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Three Pieces for Solo Clarinet is a solo instrumental work by Igor Stravinsky.The work was composed in 1918. [1] It was published in 1919, shortly after the completion of his Suite from L'Histoire du Soldat, as a thank-you gift to the philanthropist and arts patron Werner Reinhart, who was also an amateur clarinetist. [2]
Michael Lowenstern (born August 23, 1968) is an American musician, composer and educator, specializing in bass clarinet.He is well known for his YouTube channel Earspasm [1] and for his many recordings featuring the bass clarinet as a solo instrument in classical, jazz, and electronica formats.
These Konzertstücke are virtuoso concertante works, but the Sonata in E-flat major, written by Mendelssohn in 1824, when he was only 15, is genuine chamber music: the clarinet and the piano are both used equally as a melody and an accompaniment instrument, but the demands on the clarinettist are far more modest than in opp. 113 and 114.
Cavallini played on a six-key boxwood clarinet, which was considered an "outdated" instrument. [4] Cavallini was described as the "Paganini of the clarinet". [2] His playing inspired Verdi to compose a clarinet solo and cadenza in his 1862 La forza del destino, and led Panizza to include a set of variations for clarinet in his The Challenge of ...
Fantasy-Sonata is a piece in E-flat major for clarinet and piano composed by John Ireland in 1943. The work is Ireland's only extant piece for solo clarinet and one of his last major compositions before his retirement. [1] It is dedicated to Frederick Thurston and was premiered by Thurston and Ireland in January 1944.
Unusually in a music that values improvisation, it became a set piece. Commonly, later clarinetists would solo once through reproducing or sticking close to Picou's solo, and then do their own improvisations on a second solo. He often played on an unusual Albert Penzel-Mueler alto clarinet with the horn bent upwards instead of straight ahead.
It is the most frequently performed work in the solo bassoon repertoire. [1] Osborne recorded the rhapsody in collaboration with Sol Schoenbach for a 1952 radio program of contemporary American music run by WNYC in New York. The piece's working title was "Study for Bassoon", but Osborne intended to make it playable on clarinet as well.
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