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Op. 120, No. 1, also entitled Opus 120, No. 1 or in its German form, Opus 120, Nr. 1, is a 1986 arrangement for clarinet and orchestra of Johannes Brahms's Clarinet Sonata Op. 120, No. 1 by Italian composer Luciano Berio. As with the original Sonata, the soloist in this arrangement can either be a clarinet or a viola.
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 ]
A clarinet sonata is piece of music in sonata form for clarinet, often with piano accompaniment. The Clarinet Sonatas by Brahms are of special significance in the development of the clarinet repertoire.
While many musicians and educators insist that manually doing transcriptions is a valuable exercise for developing musicians, the motivation for automatic music transcription remains the same as the motivation for sheet music: musicians who do not have intuitive transcription skills will search for sheet music or a chord chart, so that they may ...
He had completely free rein, except that I should have a two-year exclusivity on playing the work. ... 3 Clarinet Concertos. XLNT Music CD-18011, 2004, (p) 2004; Jon ...
In 1990, Librarian of Congress James H. Billington presented Louisiana congresswoman Lindy Boggs with "three gifts" from the collection of the Library of Congress, including "a facsimile of sheet music for a 1935 piece, 'Louisiana Fairy Tale,' accompanied by a cassette of the music with Fats Waller on piano and vocal".
Compositions for clarinet, violin, cello and piano (3 P) Pages in category "Compositions for clarinet" The following 25 pages are in this category, out of 25 total.
The music unfolds in fits and starts, with the clarinet breaking loose like some avant-garde jazz improviser, and the orchestra erupting in dense chords that sound like drive-by whooshes." [ 2 ] Richard Fairman of the Financial Times similarly wrote, "At times the concerto feels like a musical, out-of-body experience."