Fantasy (clarinet And Piano)

About Fantasy-SonataClarinet and Piano. By John Ireland. (Clarinet). This edition: M060033728. Boosey and Hawkes Chamber Music. 22 pages. Published by Boosey & Hawkes. (48009902) Size 9x12 inches.

A solo concert composed in traditional style for clarinet and piano. This piece is a challenge to every amateur clarinettist and very suitable for a solo contest.

Fantasy Piece in G Minor-Carl Nielsen's Fantasy Piece In G Minor for Clarinet in Bb and Piano. Henle Urtext edition score.One of Nielsen's early works Fantasy Piece In G Minor was writtenbetween the ages of 16 and 18 while he was a member of the military band in the Danish town of Odense. With this miniature he gave proof of his mature compositional talent on the one hand and of the socialisation through themusic of the classic and early romantic eras on the other.With its skilful interconnection of Italianate cantabilit and brilliant suppleness the two-part Fantasy Piece offers a welcome change in theClarinet repertoire. This edition is based on the sole surviving source long considered a copy in Copenhagen’s Royal Library which has since been ascertainably identified as an autograph manuscript.

Robert Schumann wrote his Fantasy Pieces for clarinet and piano in the course of two days in February 1849. Only a few days later they were premiered by Clara Schumann and the Dresden clarinetist Johann Gottlieb Kotte. Initially choosing the title Soirée Pieces for his works, Schumann finally decided to have them published as Fantasy Pieces, thereby emphasizing their poetical aspects. These connotations are also at the centre of clarinetist Elisabeth Eichenberg's notes on interpretation with special reference to the contemporary aesthetics of the clarinet sound. The edition is based on the first edition published in 1849 and also incorporates subsequent corrections in Schumann's personal copy. The compositional manuscript that has survived served as an important corrective. Besides the original clarinet part in A the edition also includes a transposed part for the B clarinet in order to make these standard works of the Romantic clarinet repertoire available to a wider circle of the clarinet community. / Clarinette Et Piano

This fantastic volume contains a unified set of three Fantasy Pieces that make up Robert Schumann’s Opus 73. Completed in 1849 he linked each piece harmonically but compounded this by directing players to follow on to the next with performance notes: indicating that these were intended as a whole.From a mood of delicate expression through eloquent and lively to fiery and urgent this is a compelling and intriguing work. Perhaps it isn’t the finest composition by this talented writer but it is infused with more than enough Romanticism and thoughtfulness to make it an important and entertaining work.This version has beenskillfully arranged for Clarinet in A (or B Flat) with Piano Accompaniment by H. Bading and has been edited by Issay Barmas. The solo Clarinet in A and Clarinet in B Flat parts are also included on separate inserts.

A Tchaikovsky Collection. Par TCHAIKOVSKI PIOTR ILITCH. Cette collection présente parfois des mélodies de toute la gamme et comprend des passages qui clarinettists trouverez dans certaines parties de clarinette orchestrale de Tchaïkovski. Les pièces doivent être traités comme des duos pour clarinette et Piano, avec les joueurs écouter attentivement. Arrangé par Thea King et Alan Frank. Comprend les scores et la partie. / Rép Classique / Répertoire / Clarinette

Written in just two days in February 1849, Robert Schumann's Fantasy Pieces Op. 73 were first performed by his wife Clara and the clarinettist Johann Gottlieb Kotte. Initially entitled Soirée Pieces, the composer later had the works published under the name of Fantasy Pieces, thus establishing a connection with poetical aspects. The first edition published in July 1849 contained not only a clarinet part but also a violin and cello part. Since then, they have become an integral part of the Romantic repertoire for cello and piano. This edition is based on the text of the first edition as well as on subsequent corrections from Schumann's personal copy, with the extant composition manuscript serving as an important corrective. / Violoncelle Et Piano

Leighton 'Fantasy On An American Hymn Tune' Op 70. For Clarinet Cello and Piano. Includes score and parts.

Virtuosité a un nom: Alexander Rosenblatt. Né en 1956 à Moscou, le compositeur et le pianiste qui sait comment mettre cet instrument à la mise en scène avec brio et sort tous les registres techniques et musicales. Il prend également en charge des éléments de jazz et toujours assaisonnée sa musique avec une touche d'humour. Donc aussi dans le cas de la 'Fantasy Carmen' dans laquelle il a géré des thèmes bien connus de l'opéra de Bizet à une pièce de concert très efficace. Le fantasme peut être joué soit avec clarinette ou violon et piano et de jouer dans la compétition, 'le Concours international Tchaïkovski' à Moscou et à Saint-Pétersbourg en Juin 2011. / Clarinette En Si Bémol (Violon) Et Piano / 48 pages / niveau : Avancé / Partition

Par GAUBERT. Philippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise, therefore, that his compositions for woodwind are at the forefront of the musical family's repertoire, Fantasy for Clarinet being no exception. After a prominent career as a flautist with the Paris Opera, Gaubert was appointed as professor of Flute at the Paris Conservatoire, as well as principal conductor of leading orchestras. It was during this time that Gaubert composed, including his Fantasy for Clarinet, which he wrote towards the beginning of his career. Addressing many technicalfeatures, including flourishing semiquaver passages, a wide range, lyrical melodies, intervals, chromaticism and complex rhythms, Fantasy is a challenging, yet riveting and stirring piece for aspiring advanced clarinetists./ Répertoire / Clarinette et Piano

The circumstances in which these poetic ?Soirée Pieces? (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately forced Schumann to fleewith Clara to the countryside. Yet none of this is apparent in the music of these three pieces whose idyllic character signifies a longing for harmony and seclusion. Originally conceived for the Clarinet they were accompanied byalternative parts for Violin and Cello as early as the original print. We have subjected our editions to a thoroughgoing critique and include a section of detailed editorial notes.