The Contemporary Solo E-flat Clarinet

When one thinks of contemporary works featuring the clarinet they likely think of the standard Bb clarinet or the bass clarinet. Rarely does one’s mind go towards the E-flat clarinet. Most know the E-flat clarinet as the highest pitched standard clarinet in the orchestra. Though an optional auxiliary instrument, composers such as Berlioz, Strauss, and Mahler wrote famous E-flat clarinet orchestral solos, taking advantage of the instrument’s comic and strident qualities. Recent compositions include the E-flat clarinet in solo and concerto contexts previously unheard of. These compositions require the E-flat clarinetist to perform with the same flexibility and range that clarinetists possess on larger members of the clarinet family. Oscar Navarro’s “III Concerto” for Bb/Eb clarinet utilizes the E-flat clarinet as an extension of the B-flat clarinet, allowing the clarinetist to perform with a widened range of pitch and timbre. Jenni Brandon’s Stardust demonstrates the auxiliary techniques possible on E-flat clarinet, specifically highlighting articulation and timbre trills. 

Oscar Navarro is well known as a conductor and composer. A member of the Spanish Film Academy, many of his works are reminiscent of film scores. His “III Concerto” for Bb/Eb clarinet, written in 2017, is no exception. Performed by a single clarinet soloist with two instruments, the E-flat clarinet’s full range is used. Many themes are presented first on B-flat clarinet then later on E-flat clarinet. While emphasizing the timbre and range differences, the E-flat clarinet must exhibit the same wide dynamic and expressive range as the B-flat clarinet. Being a clarinetist, Navarro’s writing is well suited for the clarinet’s ability. Both clarinets are in dialogue with the orchestra, showing signs of courage, mystery, and flair. The theme of dialogue and binary contrats is also present in the concerto’s influences. Navarro credits Latin dance as a primary influence, with intertwined touches of Arabic music in rhythmic ostinatos and melodic material. 

        American composer and conductor Jenni Brandon writes music that is beautiful and lyrical. Brandon works closely with her commissioners to tell their stories and experiences. Composing for numerous mediums including solo, chamber, orchestra, and opera, Brandon’s works appear on over 20 albums and receive critical praise. Her catalog includes several other gems for clarinet alone or with piano including “Cumulonimbus,” “Starry Night,” and “Chansons de la Nature.”

       “Stardust” for unaccompanied E-flat clarinet was commissioned by Elizabeth Crawford in 2014. Extended techniques not normally used on E-flat clarinet, such as timbre trills, further the artistic range of the instrument. Given that the soloist performs alone, they must play with a large dynamic and character range, particularly with an ability to play high passages softly. The piece explores the lyrical and jazzy abilities of the instrument, utilizing popular songs of the 20’s and 30’s as inspiration. The E-flat clarinet shines by playing with range, color, and extended techniques. A love of my Own is inspired by “Blue Moon” by Richard Rodgers. This short prelude highlights the opening line “Blue Moon, you saw me standing alone…” Into the Blue Sky is inspired by “Blue Skies” by Irving Berlin. The smooth opening melodic lines flies higher and higher “into the blue sky” until we fly too close to the sun and fall from great heights. With an excerpt posted below, A Paper Moon is inspired by “It’s Only a Paper Moon” by Harold Arlen. The timbral trills create a shimmering light of the moon. A Stardust Melody is inspired by “Stardust” by Mitchell Parish. The movement explodes as a bright star and mixes in swing-style rhythms as a homage to the works of this era.