Norbert Burgmuller () was born in Düsseldorf, the youngest son in a musical family. His father was the director of a theatre, and his mother, a singer. Sheet Music – £ – Clarinet, Piano. Burgmueller, N. Burgmuller Duo for clarinet and piano – Download as PDF File .pdf), Text File . txt) or read online. Burgmuller Duo for clarinet and piano.

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For example the ability to produce a wide variety of dynamics was essential for Romantic repertoire. As Kistner was working from the manuscript of op. As the piano has various important soloistic moments throughout the piece, it is also important to know the piano part well as the clarinet occasionally interrupts the piano solo before it has fully finished.

Kistner later published op. The Historical Performance of Music: The piece was originally composed for clarinet and military band 16 and was written for Carl Klotz, clarinettist and 7 Jenson Edition SchottMainz Thirdly, the benefits of additional keys were that clarinettists could play in more remote keys and cope with a much greater amount of chromatic writing an increasing feature of music from this period ; the balance with maintaining the greater variety of timbre and tone colour present in simpler five-key clarinets has already been discussed.

Whereas this might not be desirable or as easy to achieve on a modern Boehm or Oehler-system clarinet, clarinettists can for example enliven the sound by altering the amount and speed of the air flow and the grip of the embouchure to achieve a variety of tone-colours.

The Kistner edition incorporates the grace note triplets at the beginning of the bar under the slur whereas the Schott edition does not. Performance Considerations for Burgmuller’s op. Help Center Find new research papers in: Quellen I Autograph Verschollen — Provenienz: Arguably a historical approach would be beneficial to any clarinettist performing op. Without the manuscript, clarinettists would be advised to work from or at least check their version of op.


Clarinettists may also wish to explore other works for the clarinet written during this period. A similar problem exists in bars of the second Allegro and as the musical material is extremely similar, breathing solutions adopted in the first Allegro may be easily applied to similar bars in the second Allegro. Schumannfour Entr’actes for Orchestra op. Verlag Friedrich Kistner, Leipzig.

Contemporary treatises on playing the clarinet as well as treatises written for other musical instruments provide a wealth of technical information about clarinet playing in this period c.

Burgmüller, Norbert – Duo in E Flat Op15

Rezension in NZfM, Bd. Outside of France, the English clarinettist Burgmller L. Fifthly, clarinettists may want to avoid playing the theme at the beginning of the Larghetto too soft as this theme returns in bar 44 marked pp and a potentially nice musical effect might be to play this softer the second time, as if remembering or echoing the original thought from bars Both the Kistner and Schott editions are very faithful to the kistner edition, burgmullr only this slight discrepancy in the clarinet part of the Schott edition.

An alternative solution might be to take a quick breath after the first quaver G of bar 79 and a quick breath burgmuller the bar-line between bars 80 and 81 and again in bar 85 if needed.

For instance, ten, eleven and even twelve-keyed instruments would possibly still require the use of cross- fingerings. Wherever possible it is advisable to obtain a facsimile of the manuscript of a work as this usually provides a clear reference to what the burgmulleg wrote in terms of articulation, phrasing and dynamics for example.


A duo implies a partnership between both instruments, although at times one may be slightly more important. Another performance of op. Hacker, Alan and Richard Burnett.

Duo for Piano and Clarinet, Op.15 (Burgmüller, Norbert)

The work was performed as part of a large vocal and instrumental Concert hosted by the theatre singer Josephine Michalesi. Sphor and Hermsted and B.

Cambridge University Press, Dem Tonumfang des Instruments entsprechend teilweise von der Klarinettenstimme abweichend. Although it is not a solo work for clarinet and piano, 43 Hoeprich, The Clarinet It is therefore important in both parts to strictly observe the difference between dotted notes and triplets to emphasise the feeling of two against three.

Duo Op. 15 Eb Major clarinet & Piano

Remember me on this computer. On the other hand, it could also be a musical choice to play do return of the theme slightly louder the second time if the perfomers felt that the Larghetto was gaining momentum towards the return of the faster Allegro material from the beginning of the piece.

Evidence suggests that the piano part of op.

Austro-German Clarinets in this period typically had from five to twelve keys. Allgemeine musikalische Zeitung, Scherzo completed by R.

On the other hand examining treatises from several clarinet schools such as the Buegmuller, French and German schools is ultimately useful in highlighting the different approaches of clarinettists in various different musical environments.

For example, the Schott edition matches almost exactly with the Kistner edition.