Grade 6 Solo Clarinet with Accompaniment


Alphonse Leduc, Paris 1940

Three contrasting sections. Free opening. Challenging technique and rhythm. Interesting tonality with nice melodic lines. Cadenza passage. Some chromaticism. Very articulated third section. Nice performance piece and very fun to learn and play!

Arnold, Malcolm 
Clarinet Concerto No. 2, Op. 115 (for Benny Goodman)

Faber Music, London 1981

Details/Comments: Duration: ca. 17 min.  Full range to alt. G;
Movements:  I. Allegro Vivace  II. Lento  III. (The Pre-Goodman Rag) Allegro non troppo
Jazz influence. Much altissimo playing, some technical. Improvised “jazzy and way out” cadenza in 1st mvt.  Orchestra arrangement recommended.

Babin, Victor
Hillendale Waltzes

Eble/Hawkes & Son, London 1947

Details/Comments: Full range to extreme altiss. Bb.  An eight-movement work in theme and variations form, composed on a theme by Johann N. Hummel. Very contrasting styles between movements. Rhythmically very approachable, but some difficult technique. Interesting, well-written, fun piece.

Bax, Arnold

Chappell & Co. Ltd, London 1935

Details/Comments: Range up to altis. F#.  Two movements. Very lyrical with nice melodies.  Some difficult technique and articulated passages.  Modulates through several keys.  Some meter changes.  Piano part often thick.

Benjamin, Arthur
Le Tombeau de Ravel: Valse-Caprices

Boosey & Hawkes, London 1958

Details/Comments: Duration 12’30”    Range to altiss F#
Interesting. Some awkward areas, but most are patterns.  Sequences of 7th chords and chromatic. Various styles. Accidentals everywhere! Basic rhythms in 3/4 time.

Birtwistle, Harrison

Universal Edition, London 1966

Details/Comments:     Range to altiss E
Eight movements in Largo-Andante tempo range. Some complex rhythms. Wide intervals, often downward from grace note.  Precise placement of rhythms with piano. Mostly soft dynamics. No meter (small boxes indicate groupings).

Brahms, Johannes (1833-1897)
Sonata op. 120 No. 1

Peters, New York

Details/Comments:     Range to altiss F                                        STANDARD REPERTOIRE
Four contrasting movements. Wide intervals. Some difficult ensemble ares. Intense, very melodic. Great piece!
*I highly recommend this as a college recital piece. My performance of this work.

Brahms, Johannes (1833-1897)
Sonata op. 120 No. 2

Peters, New York

Details/Comments:     Range to altiss F                                   STANDARD REPERTOIRE
Four contrasting movements. Somewhat easier than Sonata op. 120 No.1. Some intense moments. Moderately difficult technique Great piece!
*I highly recommend this as a college recital piece.

Bresgen, Cesar
Studies III   Heft 2. Schwieriger

Doblinger, München 1968

Details/Comments:     Range to altiss E
Four movements. More difficult than Studies II. Fairly simple accompaniment.  Meter shifts, esp in mvt IV. Idiomatic. Basic rhythms except for some displaced rhythms in mvt IV. Full dynamic range. A few awkward technical spots in mvt IV.

Busoni, Ferruccio (1866-1924)
Concertino, op. 48

Breitkopf & Härtel, Germany 1946

Details/Comments:     Range to altiss G
Nice piece. Some tough technical spots. Awkward fingerings. Long sixteenth-note chord passage. some style markings are difficult with the technique. Syncopation. Altissimo range technical passages.
*Piano reduction.

Copland, Aaron (1900-1990)

Boosey & Hawkes

Details/Comments: Range to extreme altissimo A#
Beautiful, lyrical slow opening. Lengthy notated cadenza connects first section, “Slowly and Expressively” to the “Rather fast” section. Jazz influences abound, as this piece was written for Benny Goodman. Various styles, meter shifts and lots of altissimo sections mark this very rhythmic piece that ends with a smear glissando. What clarinetist doesn’t love that?

Finzi, Gerald
Clarinet Concerto

Boosey & Hawkes, London 1951

Details/Comments: Duration ca. 25′  Full range to extreme altiss. Cb
A beautiful, modern lyrical piece that explores many keys. Phrasing can be tricky at times. A few technically challenging spots. Many tempo fluctuations and meter shifts. Short cadenza in the last movement.
Written for Solo Clarinet and String Orchestra, which is highly recommended for performance. The piano part is indicated “for practice”.
*Personal Favorite

Hindemith, Paul (1895-1963)
Concerto (1947)

Schott, London 1950

Details/Comments: Clarinet in A with Piano*    Duration ca 21′      Range to altiss F
Atonal four-movement work with mixed meters that change somewhat frequently. Mostly idiomatic writing with some technical passages. Repeated use of ideas. Some inverted rhythms and tied triplets. Repeated patterns. Many breaks in motivic lines. Highly interactive accompaniment.
I. Rather Fast–Ziemlich schnell
II. Ostinato     Fast–Schnell
III. Quiet–Ruhig
IV. Gay–Heiter
*Originally for orchestra

Hindemith, Paul (1895-1963)
Sonate für Klarinette (B) und Piano (1947)

Schott’s Sohne, Mainz 1968

Details/Comments: Range to altiss F
Four movement atonal work based on motifs (this means plenty of accidentals!). Frequent meter changes require perfect rhythmic stability. Mostly in lower and middle registers with little altissimo playing. Once you get used to the sounds and tonality (or lack thereof), the Sonate is an interesting and oddly pleasing work, particularly the second and fourth movements.
Movements: I. Mässig bewegt, II. Lebhaft, III. Sehr Langsam, IV. Kleines Rondo, gemächlich

Lutoslawski, Witold
Dance Preludes

Chester Music

Details/Comments: duration ca 7′  Range to altiss F#
Five movements, alternating Fast-Slow-Fast-Slow-Fast. Delightful, but very challenging.  Plenty of meter changes to keep you alert! Technical aspects include lengthy sections of staccato articulation, accents, grace notes, and some awkward spots.
Fun to play and listen to.
Movements: I. Allegro molto, II. Andantino, III. Allegro giocoso, IV. Andante, V. Allegro molto
*Great recital piece

Poulenc, Francis
Sonata (1962)

Chester Music, London 1990

Details/Comments: Duration 13′      Range to altiss G#                        STANDARD REPERTOIRE

This three movement work is interesting and charming despite some of the awkward technique. Various moods are explored in this motivic work, and there is a good bit of altissimo playing.
Movement I. Allegro tristamente, is in ABA form. After a bold introduction, it takes on a very mysterious mood, finishing with a repetition of the very first motif.
Movement II. Romanza is exactly that: a Romance, but seems to be more of a wont for a love one cannot have, composed of melodic lines that seem mournful.
Movement III. Allegro co Fuoco starts out sounding very joyful and playful, but does have some serious moments that reflect back to the mysterious quality of the first movement. With an exciting drive to the finish, the ending is loud and almost abrupt, yet so perfect!

Shaw, Artie
Concerto for Clarinet

Consolidated Music Publishers, New York

DETAILS/COMMENTS:  Range: full range up to 4th octave C
A great jazz piece originally improvised by Artie Shaw, this transcription was written out anonymously and full credit was given to Artie Shaw. This very jazzy solo works best with a small jazz combo (piano, drum set, upright bass). A slow, expressive introduction is followed by a fast section, cadenza, swing section, and a closing cadenza. Technically demanding, but plenty of patterns. Jazz techniques required, including smears, lip slurs, and a very long glissando that goes from clarion G to altissimo G.  Listen to my flawless performance!
*originally for jazz orchestra