Grade 5 Solo Clarinet with Accompaniment

Arnold, Malcolm
Fantasy for Bb clarinet

Faber Music, London, 1966

Details/Comments: Duration 4 min. Full range to altiss. F
Interesting, contrasting sections.  Some rhythms which contradict meter.  Wide intervals.  Some fast technical areas, but very playable and fun. Great ending!

Arnold, Malcolm

Lengnick, London 1951

Details/Comments:  Duration: ca. 7.5 minutes.  Full Range to extreme altiss. A.
Movements: I. Allegro con brio, II. Andantino, III. Furioso
Very energetic outer movements. Mvt II is lacking in interest and rather static.  Jazz influences. Some wide intervals; meter shifts; some tricky technical spots. Heavily accented. Good confidence builder. Take a listen!

Baermann, Heinrich (1784-1847)
ed. H. Voxman and R.P. Block
Air Varié, op.12, No. 2

Southern Music Co., San Antonio, TX 1989

Details/Comments: Range to altiss. F; Key of Bb concert; basic patterns of chords, scales, etc., most idiomatic. Frequent occurrences of 16th and 32nd note groupings. 4/4 time.

Ben-Haim, Paul
Pastorale Variee (for clarinet and orchestra)

MCA Music, New York 1959

Details/Comments:     Range to altiss F#
Standard theme and variations form. Technical passages of basic patterns. Rhythms basic. Cadenza-like 10-15 note groupings in Variation III.

Bernstein, Leonard (1918- 1990)                      
Sonata  (1941-2)                           STANDARD REPERTOIRE

Warner Bros. Pub. 1943

Details/Comments: Duration 10′     Range to altiss G
Two contrasting movements. “Rhythmically interesting”: 5/8 meter in finale and rhythmic shifts from bar to bar. Meter changes, sudden tempo/style changes. Lots of articulation. Some wide intervals. Nice lyrical sections. Great piece!
*I highly recommend this as a college recital piece.

Brown, Rayner

Western Int’l Music, Inc., CA 1970

Details/Comments:     Range to altiss F#
Four movements. Atonal. Interesting. Idiomatic. Rhythms include quarter note triplets and eighth note quintuplets, dotted eighth note pairs in 6/8 meter and groups of 5 across the bar. Simple patterns.

Busoni, Ferruccio (1866-1924)

Breitkopf, Leipzig 1976

Details/Comments: Duration ca. 3’30”  Range to altiss F
Slow and expressive (Andante sostenuto). Some altissimo work. Dotted rhythms, many under slurs. Mostly softer dynamics. Some wide intervals. Phrasing, shaping, but few markings. Piano nearly all accompaniment.

Crusell, Bernhard Henrik (1775-1838)
Konzert f-moll für Klarinette und Orchester, Op. 5

Details/Comments: Range to altissimo G
This three movement work is a standard classical composition. Idiomatic for clarinet. Nice melodies and plenty of 16th note runs in basic patterns and scales.
*Excellent recital piece

Devienne, François (1759-1803)       ed. J. Lancelot
Deuxième Sonate

Editions Musicales Transatlantiques, Paris

Three contrasting movements in Classical concerto form.
A great piece to study and perform before learning the Concerto for Clarinet by Mozart (and was composed around the same time), this concerto is fun, interesting, and lively. It involves mostly idiomatic technical passages based on scales and chords.  The slow second movement is extensive and rather elaborate, with frequent 32nd and 64th note passages. The final movement is a classical Rondo.
*Personal favorite

Heiden, Bernhard (1910-2000)
Sonatina (1935)

Associated Music Publishers, 1957

Details/Comments: range to altiss. Gb
Simple, but interesting. “With charm and a measure of brilliance.”
I. Con moto: in 6/8 and 9/8.
II. Andante: in simple meters and interesting rhythmic figures
III. Vivace, ma non troppo: Lively and technically demanding. A few short meter changes.

Rossini, Gioachino (1792-1898)    ed. David Glazer
Introduction, Theme and Variations

Oxford University Press, NY 1970

Details/Comments: Range to altiss A
Operatic, aria-like introduction (which might be expected from an Italian opera composer). Variations show the agility of the clarinet with mostly idiomatic technique that includes scale passages, arpeggios,  and chromatic runs.  The finale sections includes some moderate technical challenges in the altissimo register.  The rhythms are pretty straightforward and there are plenty of different articulation patterns.

Saint-Saëns, Camille (1835-1921)
Sonata, op. 167

Master Music Publications

Details/Comments: range to ext. Altiss. A
This four-movement Romantic work is a lovely conversation between the clarinet and the piano.
Mvt. I. Allegretto: in ABA form, the simple theme is built from an opening motif. The contrasting B section is a bit more intense, built on a melodic pattern and developing rhythmically until a near-identical repeat of the A section.
Mvt. II. Allegro animato is in cut time and joyfully bounces through arpeggios and 12ths. The light and happy movement is truly fun for the player and the listener.
Mvt. III. Lento is slow and sustained and is comprised of two main sections. The second section is nearly identical to the first except that is two octaves higher.
Mvt. IV. Molto allegro is a “barn burner,” racing up and down scales in the opening and again later, with several chromatic descents. While revisiting the motif from the first movement in a syncopated variation, the fourth movement becomes very intense as earlier melodic ideas are developed. The fourth movement ends calmly, returning to the A section of the first movement.

Schumann, Robert
Three Romances, Op. 94 (1849)

G. Schirmer, New York 1926

  1. Nicht Schnell
  2. Einfach, innig
  3.  Nicht Schnell

Range is mostly in the middle, chalumeau
Very typical Schumann. Movements 1 and 3 fit well under the fingers, but second movement transposes to a less idiomatic key and leaves little room for breath. A very melodic and lyrical piece with tempo fluctuations, but all three movements are around quarter note = 100.  Great for a recital.
Three Romances was originally written for oboe.