Kapelle Rubin, Getzmann, Buser

The compositions by the greatest Brazilian tango composer and pianist Ernesto Júlio de Nazareth (1863 -1934) are strongly influenced by Brazilian folk music. He preferred light entertainment, and his dance music has remained extremely popular in his home country until today. Heitor Villa-Lobos called him ‚the true embodiment of the Brazilian soul‘. Nazareth composed primarily choros music which is very common in Brazil, but it was his 25 tangos (25 Tangos Brasileiros for piano, Schott ED 7561) that made him famous. Three of these tangos have now been arranged for chamber music ensemble by Siegfried Schwab: Atrevido, Garoto and Carioca. With the slow Garoto being framed by the faster tangos Atrevido and Carioca, they are ideal for being performed as a cycle. The lively and characteristic tango rhythms are a valuable addition to any chamber music repertoire. Instrumentation: flute, clarinet in Bb (viola) and guitar

The biography of the reserved and withdrawn composer Johanna Senfter is not characterized by any outstanding events or incidents. Born in Oppenheim on the Rhine on 27 November 1879, the composer chose to live on the Sparrhof, her family’s estate, all her life until her death on 11 August 1961. Her amazing musicality already showed at an early age and was early recognized and actively encouraged by her parents. Max Reger repeatedly testified to his pupil’s ‚extraordinary compositional talent‘. The works by Johanna Senfter are mainly influenced by Brahms and Reger, but she knew pretty soon how to further develop Reger’s personal style individually in her own works without ever crossing the – widely drawn – boundaries of a harmony based on the functional theory. The time of creation of the Sonata for A clarinet (or viola) and piano Op. 57 can only be estimated: probably around 1925. There is only solid evidence of the place and date of the world premiere: Karlsruhe, 8 December 1932. This edition of the previously unprinted sonata is based on the composer’s autograph kept at the library of the Cologne Academy of Music. Instrumentation: clarinet (in A) and piano op. 57

Maurice Ravel’s melancholy popular ‚Pavane for a Dead Princess‘ composed in 1899 was originally written for piano before he arranged it for orchestra in 1910. Though dedicated to a real princess, the Princesse de Polignac, the work does not refer to an actual historical person. Instrumentation: flute, oboe, clarinet, horn and bassoon

Every year again in the Advent and Christmas season, pupils ask for Christmas carols which are easy to play, yet sound beautiful. In response to this demand, Rudolf Mauz now presents an edition for four clarinets following the anthology Drei Klarinetten zur Weihnacht (Schott ED 9998). The quartets are set in easy keys and times so that they can be well mastered by beginners as well. Parts 3 and 4 do not contain any overblowing, part 4 may alternatively be played by bass clarinet. Apart from the most popular Christmas carols from the German-speaking areas, the book also contains internationally well-known titles such as Jingle Bells, The first Noel, Deck the Halls, Joy to the World, We wish you a Merry Christmas and Rudolph, the Red-Nosed Reindeer. Instrumentation: 4 clarinets

Robert Schumann nahm in Leipzig Klavierunterricht bei Friedrich Wieck, dem Vater seiner späteren Frau Clara. Er begann zunächst ein Jurastudium, ab 1830 widmete er sich ausschließlich der Musik. Als Komponist und Musikschriftsteller (er begründete die „Neue Zeitschrift für Musik“) ist Schumann der vielleicht typischste Vertreter der deutschen Romantik. Er schrieb 4 Sinfonien, Liederzyklen, große Vokalformen, Kammermusik und Klaviermusik, letztere z.T. auch für seine Kinder („Album für die Jugend“, 1848).

Ludwig van Beethoven verbrachte seine Jugend in Bonn und war dort Schüler von Chr.G. Neefe. 1792 siedelte er nach Wien über und war dort kurze Zeit Schüler von Haydn, später von Salieri. Ab 1800 begann Beethovens Gehörleiden, das schließlich zur völligen Taubheit führte. Er komponierte 9 Sinfonien, 5 Klavierkonzerte, 32 Klaviersonaten, Kammermusik u.a.

A romantic concerto full of expressivity, virtuoso and suited to the playing techniques of the clarinet. Instrumentation: clarinet and orchestra op. 23

Walter Bergmann was born in Hamburg in 1902, the son of a German railway official. The family was musical but after studying flute and piano for a while at the Leipzig Conservatoire, Walter decided to study law in Halle, gaining his Doctorate in 1932. In 1938 he fell foul of the German authorities, having defended a number of Jewish clients, and he escaped to England, where he was only allowed to enter on condition that he did not work, with two suitcases and ten marks. His wife Greta and daughter Erica were able to follow him a few months later. After spending some months interned in the Isle of Man during the war, he was released and allowed, with certain restrictions, to take employment. However, his legal expertise was of no use in England. so he decided to make music his career. Walter had already met Edgar Hunt, who was professor of flute and (later) recorder at Trinity College of Music in London and was also on the staff at Schott and Co., music publishers. When Edgar went into the army during the Second World War, Walter took his place at Schotts and at the end of the war they began to work together, preparing hundreds of recorder publications between them over the years. Walter’s most valuable contribution to the recorder scene was probably his work in rediscovering and editing. Baroque works by Barsanti, Blow, Dieupart, Purcell, Schickhardt and Telemann, although he also arranged Byrd, Haydn. Schubert, Dvorak, Slavonic and Russian tunes and took a practical interest in the Orff movement. Many musicians from all over the country owe some of their earliest musical experiences to his Handel, Purcell and Bach Albums. As well as publishing. Walter also conducted, accompanied and taught in the London area, meeting and working with such well-known musicians as Michael Tippett and Alfred Deller. He taught classes at different venues in London for many years and continued his interest and scholarship until his death in 1988.

Clarinet studies in the past have been predominantly concerned with technical problems only. This collection, however, marks a new departure by selecting from the works of the great masters, passages which lend themselves to the treatment of particular technical problems, but they also introduce musical values which are entirely lacking in literature devoted to the study of the instrument. These studies are based on music not originally written for the instrument, and have been freely adapted without impairing their proper musical significance. Besides treating particular problems, these studies include many styles from Bach to the present day, with which every ambitious musician should be thoroughly acquainted. Instrumentation: clarinet in Bb

Reihe: Klarinetten-Bibliothek Anzahl Seiten: 44