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Horovitz Clarinet

The Joseph Horovitz Clarinet Sonatina was composed in 1981 at the request of Gervase de Peyer and Gwenneth Pryor, who premiered the work. The sonatina follows a traditional three-movement structure, with the first movement in sonata form focusing on the clarinet's middle register. The second movement has an A-B-A song structure using the clarinet's lowest notes. The finale alternates between two themes equally in a rondo form, exploiting the clarinet's upper register. The tonal work draws melodic and rhythmic influence from jazz and is demanding of both clarinet and piano players.

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408 views1 page

Horovitz Clarinet

The Joseph Horovitz Clarinet Sonatina was composed in 1981 at the request of Gervase de Peyer and Gwenneth Pryor, who premiered the work. The sonatina follows a traditional three-movement structure, with the first movement in sonata form focusing on the clarinet's middle register. The second movement has an A-B-A song structure using the clarinet's lowest notes. The finale alternates between two themes equally in a rondo form, exploiting the clarinet's upper register. The tonal work draws melodic and rhythmic influence from jazz and is demanding of both clarinet and piano players.

Uploaded by

Marco Apaza
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as TXT, PDF, TXT or read online on Scribd
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Programme Note

Joseph Horovitz Clarinet Sonatina (1981)


This work was composed between January and April 1981 at the request of Gervase de
Peyer and Gwenneth Pryor, who premiered it at Wigmore Hall, London on May 12, 1981.

The Sonatina is light-hearted and follows a traditional pattern of the three-


movement division. The first, in classical sonata form, concentrates on the middle
register of the clarinet, mainly lyrical against a rippling piano background. The
second movement is an A-B-A song structure employing some of the lowest notes of
the wind instrument in a long cantilena over a slow chordal accompaniment. The
finale is a kind of rondo which alternates two themes in equal proportions,
exploiting the upper register of the clarinet. The harmonic idiom of the whole work
is obviously tonal, and, like most recent compositions of Horovitz, the Sonatina is
melodically and rhythmically much influenced by jazz and other popular music. It
calls for equal virtuosity from both players.
Gervase de Peyer

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