DIVERTIMENTO, Opus 1
THREE PIECES FOR STRING QUARTET, Opus 2
TRIO FOR VIOLA, CLARINET & PIANO, Opus 4
"SONG SUITE" FOR STRING QUARTET, Opus 6B
FIVE DIALOGUES FOR TWO CLARINETS, Opus 7
SONATA NO. 1 FOR CELLO & PIANO, Opus 8
PRELUDE AND DANCE FOR VIOLIN & PIANO, Opus 12
TRIO FOR CELLO, CLARINET & PIANO, Opus 13
TRIO FOR ALTO VOICE, VIOLIN & CELLO, Opus 18
SONATA NO. 1 FOR UNACCOMPANIED CLARINET, Opus 20
THREE PRELUDES, Opus 21
BRASS QUARTET NO. 1, Opus 22
SONATA NO. 1 FOR VIOLIN & PIANO, Opus 24
SONATA NO. 2 FOR CELLO & PIANO, Opus 25
SIX DUETS FOR FLUTE & CLARINET, Opus 27
SONATINA FOR OBOE & PIANO, Opus 30
SONATA NO. 2 FOR VIOLIN & PIANO, Opus 32
TRIO FOR VIOLIN, CLARINET & PIANO, Opus 33
SONATA NO. 2 FOR UNACCOMPANIED CLARINET, Opus 38
SONATA NO. 3 FOR VIOLIN & PIANO, Opus 39
A MUSICAL SKETCH-BOOK, Opus 41
STRING QUARTET, Opus 42
WOODWIND QUINTET NO. 1, Opus 43
CLARINET HANDBOOK, Opus 47
TRIO FOR FLUTE, VIOLA & CELLO, Opus 49
SAXOPHONE QUARTET NO. 1, Opus 52
SONATA FOR CLARINET & PIANO, Opus 57
PRELUDE, FUGUE & CODA FOR WOODWIND QUINTET, Opus 58
SAXOPHONE QUARTET NO. 2, Opus 59
TRIO FOR PIANO & 2 PERCUSSION, Opus 62
SONATA NO. 4 FOR VIOLIN & PIANO, Opus 63
WOODWIND QUINTET NO. 2, Opus 64
FOUR MINIATURES, Opus 71
THEME WITH VARIATIONS, Opus 75
TRIO FOR VIOLIN, CELLO & PIANO, Opus 77
MUSIC FOR HORN & PIANO, Opus 78
TRIO FOR FLUTE, OBOE & CELLO, Opus 79
TRIO FOR FLUTE, CLARINET, & BASSOON, Opus 86
CONCERTINO FOR TUBA & BRASS QUARTET, Opus 88
SIX SHORT DUETS FOR TRUMPET & TROMBONE, Opus 89
SONATA FOR FLUTE & PIANO, Opus 94
TRIPTYCH FOR MULTIPLE HORNS, Opus 98
CANTO II, Opus 102
CANTO IV, Opus 105
SONATINA, Opus 107
Robert Schumann's late work, Three Sonatas for the Young, represents to the composer
of Sonatina for Violin and Piano, Opus 107, a perhaps unattainable goal towards which both were
striving. In each case a sincere attempt was made to write music which was on the personal
highest level and yet required somewhat less than the most virtuosic level of performance
capability. Hence the terms "for the young" and the "Sonatina" which are really both diminutives.
In the Sonatina the composer has attempted to write a work less demanding technically
while maintaining the same musical level that "Sonata" would imply. In retrospect, although the
second goal is, hopefully, achieved, the first may not have been. It is a difficult work
requiring a great deal in the way of sheer technical prowess from both performers. The same can
be said for the Schumann works, although in this case it is almost certainly justifiable; it
remains to be established whether that holds true in the Sonatina.
The composition itself is in a standard three movement format with a clear sonata form in
the first movement which is at a fast tempo. It also has a reverse recapitulation giving it an
overall arch form. The slower second movement is a simple ternary form in which the middle
section is slightly faster than the outside ones, and in the last mosvement which is the
quickest tempo of all, two ideas are alternated. One is of a "perfpetual motion" nature and
the other featurses a dotted rhythm.
QUINTET FOR CLARINET & STRINGS, Opus 109
CAVATINA FOR TUBA QUARTET, Opus 114
SIX FOR TWO, Opus 125
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Copyright © 1996-2005
This work was written at the request of Felix Visguglin, bass clarinetist of
the BOS for many years. In this work the composer has introduced an uneven
rhythm which adds to the interest of the first movement. Full advantage is
taken of the clarinet's abilitiy to be lyrical and expressive in the second
movement. The third movement is frankly virtuosic and very difficult to
perform, demonstrating the professional level of the performer.
The Sonata-Pantagy is Bavicchi's fourth sonata for violin and piano. It was
composed in 1971, at the request of Mr.Isidorius Vasyliunes. It is based on
nine Lithuanian folk melodies, selected by the composer from the collection
"100 Folk Songs" by K.V.Banaitis. Three songs are used in the first movesent
(all three are combined together in the coda), two in the second, end four in
the third (again, all four are combined together at the end). The songs were
selected purely on the basis of musical considerations, with no regard for the
text.
The Quintet for Clarinet and Strings, Opus 109 was written for clarinetist
Sherman Friedland who, at the time was Chairman of the Music Department at
Concordia University in Montreal. It was composed between February of 1992
and January of 1995, because work on the composition was interrupted by
other commissions leading to the three-year gap from start to finish.
It is impossible to imagine how intimidating the Brahms and Reger Quintets
are to a composer setting out to write a piece like this. However the beauty
inherent in the combination of such a lyric instrument as the clarinet and
the limitless possibilities of a string quartet are in the last analysis too much to resist.
This work is characterized throughout by a very strong emphasis on counterpoint,
much of it imitative passing from member to member of the ensemble. This doesn't
necessarily imply that there is a lack of emphasis on lyricism - such is not the
case as the many examples of melodic writing will attest. In essence the two
types of texture are used in contrast many times in the course of the work, often
following the shape of the formal structure of the movement at hand.
Virtuosity, although present to some degree, is not the issue here - it is
simply used as one aspect of the normal demands on the instrumentalists. Throughout,
the composer has attempted to write a composition which, although complex, remains
purely musical at all times in the tradition of the great chamber music of the past.
Most recent revision, August, 2005