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The A-flat (A♭) clarinet is the highest-pitched instrument of the clarinet family still manufactured. It is just over half the length of the common B♭ clarinet and pitched a minor seventh higher, a perfect fourth higher than the E♭ clarinet .
The E-flat (E ♭) clarinet is a member of the clarinet family, smaller than the more common B ♭ clarinet and pitched a perfect fourth higher. It is typically considered the sopranino or piccolo member of the clarinet family and is a transposing instrument in E ♭ with a sounding pitch a minor third higher than written.
The work is scored for a large orchestra comprising three flutes (3rd doubling piccolo), two oboes (2nd doubling English horn), English horn, two clarinets (1st doubling A-flat clarinet; 2nd doubling E-flat clarinet), bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, three percussionists, celesta, harp, and strings.
After the Duke's death, Solère became first clarinet in the French King's orchestra. Thanks to his reputation, he was recruited as a professor at the Conservatoire de Paris, founded in 1795. His friendship with François Devienne greatly influenced his creative work. His compositions are mainly known today for his works for clarinet.
The 1st movement, in E-flat major, begins with an exposition of the main theme by the orchestra. The clarinet soloist enters with a high F (E-flat in terms of concert pitch) followed by a 3 octave jump before repeating the opening theme. This 3 octave jump, along with other large leaps, is stylistic of this movement.
The Sinfonia Concertante for Four Winds in E-flat major, K. 297b (Anh. C 14.01), is a work thought to be by Wolfgang Amadeus Mozart for oboe, clarinet, horn, bassoon, and orchestra. He originally wrote a work for flute, oboe, horn, bassoon, and orchestra, K. Anh. 9 (297B), in Paris in April 1778.
The E-flat major theme is sixteen bars in length. [2] The next section is marked poco più vivo. In some editions, what follows is "Variation I", though it could be argued that the previous section is actually the first variation. In any event, the so-called Variation I presents variations of the theme in triplets.
Concertino in E-flat major for clarinet and orchestra, Op. 26, J. 109 (1811) Concertino in E minor for horn and orchestra, Op. 45; Konzertstück in F minor for piano and orchestra, Op. 79; Ermanno Wolf-Ferrari: Idillio-concertino in A major for oboe, two horns, and strings, Op. 15 (1933)