Skip to main content. Paris, Alphonse Leduc Editeur A. Porpora, Tartini, Leclair, Geminiani, nardini, Veracini. This is astonishing, for they are on the level of the sonatas of Johannes Brahms, who probably contributed the most essentially to this genre. Set of performance parts viola part included for Bb clarinet or viola and piano.
Sonata, Opus No. Vinyl - Pre Loved.
Revised edition based on manuscript sources. Newly engraved and edited.
Includes a Bernstein biography as well as historical and performance notes. This desc is region 1 and will only play on players from Canada or USA, or you may have a player that can play multiple regions. The idea was to write an accessible piece that audiences would enjoy even on first hearing! Arranged here for Bb Clarinet by Yona Ettlinger.
There are no synthesised sounds in a Dowani edition! Saint-Saens - Sonata Op.
Buy now and save! Four Church Sonatas K. Mozart arr Eric Simon. Sonata for Bb Clarinet and Piano K. Transcription of Violin Sonata in e minor K.
Favorites of clarinetists and pinnacles of the repertoire, these two sonatas are always popular on recital programs everywhere. This desc is region A and will only play on players from South East Asia,Japan,Korea Republic or you may have a player that can play multiple regions. See more like this. It is edited from the engraver's copy and the original edition by Hans-Christian Muller.
The clarinet part is edited by Jost Michaels. There is a preface written in English and German.
Critical notes,also in English and German are at the back of the book. They provide valuable information for the musician. BA - This edition presents the unaltered and unabridged text of the new Schubert Edition in the piano part, thereby allowing the user to follow freely the emendations of the arranger and, where necessary, to reach different solutions of his or her own.
For the sake of clarity, on the other hand, the flute part is limited entirely to the text of the arrangement. There are no editorial additions whatsoever. Edited from the engraver's copy and original edition.
E flat major - Urtext - clarinet, or viola, and piano; clarinet arrangement: Michaels, Jost; piano arrangement: Michaels, Jost; viola arrangement: A well formatted and clearly presented version of Brahms Sonata Op. Adagio ma non troppo 3rd Movement: Scherzo; Allegro molto vivace Presto 4th movement: Ironically, publication of these three works followed in reverse order of composition, so that the clarinet sonata has an earlier opus number than the Goethe cantata Op.
In the clarinetist did not have a large repertoire of major works by major composers in the category of duo-sonata. The sonatas of Brahms, Reger and Saint-Saens were well in the future, so it is not without justification to claim Draeseke's effort as the first major clarinet sonata of the 19th century.
When one considers the contributions of Weber, Spohr, and Gade one realizes that their works for clarinet and piano fall outside the category of duo-sonata, and reveal themselves as collections of genre pieces, potpourris, or theme and variations. It is difficult to believe that Draeseke's clarinet sonata has had to wait until the release as its first recording , since it was considered repertoire at least until the s and hasn't lacked performances since then: Admittedly most of them are extremely minor and do not affect the actual music, but there are seventy-one instances that should be taken into consideration for a forthcoming critical edition: Draeseke completed his clarinet sonata on the 22nd of May, , and dedicated it to his colleague at the Dresden Conservatory, Friedrich Demnitz, who was also the first chair clarinetist in the Dresden Hofkapelle today's Staatskapelle.
The work sounds deceptively easy and uncomplicated, but it has quite a few virtuosic demands and is a classic of compositional sophistication. Erich Roeder, in the second volume of his two volume biographical study of Draeseke, maintains that the theme is a quote from the composer's song Von fern die Uhren schlagen The Clocks ' Resound from Afar , Op. Be that as it may, the eight measure main theme brings the listener to a world of pastoral encounter: Roeder insists that the first four measures conjure the manner of Richard Strauss and cites the sequence of notes d, f, b-flat, c.
During the exposition of this opening theme Draeseke employs a characteristic harmonic surprise, namely a sudden and effective route through E-flat minor, which ultimately leads to a cadence in F major, in which tonality the second theme is presented, succinctly elaborated and provided with transitional material to lead to the obligatory repeat of the exposition. A somewhat truncated development sector begins with a minor mode presentation of the main theme.
A sequence of chromatic elements returns the second theme and after brief interplay the instruments proceed via D major to the home key of B-flat and the recapitulation. Over a basso ostinado on F, the music gradually subsides: