My one complaint and understand it's a minor one is that the clarinet at times has a slightly steely edge to it. I heard it even when the clarinet was playing in the lower register. That edge softened considerably when played through a higher quality audio system your mileage may vary. What didn't vary, though, were the quality of the performances.
And that's reason enough to add this release to your collection. Larghetto, ma non troppo, un poco con moto. Larghetto, un poco con moto. Allegretto affabile, con moto. Henle Verlag in gewohnt ausgezeichneten Urtext-Ausgaben vor, die insbesondere bei den Sonaten eine echte Bereicherung und Verbesserung im Vergleich zu bisherigen Editionen bedeuten Endlich eine Ausgabe mit Taktzahlen!
Look inside Download cover Share on …. VAT, plus shipping costs available Amount 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 Add to basket. You will find more interesting videos on our YouTube channel: Max Reger Late-Romantic composer who combines a chromatic tonal language with Baroque and Classical forms, thus anticipating s neoclassicism.
Michael Kube Editor Dr. The piano continues to move in triplet arpeggios against the familiar bass, but these introduce more syncopation. The left hand still plays two triplet arpeggios against this. At the two bars with the cadence and the rapid motion back to A-flat, the clarinet moves back to the original higher octave and the piano plays its original notes. The piano arpeggios, still in triplets beginning off the beat, are now played by both hands in contrary motion rather than in single descents split between the hands as at 3: The triplet arpeggios in contrary motion continue in the piano until the climax, where the right hand continues to play the triplets while the left moves to solid bass notes.
At the final cadence, the clarinet line introduces syncopation and a dotted rhythm, continuing to move down beyond the cadence note to a low E-flat, introducing the coda. It begins in A-flat, but the chromatic note G-flat is prominently introduced. This suggests both E-flat minor and D-flat major, but the music does not move to either key.
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The clarinet is absent for this climax and descent. It is played in the original high octave. The piano line here resembles the slow descents of the opening, but a high octave is placed between a chord on the first beat and the expected low note now a pedal-point A-flat on the second. Before this, the entire movement is built on regular phrases of two, four, or six bars. In the last two bars, the piano abandons its pattern, closing with two chords under the final clarinet motion to A-flat. The melody and its accompaniment begin on an upbeat.
In the third and fourth bars, the piano right hand subtly imitates the rhythm of the clarinet. The melody is transferred to the piano right hand, leaving the clarinet to decorate it with three-note groups and other figures both on and off the downbeats. The harmony, moving from E-flat to A-flat, is as in the first statement.
The mood suddenly becomes more boisterous. In the first phrase, the clarinet blasts it out in its lowest register, with full and rich piano accompaniment. A second phrase begins as if moving the first one up an octave, but the clarinet figures diverge in the third measure, stalling on an upward moving line.
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Meanwhile, the piano shifts the harmony to D-flat. The clarinet plays a two-note descent for the first two, then the piano also takes that over alone in the last two, with syncopation in the left hand. These last piano chords shift from D-flat to E-flat for the resumption of the main melody.
For the first phrase in E-flat, the piano plays the melody. The clarinet accompanies with more elaborate figures than it had at 0: The second phrase, which still makes the familiar shift to A-flat, is completely transformed. The clarinet spins its first two measures out into full six-note groups, and the piano follows suit in the accompaniment.
These last two bars are repeated with the clarinet an octave lower and the piano right hand an octave higher. The clarinet begins by spinning its last figures upward for two bars without the piano. The piano then enters with soothing chordal descents as the clarinet continues to work upward. The clarinet finally reaches a resting point on a high A-flat. It then jumps down to the lower octave for the final cadence, which is warmly concluded by a descent in the piano. The last bar m. Boisterous variation of the melody, as at 0: The second ending m.
The right hand also descends, but it begins a third higher, doubled an octave above for a very high sound, and a half-beat later, creating syncopation across the bar. The directional imitation is not exact, and the right hand typically leaps up after the left leaps down. The clarinet, meanwhile, plays sustained notes with very little activity in its lowest register.
Jean Xavier Lefevre, Csaba Klenyán, Péter Kiss
In the last bar, the piano left hand leaps down, and a full F-minor cadence is averted. In the first four bars, the clarinet drops out. The piano left hand adds a lower voice that approximates the clarinet notes. This supersedes some of its downward leaps. The right hand is unchanged. These bars are marked pianissimo , quieter than the first statement.
The clarinet enters for the last four bars, and the piano returns to its original pattern. The piano continues its quasi-imitation between the hands, usually a third apart, but now closer to the middle of the keyboard and with an added bass voice. The clarinet now moves into its stronger middle register and a more soaring line. Part 2 begins with a shift to A-flat major with many chromatic notes. It then appears to move back to E-flat with a distinctive, emphatic four-note gesture in the clarinet which is then more quietly inverted. The key is confirmed in four more forceful bars based on the previous clarinet gestures, with full chords in the piano.
Clarinet Sonata No. 1 In A-Flat Major, Op. II. Vivace - Alan R. Kay & Jon Klibonoff | Shazam
The left hand still leads, but now the clarinet plays along with it. The left hand has a descending line harmonized in thirds with many notes doubling the clarinet line. The clarinet plays the line originally played by the right hand, but on the beat. The right hand, playing after the beats as before, now plays a line more closely resembling the original left hand descent, but its leaps typically follow the direction of the clarinet. The first six bars follow Part 1 relatively closely, then two extra bars are inserted before the last two reach a full F-minor cadence, the clarinet again descending to the low register and fading away.
Soaring phrase in A-flat and E-flat with motion to F minor, as at 2: The first of these is on the second beat of the bar, creating rhythmic uncertainty. But now the clarinet is removed from the phrase and the left hand is much more active, with widely spaced arpeggios. All of Part 2 is essentially the same as its first two statements. Under this fanfare-like gesture, a vigorous accompaniment begins with treacherous broken octaves in the left hand. The fanfare spins out into a melody that serves as a call to action.
The clarinet enters with an upbeat flourish as the piano plays its final chords. This is immediately repeated an octave lower and at a suddenly quieter level in preparation for the actual rondo theme. The clarinet presents the grazioso rondo theme, which is characterized by a cheerful buoyancy and a light touch, especially in a series of staccato two-note repetitions.
The accompaniment is also smooth, then light, gliding up the keyboard, then bouncing with the staccato notes. The last two bars make a seamless turn from F major to A minor. The piano plays a downward arching arpeggio in octaves, which emerges into chords moving from A minor to A major. The clarinet notes played against the following chords artfully slide back to the rondo theme in F major. The second phrase diverges, expanding in scope and in volume. The following three-note descent comes directly from the introduction.
Most of it is played by the piano alone, building off the gestures from the introduction and moving to C major. The last descending arpeggio is imitated a fourth lower by the clarinet, which enters at the last minute, quieting things in preparation for the first contrasting theme B. Nonetheless, a link to the rondo theme remains, as the three tolling repeated notes again establish themselves in the bass, now transposed from F to C.
The clarinet adds leaps up two octaves, also in triplet rhythm. The two octave leaps move to the piano bass. The last bar of the phrase is altered. The sixths contract to thirds and slide down chromatically. The clarinet then takes over the melody, repeating the top piano notes of the previous bar, a repetition not present in the first phrase.
A two-bar unit is repeated a step higher. The piano takes on a rocking motion, also still in triplets. The left hand plays isolated rolled chords. The clarinet plays the opening repeated-note gesture of the introduction, but on C instead of F. The piano responds with its own figures from the accompaniment to the introductory fanfare. The clarinet then joins these in harmony. The piano left hand joins it, but with a clashing harmony a step lower, on B-flat. This B-flat announces the move back to F major. The right hand of the piano begins an excited passage derived from both the rondo theme and the triplet theme.
Clarinet Sonata No. 1 in B-Flat Major: III. Rondo
Two-note harmonies alternate with higher single notes. These harmonies begin with sixths, but then include fourths, fifths, and thirds. The right hand bounces around the keyboard with this pattern, the left hand adding strong punctuating chords. After dropping out for five bars, the clarinet artfully enters with its two upbeat flourishes from the introduction, the second still quieter and an octave lower, as the piano settles into the last chords of that introduction, announcing the return of the rondo theme.
Thus, Part 2 is now a solo passage for the piano. The first phrase is subtly varied from 0: In the first two bars, the parts are reversed so that the piano right hand, rather than the clarinet, takes the melody. The clarinet plays the arpeggios previously heard in the piano. After these two bars, the clarinet drops out, and the piano alone plays a variation, with broken octaves, of the light staccato passage. The clarinet again drops out as the piano plays a very extroverted, fully harmonized variation of the arpeggios from Part 2 of the theme b.
The left hand now plays in contrary motion, with wide leaps. The variant is heard in C major, then a third lower on A major. There, the clarinet enters with the beginning of the rondo theme in a minor-key transformation. The three repeated notes, low in the bass, are now on D. After two bars, the clarinet drops out, and the formerly light, staccato part of the theme is now played in heavy bass octaves with middle-register off-beat chords in the right hand.
After two bars, the theme begins to trail off with a series of descents in doubled thirds and sixths. Things become more fragmentary until a short-long rhythm is passed between the piano and the clarinet and the volume settles down to a subdued level. These short-long rhythms anticipate the dotted rhythm of the second contrasting theme C.
The main argument is a long-short dotted rhythm followed by another longer note on the third beat of the bar. The shorter note is usually a step higher than the longer ones. The first four-bar phrase is taken by the piano alone, with left hand chords on the second and fourth beats. The third and fourth bars have leaps up a fourth and a third in straight rhythm.
Sonatas and Pieces for Clarinet and Piano
This phrase is answered by the clarinet, which begins lower, but expands the dotted rhythm with wider leaps of a fifth, leading to a closing descent. Under the clarinet, the left hand plays a bass line on the strong beats, with the right hand taking the harmonies on the second and fourth beats.
The clarinet takes the first phrase, adding flowing decorations to the last two bars. The piano maintains its pattern from the previous phrase with a bass line on the first and third beats. Then the second phrase is played by the piano alone, beginning at the same pitch level as the clarinet did when it played it. The last two bars of this phrase are also decorated with more active notes, and they build in volume.
The line then moves downward and the key shifts back to F major. The second phrase never appears, the first phrase moving into a transition over seven bars. The last two bars are a wonderfully extended cadence in F major, with anticipatory pauses after the notes A and G. The two-octave leaps are in the piano right hand, and the triplet melody, still harmonized in sixths, is in the left hand. The clarinet harmonization of the melodic line, however, is not present. At the end of the phrase, where the clarinet took over the melody before, those notes are added to the chords of the piano right hand.
The soaring line formerly played by the clarinet is now taken by the piano in octaves. The right hand follows behind the left, playing off the beats, creating broken octaves and syncopation. The rocking lines heard before in the piano are transferred to the clarinet, which also plays in broken octaves. All lines are still in the triplet rhythm.
The variation in straight eighth notes is essentially unchanged, but the clarinet is absent. All of the imitations and octave shifts are played by the piano right hand, which must make rapid, treacherous leaps, while maintaining a light touch, to accomplish them. The left hand still plays rolled chords. The section that follows is also similar, but the clarinet, entering briefly, leads into the strong piano chords.
The passage is also extended by three bars and intensified, emphasizing syncopated piano chords and ending with a descent of first-inversion chords in the right hand. The clarinet plays the tolling motto of three repeated notes on that pitch, and the piano follows with rising octaves on it, heavily emphasizing and establishing the note while greatly diminishing in volume and intensity. The piano harmonies then confirm the key, and the clarinet plays the motto notes an octave lower. D-flat is then re-interpreted as C-sharp and used to pivot to A, where the clarinet again plays the motto notes.
The piano uses that pitch as the third of F to move back home to F at a very quiet level. This brief diversion far afield from the home key serves to set up the last, varied return of the rondo theme. Unexpectedly, it is expanded and spun out, doubled in length and culminating in a clarinet arpeggio that seems to divert to C major.
Another two-bar extension, suddenly quieting down, leads back to an arrival on F and at the theme with a descending clarinet arpeggio. The harmony and contour of the theme are still recognizable, but its character is completely changed. The entire first phrase takes on the character of the light staccato portion, with the grazioso element completely removed.
The right hand imitates the left an octave higher and after the beat. The clarinet adds punctuating staccato notes in its low register. The octave imitation breaks after two bars. The second phrase is suddenly louder and based on syncopated chords, again with the right hand imitating an octave above the left. The clarinet settles things down with the expected motion to A minor as the staccato figures, now more isolated, return in the piano.
Again, the harmony is recognizable, but the arpeggio element is replaced by block harmonies, brief upbeat clarinet figures retaining a bit of the previous character. It begins forcefully, but quiets down as it becomes more active.