BERNSTEIN CLARINET SONATA PDF

With Mozart out of the picture he never composed a clarinet sonata! We hope you enjoy their playlist, which features some of our Clarinet Month interviewees. The piano writing here is especially virtuosic too. The Molto allegro fourth movement follows without a pause and gives the soloist the chance to show off their virtuosity. The first movement switches between the impetuous and the sly, the dreamy and the impish. A wistful Romanza is then followed by an outrageously cheeky finale, but even here, Poulenc stops to paint great arcs of melody.

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The sonata is in three movements : 1. It bears the somewhat paradoxical subtitle "Allegro tristamente": accordingly, the piece is always in motion, but proceeds with a sense of grieving. At one point the clarinet seems stuck in a motivic rut, sadly leaping up and down between octave B tones over a shifting harmonic background. As the movement ends, the lingering memory is a fuzzy one of melancholy gestures and moods. The clarinet melody is simple and somber throughout, but is elaborately embroidered in a few places, as if losing composure.

Two particularly poignant examples are the sixty-fourth note runs near the beginning, and the trembling half-step figure that appears at the beginning and end.

Poulenc died suddenly of a heart attack on 30 January before it was published, and an editor was employed to ascertain the identity of some notes, as well as provide missing dynamics and articulations. Harold C. But what he did, he did perfectly, and his music shows remarkable finish, style and refinement The sonata In the first movement, skittish thematic elements are broken up by a broadly melodic middle section. The slow movement is one of those melting, long-phrased and unabashed sentimental affairs that nobody but Poulenc could carry off.

Weakest of the three movements is the finale, which races along but has little immediacy. These works, the Sonata for two clarinets and the Sonata for clarinet and bassoon , are representative of an early style of experimentation for Poulenc.

Both works make use of "wrong-note" dissonance and mix tonal harmony with modal harmony. Texturally, the works feature parallelism , imitation , and melody with accompaniment. Both works are very brief and could perhaps have been titled sonatina. The work is brief, with two fast movements bookending a slow middle movement that features the first clarinet player in solo role with the second clarinet taking an accompaniment role with an ostinato.

A sonata for flute was composed in , while one for oboe was completed a few weeks after the one for clarinet. A sonata for bassoon was never begun. Like the clarinet sonata, the oboe sonata is dedicated to the memory of a lost friend: in this case, Sergei Prokofiev. Poulenc modified his usual fast-slow-fast pattern of movements to slow-fast-slow.

The concluding lament is particularly suited to the qualities of the oboe. The thirty-second note figure that opens the flute sonata appears with some alteration in the first movement of the oboe sonata, and in rough inversion during the second movement of the one for clarinet; likewise, a motive consisting of a dotted note filled out by two shorter notes appears in multiple places in all three sonatas. Finally, Daniel notes the overall similarity of mood in the second movements of the flute and clarinet sonatas.

London: Chester Music , cat. CH, [6] ed. CH, [8].

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