Noteworthy News

The divertimento style and instrumental character of Haydn’s early quartets does not necessarily evoke strings, and thus arrangement for other instruments is natural and might expand enjoyment of these wonderful first significant Haydn works to other players and audiences.  Haydn’s Quartet Op.1, No.1 has been arranged by John W. Pratt as an effective clarinet quartet for either three Bb-clarinets and bass clarinet, or two Bb-clarinets, alto Eb-clarinet and bass clarinet.

Frank Bridge composed his Three Songs for Voice, Viola, and Piano in 1906-1907, setting to music one poem each by Matthew Arnold, Heinrich Heine, and Percy Bysshe Shelley.  Both the poetry and the music are highly emotional and address the various stages of grief one feels after losing a loved one.  Check out our new clarinet transcription to discover how tastefully a clarinet can substitute for the original viola line in this poignant work by a composer who should be better known.

Beach composed her Romance for Violin and Piano in 1893 for the occasion of the Women’s Musical Congress held the same year in Chicago during the World’s Columbian Exposition.  The piece was dedicated to the celebrated violinist Maud Powell, who joined Beach for the premiere performance at that Congress.  Highly romantic, melodic, charming, and passionate, the Romance is also technically complex yet graceful.  With a few modifications of the violin line, this gorgeous piece works nicely for flute and piano.

Performances of the Mozart C-major quintet K.515, originally for strings, are infrequent, far less than such great music deserves.  Adaptation of the work to flute quintet is thus particularly apropos, as its textural possibilities apply also to a flute quintet.  For additional information about John Pratt’s new arrangement of K.515 for two concert flutes, two alto flutes, and bass flute, please visit our listing page.

Our newest edition is a transcription for A-clarinet and piano of Chant du MénestrelChant du Ménestrel.  The piece was written originally for cello and piano (or orchestra) by Alexander Glazunov, a highly precocious student of Rimsky-Korsakov who became a major composer in the late Russian romantic tradition.  This lovely work with its lyrical solo cello line is especially well-suited to the range and tonal qualities of the A-clarinet.  The NSM edition includes both our transcribed part for clarinet in A and a re-notated score for clarinet and piano.