Liner Notes
Cat. No. NWCRL374
Release Date: 2011-01-15
Michael Webster, clarinet; Beveridge Webster, piano
Donald Martino writes:
“A Set for Clarinet, composed at the rate of one movement per day, and completed on February 9th, 1954, is in three movements, of which the first two, marked Allegro and Adagio, respectively, are in ternary form, while the final Allegro is binary. The term 'set' used in dance band parlance refers to the practice of collecting a number of pieces to be played as a group before a short intermission.”
Verne Reynolds writes:
“These Caprices were written during March of 1972. The piano part is strictly accompaniment and often plays the same figures as the clarinet. The clarinet writing concentrates on several things that the clarinet seems to do well, such as entering and leaving very softly, slow smooth slurs, rapidly slurred notes and arpeggiated cadenza-like figures. The first Caprice has all of these elements in a slow-fast-slow formal pattern. The second Caprice is a motion piece, with a steady flow of 16th notes played pianissimo throughout. Caprice No. 3 is slow with large slurred intervals. The last Caprice is free with cadenza-like passages in both instruments."
Michael Webster writes:
“Five Pieces For Clarinet Solo were begun as an exercise in composing away from the piano, attempting to utilize some of the idiomatic possibilities of the clarinet as a solo instrument. Brief as they are, they were originally even shorter, and arrived at their present form only after the first and fourth movements were extended and a trio added to the third movement. Their nature is that of short, contrasting character pieces, each one based on a limited amount of thematic material and featuring one or more techniques indigenous to the clarinet...
“The only true twelve-tone writing in this album is in the Three Duologues which Louise Talma wrote for our 1968 Town Hall recital. Her use of the row, however, is delightfully free, and the Duologues are not without tonal implications. She, too, is concerned with the coloristic possibilities of the clarinet and piano, as evidenced by the intermittent unisons which characterize the openings of both the slow and fast sections of the first Duologues.
This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Liner notes are accessible via the link above.
Donald Martino writes:
“A Set for Clarinet, composed at the rate of one movement per day, and completed on February 9th, 1954, is in three movements, of which the first two, marked Allegro and Adagio, respectively, are in ternary form, while the final Allegro is binary. The term 'set' used in dance band parlance refers to the practice of collecting a number of pieces to be played as a group before a short intermission.”
Verne Reynolds writes:
“These Caprices were written during March of 1972. The piano part is strictly accompaniment and often plays the same figures as the clarinet. The clarinet writing concentrates on several things that the clarinet seems to do well, such as entering and leaving very softly, slow smooth slurs, rapidly slurred notes and arpeggiated cadenza-like figures. The first Caprice has all of these elements in a slow-fast-slow formal pattern. The second Caprice is a motion piece, with a steady flow of 16th notes played pianissimo throughout. Caprice No. 3 is slow with large slurred intervals. The last Caprice is free with cadenza-like passages in both instruments."
Michael Webster writes:
“Five Pieces For Clarinet Solo were begun as an exercise in composing away from the piano, attempting to utilize some of the idiomatic possibilities of the clarinet as a solo instrument. Brief as they are, they were originally even shorter, and arrived at their present form only after the first and fourth movements were extended and a trio added to the third movement. Their nature is that of short, contrasting character pieces, each one based on a limited amount of thematic material and featuring one or more techniques indigenous to the clarinet...
“The only true twelve-tone writing in this album is in the Three Duologues which Louise Talma wrote for our 1968 Town Hall recital. Her use of the row, however, is delightfully free, and the Duologues are not without tonal implications. She, too, is concerned with the coloristic possibilities of the clarinet and piano, as evidenced by the intermittent unisons which characterize the openings of both the slow and fast sections of the first Duologues.
This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Liner notes are accessible via the link above.
Music for Clarinet and Piano
| MP3/320 | $7.99 | |
| FLAC | $7.99 | |
| WAV | $7.99 | |
| CD-R | $7.99 |
A *.pdf of the notes may be accessed here free of charge.
Track Listing
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Set for Clarinet: I. Allegro
Donald Martino
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Buy
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Set for Clarinet: II. Adagio
Donald Martino
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Buy
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Set for Clarinet: III. Allegro
Donald Martino
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Buy
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Four Caprices: I. -
Verne Reynolds
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Buy
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Four Caprices: II. -
Verne Reynolds
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Buy
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Four Caprices: III. -
Verne Reynolds
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Buy
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Four Caprices: IV. -
Verne Reynolds
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Buy
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Five Pieces for Clarinet Solo: I. Fanfare
Michael Webster
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Buy
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Five Pieces for Clarinet Solo: II. Rhapsody
Michael Webster
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Buy
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Five Pieces for Clarinet Solo: III. Ländler
Michael Webster
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Buy
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Five Pieces for Clarinet Solo: IV. Romance
Michael Webster
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Buy
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Five Pieces for Clarinet Solo: V. Perpetual Motion
Michael Webster
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Buy
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Three Duologues: I. Lento
Louise Talma
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Buy
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Three Duologues: II. Tranquillo
Louise Talma
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Buy
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Three Duologues: III. Presto
Louise Talma
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Buy
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