#clarinet quartet

[lesser-known-composers]

Antonio Casimir Cartellieri (1772-1807) - Quartet Nº 3 in B flat Major for Clarinet

#1. 00:00 - Allegro #2. 8:17 - Larghetto con espressione #3. 11:36 - Menuetto. Allegro #4. 14:59 - Rondo. Allegro

Dieter Klöcker (Clarinet)

Consortium Classicum :

Almut Seifert (Violin); Niklas Schwarz (Viola); Armin Fromm (Violoncello)

[lesser-known-composers]

Bernhard Henrik Crusell (1775-1838) - Clarinet Quartet No.2 in C-minor, Op.4 (1817)

Mov.I: Allegro molto agitato 00:00 Mov.II: Menuetto 05:21 Mov.III: Pastorale (Un poco Allegro) 10:46 Mov.VI: Rondo (Allegro) 15:27

Ensemble: Avanti! Quartet

Clarinet: Kari Kriikku; Violin: Sakari Oramo; Viola: Tuula Riisalo; Cello: Lea Pekkala

[lesser-known-composers]

Paul Müller-Zurich (1898–1993): Clarinet Quartet in C Minor, Op.26

00:00 Moderato - Un Poco Pasonate 05:24 Scherzo Finale - Molto Vivace

Roland Roberts - Violin, Alan Hacker - Clarinet, Oliver Gledhill - Cello, Andrew Zolinsky - Piano

[lesser-known-composers]

Bernhard Henrik Crusell Clarinet Quartet No 1 in E flat major op. 2: II. Romanze. Cantabile ·

László Horváth · · clarinet

Trio Dumas :

Joseph Puglia, violin · Chaim Steller, viola · Örs Kőszeghy, cello

[lesser-known-composers]

Václav Pichl (1741-1805) - Quartet for Clarinet and Strings in E flat major Op16

1. Allegro 2. Larghetto cantabile 3. Rondo. Allegretto

Jiří Krejčí Clarinet; Vaclav Navrat Violin; Jan Simon Viola; Petr Hejný Violoncello

[lesser-known-composers]

Heinrich Joseph Baermann (1784-1847) - Clarinet Quartet No.3 in E-Flat Major, Op.23 (1821)

00:00 Allegro Non Troppo 07:10 Adagio 12:18 Allegro

Dieter Klöcker (Clarinet) and Berlin Philharmonia Quartet

[lesser-known-composers]

Jean Xavier Lefevre (1763-1829) - Clarinet Quartet No. 4 in C Minor: I. Allegro moderato ·

Eduard Brunner; Ana Chumachenco; Hariolf Schlichtig; Wen-Sinn Yang

[automaticfrenchhorn]

Today's study combines a few ideas from my previous studies into a mysterious piece for clarinets.

Like study 84, this piece explores the phrygian mode in a slightly atypical way, once again having the main melody line function in the relative dorian mode, with its root being one step lower.

The melody itself is doubled, though shifted across both pitch and time. Like study 58, the melody is doubled at intervals other than the octave, but here it stays within the diatonic scale, rather than creating intentional cross-relations. The delay that the melodic doublings have is a continuation of an idea I used in the ending of study 71. There, the players played a brief chorale-like texture, but each voice moved at slightly different times.

By combining both ideas in this study, the melody is given a wonderful hazy effect, where the sense of pitch and rhythm are both somewhat obscured, leaving behind only an impression of what the melody is. I find this effect fascinating, and I am definitely going to continue exploring it.

As always, these pieces are welcome for anyone and everyone to play! All I ask is that you share it with me, because I'd love to hear it done by live players!