After the Oboe and Clarinet sonata the Bassoon sonata forms the conclusion of the wind compositions from Saint-Saens due to his death in 1921 - the also planned Sonata for English Horn never to be composed.Playing thehumorous not too technically demanding work you can hardly imagine that the composer did not feel particularly familiar on this instrument.

Felix Mendelssohn's Sonata In F Minor Op. 4 arranged for Clarinet in B with Piano accompaniment.

Ian Parrott’s 1979 work Fantasy-Sonata for B Flat Clarinet and Piano is a superb example of his deeply felt chamber music. This expansive and dynamic piece was commissioned by the Academi Sant Teilo with funds provided by the Welsh Arts Council.

Camille Saint-Saens' Sonata For Clarinet And Piano Op.167 as edited by Paul Harvey. The solo clarinet part is also included on a separate insert.

Three Intermezzi for Clarinet and Piano-Edited by Colin Bradbury.  Two works for the clarinet by Charles Villiers Stanford (1852-1924) are well known; the concerto Op. 80 of 1902 and the sonata Op. 129 of 1918. By the time he wrote the first of thesethree Intermezzi Stanford was an established composer with over seventy works to his credit.

Standard: AdvancedSet for the Guildhall School examinations grades 7 and 8 Spanish Sonata is written in a lively and approachable idiom that will appeal to many players and their teachers. In three widely contrasted movements it looks set to become a regular concert item and reflects the diverse interests of its composer Sarah Rodgers in the many popular and folk idioms of contemporary music.

for Violin and Piano-Brahms had already announced his ?retirement? from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year.Brahms conceived an alternate version of the works for Viola from the beginning and already before the publication of these two versions he intended to do another one for Violin a version which was to require changes and was to result in an independent edition. While the Clarinet and Viola versions havedeveloped a rich performance tradition the Violin version is almost unknown. Yet for the Violin version the composer revised the original Clarinet part much more extensively than he did for the Viola version and also rewrote the Piano part to achieve a thoroughly convincing Violin and Piano idiom. This Bärenreiter edition aims to bring the neglected Violin Sonatas Op. 120 back into players? hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and

Score and Parts-Stephen Albert died in 1992 and is remembered for a boy of work at once powerful dramatic colourful and deeply emotive. 'Wind Canticle' for Clarinet (in A) and Orchestra was first performed in 1991 by David Shifrin with thePhiladelphia Orchestra. Approximately fourteen minutes long its single-movement form adheres roughtly to the design of an extended Sonata-Allegro form: Introduction Exposition Development Recapitulation and Coda. This editioncontains a piano reduction of the orchestral score by Lawrence Rosen for rehearsal only.

Paul Hindemith's Sonata for Clarinet and Piano is published here as part of the excellent Schott catalogue.