Concerto in E Minor

Antonio Vivaldi (c. 1678—1741) remains one of the most-loved and oft-performed of the baroque composers. In 1703, he was appointed to the position of music master at the Ospedale della Pieta in Venice, a home for orphaned girls. It was for this famous orchestra of young girls that he produced his more than 400 concertos, of which over 200 are for the violin. This Concerto in E Minor is one of only three concertos that Vivaldi wrote for four violins, all of which were contained in his Opus 3 L’estro armónico, his first work published in Amsterdam, affording him not only improved printing of his music, but also greater distribution of his music throughout eighteenth century Europe.It is in four movements: Andante, Allegro assai, Adagio, and Allegro. Antonio Vivaldi (c. 1678—1741) remains one of the most-loved and oft-performed of the baroque composers. In 1703, he was appointed to the position of music master at the Ospedale della Pieta in Venice, a home for orphaned girls. It was for this famous orchestra of young girls that he produced his more than 400 concertos, of which over 200 are for the violin. This Concerto in E Minor is one of only three concertos that Vivaldi wrote for four violins, all of which were contained in his Opus 3 L’estro armónico, his first work published in Amsterdam, affording him not only improved printing of his music, but also greater distribution of his music throughout eighteenth century Europe.It is in four movements: Andante, Allegro assai, Adagio, and Allegro.

BitterSweet for E-flat Clarinet and Piano

Grand Quartet in E Minor, Op. 103

Concerto

One of Antonio Vivaldi's most oft-performed works, the Concerto, RV 537, originally for two trumpets and strings has been adapted here for two solo E-flat clarinets with clarinet choir accompaniment. To better suit the range of the clarinets, the whole work has been transposed to the key of E-flat Major. Included in the set of parts are two different versions of the solo parts: Solo parts without alterations, and solo parts including ornaments and embellishments from the arranger.One of Antonio Vivaldi's most oft-performed works, the Concerto, RV 537, originally for two trumpets and strings has been adapted here for two solo E-flat clarinets with clarinet choir accompaniment. To better suit the range of the clarinets, the whole work has been transposed to the key of E-flat Major. Included in the set of parts are two different versions of the solo parts: Solo parts without alterations, and solo parts including ornaments and embellishments from the arranger.

Concerto

One of Antonio Vivaldi's most oft-performed works, the Concerto, RV 537, originally for two trumpets and strings has been adapted here for two E-flat clarinets and piano. To better suit the range of the clarinets, the whole work has been transposed to the key of E-flat Major. Included in the set of parts are two different versions of the solo parts: Solo parts without alterations, and solo parts including ornaments and embellishments from the arranger. One of Antonio Vivaldi's most oft-performed works, the Concerto, RV 537, originally for two trumpets and strings has been adapted here for two E-flat clarinets and piano. To better suit the range of the clarinets, the whole work has been transposed to the key of E-flat Major. Included in the set of parts are two different versions of the solo parts: Solo parts without alterations, and solo parts including ornaments and embellishments from the arranger.

Meditation

An original work for Alto Clarinet (in E-flat) or Basset Horn (in F) and Piano based on "The Little Prelude in C minor" by J.S. Bach. Much like Charles Gounod based his "Ave Maria" on the first prelude of the Well-Tempered Clavier, Dan Fox has created a beautiful melody which floats over the accompaniment. This work can be played with either an Alto Clarinet or a Basset Horn. An original work for Alto Clarinet (in E-flat) or Basset Horn (in F) and Piano based on "The Little Prelude in C minor" by J.S. Bach. Much like Charles Gounod based his "Ave Maria" on the first prelude of the Well-Tempered Clavier, Dan Fox has created a beautiful melody which floats over the accompaniment. This work can be played with either an Alto Clarinet or a Basset Horn.

Adagio and Allegro, Op. 70

Robert Schumann (1810-1856), composed this Adagio and Allegro, Op. 70, for horn and piano in 1859. Along with the Fantasy Pieces for clarinet and piano, and the Three Romances for oboe and piano, it rounds out his small yet important output of solo repertoire for wind instruments. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn. Robert Schumann (1810-1856), composed this Adagio and Allegro, Op. 70, for horn and piano in 1859. Along with the Fantasy Pieces for clarinet and piano, and the Three Romances for oboe and piano, it rounds out his small yet important output of solo repertoire for wind instruments. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.

Apres un Reve

Although mostly known for his orchestral music and Requiem, Gabriel Faure (1845 - 1924) composed more than 70 works for voice and piano, and was once commended by Maurice Ravel for saving French vocal music from the dominance of the German lied. One of the most famous of these art songs, Apres un reve (Op. 7, No. 1) is arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.Although mostly known for his orchestral music and Requiem, Gabriel Faure (1845 - 1924) composed more than 70 works for voice and piano, and was once commended by Maurice Ravel for saving French vocal music from the dominance of the German lied. One of the most famous of these art songs, Apres un reve (Op. 7, No. 1) is arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.

Sonata in F Minor

Georg Philipp Telemann (1681-1767), is one of the most prolific composers of all time. He wrote a great amount of music for wind instruments, including many concerti and sonatas for flute, oboe and bassoon. The Sonata in F Major for bassoon and basso continuo, composed in four movements (Triste, Allegro, Andante, Vivace), was originally included in the collection Der getreue Musikmeister, dating back to 1728. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.Georg Philipp Telemann (1681-1767), is one of the most prolific composers of all time. He wrote a great amount of music for wind instruments, including many concerti and sonatas for flute, oboe and bassoon. The Sonata in F Major for bassoon and basso continuo, composed in four movements (Triste, Allegro, Andante, Vivace), was originally included in the collection Der getreue Musikmeister, dating back to 1728. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.

Lyrische Pastorale

Lodewijk Mortelmans was born in Antwerp on February 5, 1868, as second son of printer Karel Mortelmans. He died on June 24, 1952. He was an outstanding, universal Belgian musician and composer. His unique and poetic classical songs, his intimate and delicate piano music and his imaginative orchestral pieces rank among the European masterworks of the end of the 19th and the early 20th century. His Lyrische Pastorale, originally for horn and orchestra, has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.Lodewijk Mortelmans was born in Antwerp on February 5, 1868, as second son of printer Karel Mortelmans. He died on June 24, 1952. He was an outstanding, universal Belgian musician and composer. His unique and poetic classical songs, his intimate and delicate piano music and his imaginative orchestral pieces rank among the European masterworks of the end of the 19th and the early 20th century. His Lyrische Pastorale, originally for horn and orchestra, has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.

Apres un Reve

Although mostly known for his orchestral music and Requiem, Gabriel Faure (1845 - 1924) composed more than 70 works for voice and piano, and was once commended by Maurice Ravel for saving French vocal music from the dominance of the German lied. One of the most famous of these art songs, Apres un reve (Op. 7, No. 1) is transcribed here for solo contra clarinet and piano. In the case of this art song, the solo part has been transposed to accommodate the key of each solo instrument, either a contrabass clarinet (in B-flat) or a contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet.Although mostly known for his orchestral music and Requiem, Gabriel Faure (1845 - 1924) composed more than 70 works for voice and piano, and was once commended by Maurice Ravel for saving French vocal music from the dominance of the German lied. One of the most famous of these art songs, Apres un reve (Op. 7, No. 1) is transcribed here for solo contra clarinet and piano. In the case of this art song, the solo part has been transposed to accommodate the key of each solo instrument, either a contrabass clarinet (in B-flat) or a contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet.

Nachtpoema

Prosper Van Eechaute (1904-1964), born in Ghent, was a Belgian composer, conductor and teacher. While a student at the Ghent Royal Conservatory, he was awarded first prize for cello, harmony, chamber music, counterpoint and fugue, in addition to the Emile Mathieu prize for composition in 1930. His Nachtpoema for Horn and Orchestra (or Piano), was written in 1938, however the premiere took place towards the end of his life in 1962, with Maurice Van Bocxstaele as the horn soloist. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.Prosper Van Eechaute (1904-1964), born in Ghent, was a Belgian composer, conductor and teacher. While a student at the Ghent Royal Conservatory, he was awarded first prize for cello, harmony, chamber music, counterpoint and fugue, in addition to the Emile Mathieu prize for composition in 1930. His Nachtpoema for Horn and Orchestra (or Piano), was written in 1938, however the premiere took place towards the end of his life in 1962, with Maurice Van Bocxstaele as the horn soloist. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.

Cantilena and Rigadoon

Cantilena has a song-like quality which the performer should try to convey, while the Rigadoon is a moderately fast dance movement, both arranged here together for contra clarinet with piano accompaniment. In the case of this Cantilena and Rigadoon, the solo part fit so well into the range of the clarinet, it only made sense to keep the solo part the same for each instrument (contrabass and contralto) and to transpose the piano part. Thus, a single solo part is included, as well as two separate piano parts, corresponding to the contrabass clarinet (in B-flat) and contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet.Cantilena has a song-like quality which the performer should try to convey, while the Rigadoon is a moderately fast dance movement, both arranged here together for contra clarinet with piano accompaniment. In the case of this Cantilena and Rigadoon, the solo part fit so well into the range of the clarinet, it only made sense to keep the solo part the same for each instrument (contrabass and contralto) and to transpose the piano part. Thus, a single solo part is included, as well as two separate piano parts, corresponding to the contrabass clarinet (in B-flat) and contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet.

The Swan and The Elephant : from The Carnival of the Animals

Camille Saint-Saëns (1835 - 1821) composed The Carnival of the Animals, one of his most popular works, in 1886. Though private performances were given during his lifetime, the first public performance took place only a few months following his death, in February 1922. The two movements arranged here, The Swan and The Elephant, lend themselves very well to the contra clarinets accompanied by piano, also providing a humorous contrast in both title and style. In the case of these two movements, the solo part has been transposed to accommodate the key of each solo instrument, either a contrabass clarinet (in B-flat) or a contralto clarinet (in E-flat). This work can be played witheither a contrabass or contralto clarinet. Camille Saint-Saëns (1835 - 1821) composed The Carnival of the Animals, one of his most popular works, in 1886. Though private performances were given during his lifetime, the first public performance took place only a few months following his death, in February 1922. The two movements arranged here, The Swan and The Elephant, lend themselves very well to the contra clarinets accompanied by piano, also providing a humorous contrast in both title and style. In the case of these two movements, the solo part has been transposed to accommodate the key of each solo instrument, either a contrabass clarinet (in B-flat) or a contralto clarinet (in E-flat). This work can be played witheither a contrabass or contralto clarinet.

Elegia

Giovanni Bottesini (1821-1889) was widely regarded as the Paganini of the double bass and was one of the first champions of the instrument. Though he composed a wide range of music, from chamber music to operas, his legacy is his contribution to the double bass repertoire. Due to the similar ranges of the instruments, this repertoire is a perfect candidate for adaptation for contra clarinets. In this arrangement, the solo part fit so well into the range of the clarinet, it only made sense to keep the solo part the same for each instrument (contrabass and contralto) and to transpose the piano part. Thus, a single solo part is included, as well as two separate piano parts,corresponding to the contrabass clarinet (in B-flat) and contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet. Giovanni Bottesini (1821-1889) was widely regarded as the Paganini of the double bass and was one of the first champions of the instrument. Though he composed a wide range of music, from chamber music to operas, his legacy is his contribution to the double bass repertoire. Due to the similar ranges of the instruments, this repertoire is a perfect candidate for adaptation for contra clarinets. In this arrangement, the solo part fit so well into the range of the clarinet, it only made sense to keep the solo part the same for each instrument (contrabass and contralto) and to transpose the piano part. Thus, a single solo part is included, as well as two separate piano parts,corresponding to the contrabass clarinet (in B-flat) and contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet.