electronic drum ket. The third element is a low/mid register acoustic instrument that offers a contrastingly natural tone and lyrical voice. Hase produced the accompaniment track for Exit the Foundry in a computer based digital audio workstation, and included a multiphonic passage in the live instrument line to offer an aural bridge between the smooth timbre of a live instrument and the sometimes rough and piercing wanderings of the synthetic and mechanical sounds. At the start of the piece, each element battles for its place in the foreground, but inevitably a compromise is reached and all three elements meld into one coherent musical voice.

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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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Using themes from the finales to both acts of Vincenzo Bellini’s 1831 opera, “La Sonnambula,” Domenico Mirco creates a magnificent multi-thematic fantasy for clarinet and piano. The work begins with Amina’s sleepwalking aria “Ah! non credea mirarti” from Act II, Scene 9, which allows the clarinetist to showcase the vocal qualities of the instrument … The final variation features some of the most brilliant clarinet passagework of the fantasy while the theme is clearly stated by the piano. Immediately following this variation, the piano presents the closing Bellini melody from the finale of Act I, “D’un pensiero e d’un accento.” Bellini’s melody is clearly stated in the piano while the clarinet plays arpeggiated figures of ornamentation leading to the final Piu mosso coda. This coda features original material by Mirco and concluces the fantasy with additional opportunities for the clarinetist to display technical prowess. Mirco dedicated this piece to his student Giovanni Zenon.

–Diane Barger

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For his fantasy for clarinet and piano, Domenico Mirco offers five themes from Vincenzo Bellini’s tragedia lirica opera of 1833, Beatrice di Tenda. The fantasy travels through an Allegro introduction, a march-like initial theme followed by variations, multiple cadenzas, virtuosic passage work and a coda of original material. Mirco dedicated this operatic fantasy to his siblings.

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Luigi Corrado borrows five themes based on Vincenzo Bellini’s tragedia lirica opera of 1831 (Norma) to create this multi-thematic fantasy for clarinet and piano. The work begins with an orchestral introduction (scored for piano) and progresses through a duet, a piano solo section, a theme with variations and a coda of original material displaying the virtuosic capabilities of the clarinet. Corrado composed and dedicated this fantasy to the Marquis Tomaso Calcagnini.

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with Piano

Domenico Mirco’s composition incorporates a theme and variation section into this multi-thematic fantasy based on Vincenzo Bellini’s tragedia lirica opera of 1831. The five melodies that Mirco extracts from “Norma” appear in their original operatic order and are mostly related to the melodies of its main character, Norma. Mirco contributes his own material in transition sections between the Bellini operatic melodies. This challenging arrangement is edited by Diane Barger.

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3 movements: Pixie Dance, Magic Forest, and Sprites. The first movement is a spirited, playful forest scene which employs contrasting metric feels simultaneously The Second evokes a mysterious nocturnal ambience with an overlapping of ethereal long tones and echoes. The third is quick and dance-like. Utilizing a 4-note scale, its colorful, rhythmic melodies are juggled among the 4 instruments Learn More

Both versions (for 2 clarinets, and clarinet & English horn) are included with the published set. Cast in 3 colorful movements: Alfie’s Dance, Behind the Cryptic Gaze , and Intrigues, the character of this entertaining work is greatly influenced by the feline qualities of grace, sleekness, stealth and playfulness. Learn More

A great addition to any recital. This piece will be a nice challenge for the players and will be enjoyed by the audience. Learn More

3 Clarinets and Bass Clarinet 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

with Piano

Flourish is a piece for clarinet and piano made up an almost constant stream of sixteenth notes in a fast tempo. It is technically challenging and explores the huge range of the instrument at varying dynamic levels.

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Clarinet and Bass Clarinet or Two Soprano Clarinets:A vibrant and colorful sonatina This picturesque composition is in 4 movements: Aggressive, Contemplative, Buoyant, and Energetic. The playful, yet sophisticated character of the music makes this an entertaining, audience-friendly work. Learn More

with Piano

Fernando Deddos’ Frevo do Besouro is a Brazilian take on the popular “Flight of the Bumblebee.” Sure to please any audience, this very short work is flashy and fun for the performers and listeners alike. It has been edited for clarinet or bass clarinet by Matthew Miracle.

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2 Clarinets, Alto Clarinet, and Bass Clarinet Learn More

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