Music for Clarinet and Voice

(Updated 20 January 2017)

This page has music for clarinet and voice, often with with piano. Items are in alphabetical order by composer on this page.

The small CD covers are linked to CDs with a performance of the listed piece. (The performance could be from a different edition, especially if it is an older, public domain piece.)

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Music marked "New!" in gold type is a new publication.  Music marked "New!" in teal type is new to our stock.



V009: To Be Sung Upon The Water by Dominick Argento. Boosey & Hawkes, 1974, SS, 40 + 8 pages. This piece is for high voice (soprano), clarinet (doubling bass clarinet), and piano. It is based on poems by William Wordsworth. It is in 8 movements with bass clarinet playing on four, B-flat soprano clarinet on three, and one tacit. Advanced college or professional level.
To Be Sung Upon the Water - CombsTransicence
25.95

V054: Beauty Haunts the Woods for voice, clarinet and piano by Malcolm Arnold arranged by Paul Harris. Queen's Temple Publications, 2001, SS, 2 + 1 pages (piano score with voice and clarinet plus a one page part with voice and clarinet). A brief early work by the great British composer, written when he was 13 years old. Despite his age it is rather sophisticated in its mixed meter (4/8, 3/8, and 5/8) at an Adagio tempo. The vocal range almost entirely within the treble staff from D above middle C to top line F-sharp. Click here to listen to an mp3 of the beginning of the piece.
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7.95

V064: La Captive for voice, clarinet in A and piano by Hector Berlioz arranged by Anthony Masiello. MMHC Music Publications, 2014, SS, includes parts and score. The text of La Captive is the 9th Oriental (poem) by Victor Hugo. It was composed for voice and guitar or piano in 1832 and orchestrated in 1848. The vocal range is from B below middle C to the top line F-sharp. This piece is in 6/8 with dotted quarter note = 63. The only tricky thing on the clarinet part is the tremolos. One set can be seen on the transposed sample page. Click on the cover image to view the second page of the score. 
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17.95
V020: Four Poems by Emily Dickinson for Soprano Voice, Flute and Clarinet in A by Allan Blank. International Opus, 1998, SS, 14 pages. Three copies in score format. This is a challenging contemporary work. The four poems are: How Happy is the Little Stone, In This Short Life, Surgeons Must be Very Careful, and Nature is What We See. The second piece is for flute and voice and the third is for clarinet and voice (first and last are for all). Duration about 12 minutes.
24.95
V035: Two Nursery Rhymes for Voice, Clarinet in A and Piano by Arthur Bliss. Classical Vocal Reprints, SS. This was written in 1920 with words by Frances Conford. For high voice with a range from first line E to the G sharp just above the staff. The two pieces are: I. The Ragwort (Allegretto) and II. The Dandelion (Allegro giocoso) which is for clarinet and voice only. Duration about 3:30.
Pastoral - Emma Johnson
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8.95


V002: Three Emily Dickinson Songs
by Martin Butler. Oxford University Press/Banks Music Publications, 1987, SS, 16 pages. This piece for soprano voice, clarinet, and piano was composed and first performed in 1985. It approximately 9 minutes long and is in score format. This piece requires mature performers.
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24.95

V017: Three Songs of Innocence for Soprano, Clarinet in A, and Piano words by William Blake, music by Arnold Cooke. Oxford University Press, 1960, SS. The three songs are: Piping Down the Valleys Wild, The Shepherd, and The Echoing Green. A well written work with the clarinet part looking to be the most difficult of the three. College level and about 6:30 minutes. Includes a separate clarinet part and a piano score with all parts.
16.95

V010: As it Fell Upon A Day by Aaron Copland. Boosey & Hawkes, 1929, SS. For soprano voice, flute, and clarinet. The words are from Richard Barnefield (1574-1627). This is a one-movement sectional piece. It features an interesting dialogue between the flute and clarinet which adds to the texture with independent material when playing with voice. It is a very nice recital piece for college level and professional performers. Duration of 5-6 minutes. Here is a video of a performance.
19.95

V045: From Ganges' Beauteous Strands by Bernhard Crusell edited, transcribed and translated by Pamela Weston. Emerson Edition, 1980, SS, includes vocal and clarinet parts and piano score. For soprano voice, clarinet in A, and piano. From Ganges Beauteous Strands is from the incidental music Crusell wrote for an extravaganza called The Little Bondswoman (Den lilla slafvinnan) which is based on the Ali Baba story from Guilbert de Pixercourt's A Thousand and One Nights. The scene for the aria is the hall of a Baghdad caravanserai. Zetulbe, slave of Ali Baba, sings to entertain the company. She is dressed as an Indian dancing girl, hence a reference in her song to the Shatas, a nomadic Indian tribe. College level.
16.95

V053: Canzonetta for soprano, clarinet & piano by Gaetano Donizetti edited by Adriano Amore. Edizioni Eufonia, SS, includes vocal and clarinet parts and piano score. This piece is also know by the opening vocal line "Or Che La Notte Invita" (Now that the Night Invites). The vocal range is from the D above middle C to B-flat above the staff. The tempo is Andante. This is one of the easier pieces listed here. Click on the cover image to view a sample page of the score.
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19.95

V018: Beuk O' Newcassel Sangs for soprano, clarinet & piano by Michale Finnissy. Oxford University Press/Goodmusic, 1990, SS, 21 pages. The text is based on Joseph Crawhall's A Beuk o' Newcassel Sangs from 1888. The music is in score format (a facsimile of the composers original) and the piano part is mostly a single line of notes. This is intended to be played with a C clarinet and uses what a reviewer called "microtonal inflections." This will be a challenging piece for all performers. Duration about 14 minutes.
14.95

V044: Six Japanese Songs for Soprano, Clarinet and Piano by Margaret Garwood. Hildegard Publishing Co., 1988, 16 + 3 pages. Includes piano score and clarinet part. The six songs are: 1. Loneliness, 2. From "Essences, 3. Iris, 4. Death Song, 5. Two White Butterflies, and 6. Snow. The clarinet part is quite easy and the vocal part doesn't look difficult (although it reaches B-flat above the staff) so this may be a good choice for first year college students. Duration about 6 minutes.
24.95

C2130: Tenebrae (Version I) for Soprano, Clarinet and String Quartet by Osvaldo Golijov. Hendon Music/Boosey & Hawkes, 2002/2009/2011, SS, includes all parts and score. Osvaldo Golijov (1960-) is an Argentinian composer who is part of a Jewish family that had emigrated to Argentina in the 1920s from Romania and Russia. The music is in 8 parts which proceed without interruption: 1. Majestic, celestial; 2. Free (clarinet cadenza); 4. Free; 5. In motion; 6. Free; 7. Teneramente; and 8. Yrushalem (serene). College level. The vocal part is mostly from first line E to G just above the staff. The last note (hum) is C above the staff. Duration about 12:45 minutes. A very nice piece with wonderful harmony between the voice and clarinet. Here is an audio file of a performance.
From the composer: I wrote Tenebrae as a consequence of witnessing two contrasting realities in a short period of time in September 2000. I was in Israel at the start of the new wave of violence that is still continuing today, and a week later I took my son to the new planetarium in New York, where we could see the Earth as a beautiful blue dot in space. I wanted to write a piece that could be listened to from different perspectives. That is, if one chooses to listen to it "from afar", the music would probably offer a "beautiful" surface but, from a metaphorically closer distance, one could hear that, beneath that surface, the music is full of pain.
49.95

V029: Neue Liebe, Neues Leben for Soprano and Bass Clarinet. Music by Hans Martin Gräbner on a text of Johann Wolfgang von Goethe. Hofmeister, 1998, SS, 8 pages in score format. There are three pieces. The titles are: Nähe des Geliebten (Nearness of the Beloved One); Neue Liebe, neues Leben (New Love, New Life); and An den Schlaf (To Sleep). Early college level.
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13.95

V011: A Garden of Weeds for soprano, clarinet & piano. Music by Terence Greaves; words by Jacqueline Froom. Emerson Edition, 1971. Terence Greaves (1933-) is an English composer and music educator. Five amusing short songs on garden weeds (Buttercup, Poppy, Thistle, Belladonna, and Nettle). Includes piano score and two copies of the voice & clarinet parts. College level.
21.95

V030: Three Rustic Poems of John Clare for soprano voice and clarinet in A by Terence Greaves. Emerson Edition, 1978, SS, 8 pages. The three poems are: 1. Quail's Nest (Allegretto), 2. November (Lento), and 3. Little Trotty Wagtail (Scherzando). There are two copies in score format, one with both parts at concert pitch for the soprano and the other with the clarinet part transposed. College level and with a duration of 9:50.
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14.95

V041: Ruminations, Six Poems by William Bonk for baritone voice, clarinet (and bass clarinet) and piano by Martin Hennessy. Classical Vocal Reprints, 2009, 60 + 16 pages. A rare work for clarinet and male voice. Martin Hennessy is an American composer, pianist and vocal coach with a growing catalogue of art song, chamber music, opera and musical theater. Of the Natural World (Comodo), Skunk Cabbage (Slow), I Thought It Was Harry (Fast and Manic), The Wall (Expectant), You get to Gilead (Jazzy), and The Rumination of Rivers (Gently Flowing). The clarinetist plays bass clarinet on Skunk Cabbage. I Thought It Was Harry is for voice and piano only. This is an advanced work suitable for a graduate or professional recital.
44.95

V046: Faith (Hebrews 11:1) for Soprano with Clarinet in B-flat by Mark Hijleh. Classical Vocal Reprints, 2010, 6 pages (in score format with a copy for the vocalist and a copy for the clarinetist). The free translation from Greet to English of the Biblical text Hebrews 11:1 seeks to underscore the mysticism of the verse. The ambiguity is reflected in the eclectic an unusual musical choices as well: free rhythm, improvisatory/aleatoric techniques, and microtonal ornaments interact with both non-tonal and quasi-tonal melodies and fragments in imitation. As the piece progresses, more clarity emerges but then dissipates again as the first section is repeated without text.
14.95

V049: Three Irish Folksongs for Voice, Clarinet and Piano by Timothy Hoekman. Classical Vocal Reprints, 2010, 17 pages (in score format plus a copy of the clarinet part, 6 pages). Timothy Hoekman (1954-) is Professor of Vocal Coaching and Accompanying at Florida State University in addition to being a composer. This is a new setting of the folksongs Shule Agra (Mesto, espressivo), The Pretty Girl Milking Her Cow (Grazioso), and Quick! We Have But a Second (Allegro). The vocal range is from middle C to A-flat above the staff. The clarinet part is early college level at most.
14.95

V060: Saturn Op. 243 for Soprano, Clarinet and Piano by Alan Hovhaness. Edition Peters, 1971, 44 pages (piano score). The piano score includes the vocal part. Alan Hovhaness (1911-2000) was an Armenian-American and one of the most prolific 20th-century composers. His 25-minute cantata Saturn is a setting of a mystical/philosophical text by the composer himself. Saturn exhibits the sparse textures and more dissonant harmonic language found in much of Hovhaness' music of the late 1960s and early 1970s. The work's melodies suggest the modes of Middle Eastern music, though they are more angular and chromatic than those in the composer's earlier works. In 12 movements which have various combinations of the 3 person ensemble. The vocal range is from D just below the staff to B-flat above the staff.

V060a: Saturn Op. 243 for Soprano, Clarinet and Piano by Alan Hovhaness. Edition Peters, 1971, 13 pages (clarinet part).

V60
28.75


V060a
21.95


V026: Three Songs for Voice and Clarinet in A. Music by Gordon Jacob and words from the book English Madrigal Verse. Oxford University Press/Allegro Music, 1932, SS. Includes the clarinet part and a vocal score with the clarinet part and a transposition of the clarinet part for piano so it can be practiced in the absence of the clarinet. The three songs and the vocal range of each are: Anon. Of All the Birds That I Do Know (vocal range is F-sharp to F-sharp with in the treble staff) Allegro e molto delicatamente, John Dowland Flow My Tears (vocal range from C-sharp just above middle C to a B-flat above the staff) Andante non troppo lento, and Thomas Morley Ho, Who Comes Here? (vocal range the D just above middle C to the A above the staff). While the clarinet part is not particularly difficult, this is probably best performed by those at the early college level or above.
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19.95
V033: Heimathlied (Homesong) Op. 117 for Soprano, Clarinet and Piano by Johann Wenzel Kalliwoda edited by James Gillespie. Breitkopf/Musica Rara, 1982. Johann Wenzel Kalliwoda (1801-1866) was born and educated in Prague and for most of his professional life served as conductor of Prince Fürstenberg's private orchestra at Donaueschingen (which is in southern Germany). This piece was published in England in 1857 and is part of a number of pieces for soprano voice and obbligato clarinet that were popular during this period. It does not appear to be particularly difficult and should be suitable for performers at the early college level.
Of Shepherds, Romance, and Love - Fred OrmandThe Shepherd and the Mermaid
14.95
V042: Das Mühlrad "In Yonder Valley" for Soprano, Clarinet and Piano by Conradin Kreutzer edited by James Gillespie. Breitkopf/Musica Rara, 1982, SS, includes clarinet and voice parts and piano score. Conradin Kreutzer (1780-1849) was a German composer and conductor who was best known for his operas. The words are from a poem by Ludwig Uhland and are given in the original Germany and an English translation. The vocal part is marked soprano or tenor (and does not appear to be difficult). Tempos are Andante tranquillo/Con spirito/Tempo primo. The obbligato clarinet part is early college level. Duration of 6 minutes.
Of Shepherds, Romance, and Love - Fred OrmandThe Shepherd and the Mermaid
16.50
V070: Er, der Herrlichste von allen (He, the Noblest of All) for Soprano Voice, Clarinet (A or B-flat) (or Cello or Violin), and Piano by Franz Lachner. Kroma Editions, 2015, SS, 11 + 2 pages (piano score includes the vocal part plus there are individual instrument parts). Franz Paul Lachner (1803-1890) was a German (Bavarian) composer and conductor. This piece was originally for cello or violin obbligato but works well with clarinet (A preferred because of the key). The vocal range is from first line E to the A above the staff. The duration is about 4:44. Click here to listen to a recording of the first half or so of this piece.
The Shepherd and the Mermaid
23.95
V050: Frauenliebe und Leben Op. 82 and Lyrisches Intermezzo for Soprano, Clarinet and Piano by Franz Lachner. Musica Rara/Breitkopf, 1981, SS. Includes individual clarinet and vocal parts and piano score. This is two individual pieces by Lachner who is believed to have been inspired to compose for this combination by his friend Schubert. The text of Frauenliebe und -Leben was by by Adalbert von Chamisso and the text for the Lyrisches Intermezzo was from Heinrich Heine. The first piece has a tempo of Allegro non troppo while the second is Moderato. College level. Click on the cover image to see a sample page from the score of the first piece.
The Obbligato Clarinet - Colin Bradbury(the titles on the CD are Seit ich ihn gesehen and Auf Flügen des Gesanges which is sung by a tenor)
The Shepherd and the Mermaid(the title on the CD is Seit ich ihn gesehen)
17.95
C988: I Never Saw Another Butterfly for soprano voice and clarinet. Music by Lori Laitman and texts by children of the Holocaust. Arsis Press, 2002, SS. Includes two parts in score format. Originally written for voice and saxophone, the composer has created editions for clarinet and bassoon. Based on poetry by children from the Terezin concentration camp and written in 1996, the six songs of the cycle use varied imagery and musical styles. The composer writes: "One cannot help but be touched by the hope and innocence that these children put into their poetry, despite their terrible surroundings. The accompaniment of the saxophone is intended to be haunting and soulful, with echoes of Klezmer music." The song titles are: The Butterfly, Yes--That's the Way Things Are, Birdsong, Man Proposes, God Disposes, and The Old House. The first performance was at John Hopkins University in 1996 with soprano Lauren Wagner and saxophonist Gary Louie, for whom the piece was written.
17.95
V069: Der Hirt und das Meerweib (The Shepherd and the Mermaid) for Soprano Voice, Clarinet (or Violin), and Piano by Peter Joseph von Lindpaintner. Kroma Editions, 2015, SS, 15 + 3 pages (piano score includes the vocal part plus there are individual instrument parts). Peter Joseph von Lindpaintner (1791-1856) was a German conductor and composer know especially for his operas. The music includes notes with a description of this work and a translation of the words from German to English. The clarinet part is at the early college level. The duration is about 7 minutes. Click here to listen to a recording of this piece.
The Shepherd and the Mermaid
23.95

V021: Two Songs (A Widow Bird and Pack Clouds Away) with clarinet obbligato for Soprano, Clarinet, and Piano by George Alexander Macfarren edited by Colin Bradbury. Lazarus Edition, 1997, SS, 12 + 4 pages. George Alexander Macfarren (1813-1887) is one of the most fascinating lost masters of nineteenth century British music. These two obbligato songs were commissioned by the great clarinetist Henry Lazarus and first performed at a Monday Popular Concert at St. James's Hall on 4 March 1867, the singer being the Welsh soprano Edith Wynne and the pianist Julius Benedict. A Widow Bird could be performed by high school level performers while Pack Clouds Away is college material.
Victorian Clarinet Tradition - Colin Bradbury
16.95
V068: Quatre Chants Vénitiens for Voice, Tenor Saxophone (or Bass Clarinet, Bassoon or Horn) and Piano by Alain Margoni. Editions Combre, 2005, SS, includes piano score with vocal part and individual instrumental parts. Alain Margoni (1934-) is a French composer, conductor and music educator. The four songs are I. Chant d'Amour, II. Chant de Prison, III. Chant d'espérance, and IV. Chant sur l'eau. This is intended for a female vocal performer. The range is from the A below middle C to the G just above the staff. College level. Here is an audio recording of the first song with tenor saxophone (the other songs are also available). Click on the cover page to view a sample page which is also from the first song.
43.95

V024: Three Folk Songs Op. 19 for High Voice and Piano with optional Clarinet in A by John McCabe. Novello, 1967, (includes clarinet part and two copies of the complete score). John McCabe (1939-) is an English pianist and composer who has written music for virtually all genres. The three songs are 1. Johnny has gone for a soldier-American (Lento, ma con moto); 2. Hush-a-ba, Birdie, croon, croon-Scottish (Andantino); and 3. John Peel-English (Allegro giocoso). Duration 6 minutes.
13.95

V005: Hirtenlied (Shepherd’s Song) for High Voice and Piano with B-flat Clarinet Obligato by Giacomo Meyerbeer. McGinnis & Marx, 1976, SS, 11 + 2 pages. The Hirtenlied was composed in 1842 to words from Ludwig Rellstab. McGinnis & Marx is now being distributed and the price of this piece has increased to $8.95. We still have a number of copies available for $4.00.
Le Pâtre sur le Rocher - MoisanOf Shepherds, Romance, and Love - Fred Ormand
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4.00

V037: Hirtenlied (Shepherd’s Song) for Soprano Voice with Clarinet and Piano accompaniment by Giacomo Meyerbeer. Classical Vocal Reprints, SS. The Hirtenlied was composed in 1842 to words from Ludwig Rellstab. The score is identical in layout to V05, but this edition is on smaller size paper, includes a separate vocal part, and is on slightly heavier paper.
Le Pâtre sur le Rocher - MoisanOf Shepherds, Romance, and Love - Fred Ormand
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6.95

V062: Laudate Dominum from Vesperea solennes de confessore K. 339 for Soprano, Clarinet and Piano by Wolfgang Amadeus Mozart arranged by Anthony Masiello. MMHCmusicpublications.com, 2013, includes parts for voice, clarinet, and piano score. This is the fifth of six parts of this sacred work composed in 1780. It is relatively thinly scored so it should work well in this version. The vocal range is from first line F to G above the staff. The clarinet part should not prove difficult for anyone who would contemplate performing it. It is in 6/8 time with dotted quarter = 42.
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16.95

V012: Parto, Parto Sesto's aria from the opera "La Clemenza di Tito" by Wolfgang Amadeus Mozart edited by Chris Allen for voice, clarinet, and piano. Emerson Edition, 2003. One of the best known arias with clarinet obbligato from the opera repertoire. This edition provides a piano reduction of the orchestral part (with vocal and clarinet parts in score format), a vocal part which shows the clarinet part in concert pitch, and a part for clarinet in B-flat with the basset notes shown cue size.
21.95

V038: Parto! ma tu ben mio Sesto's aria from the opera "La Clemenza di Tito" for Mezzo-Soprano, Clarinet and Piano by Wolfgang Amadeus Mozart edited by Oscar W. Street. Classical Vocal Reprints, SS. Another edition of this famous Mozart aria. The print is smaller, the basset notes are not included, and only a clarinet part and the piano score is included. It does include a German translation of the aria in addition to the original Italian.
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8.95

V047: Variazioni concertanti on motives from La Sonnambula by Bellini for Soprano, Clarinet (Horn or Violoncello) and Piano by Otto Nicolai. Verlag Dohr Köln, SS, 2000, includes two copies of score with vocal, piano, and instrumental part; and parts for clarinet (in B-flat), horn, and cello. This was apparently written with the horn as the primary instrument (but the score has the clarinet part in C). It begins with a typical florid introduction by the instrumentalist and piano, followed by an Allegro featuring the vocalist, and three variations (the vocalist is tacit on the first). This is a college level work for the instrumentalists and has a very challenging vocal part. (Note: there is a recording of a piece under this name on the internet by Dieter Klöcker which is similar in the variations, but appears to have a different opening section.)
32.95

V065: Manhatta for Soprano Voice and Bass Clarinet by Michael Nyman with text from Mannahatta by Walt Whitman. Chester Music, 2013, SS, 12 + 5 pages (vocal score and bass clarinet part). Eos commissioned Nyman to write a score for the 10-minute silent film Manhatta, a Jazz Age piece lacing together images of Manhattan with the projected words of Walt Whitman. The composer has reworked this piece in a version for soprano vocalist (range from middle C to A above the staff) and bass clarinet. A low C bass is needed but the full range of the instrument is used up to altissimo F-sharp. Much mixed meter of the 3/4, 4/4, 5/4, 3/2, etc. variety. A real endurance test for the bass clarinetist who play throughout the 7:30 piece. Click on the cover image to view the first page of the score.
13.95

V059: I Lai (A Lover's Lament) for Voice, Clarinet, and Piano by Mariano Obiols edited by Colin Bradbury. Lazarus Edition, 2012, (includes a clarinet part and a vocal/piano score). Marinao Obiols (1809-1988) was a versatile Spanish composer and teacher. This piece was written in 1847 and has an Italian influence. The vocal range is from first line E to A-flat above the staff. The text is given in both Italian and English. Andante tempo with a duration about 4:30. Early college level difficulty at most.
The Obbligato Clarinet - Colin Bradbury
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21.95
V071: Die gefangene Nachtigall (The Captive Nightingale) for Medium Voice, Clarinet (or Cello or Violin), and Piano by Heinrich Proch. Kroma Editions, 2015, SS, 8 + 2 pages (piano score includes the vocal part plus there are individual instrument parts). Heinrich Proch (1809-1878) was an Austrian composer, conductor and singing teacher. In this piece which dates from 1842, the misery of a caged nightingale pinning for forest freedom is characterized by the piteously faltering repeated notes that begin the clarinet's introduction. The vocal range is from D above middle C to top space E-flat. The duration is about 5 minutes. Click here to listen to a recording of this piece.
The Shepherd and the Mermaid
21.95
V072: Schweitzers Heimweh (Longing for Switzerland) for High Voice, Clarinet (or Cello), and Piano by Heinrich Proch. Kroma Editions, 2015, SS, 9 + 2 pages (piano score includes the vocal part plus there are individual instrument parts). The piece gives patriotic voice to a Swiss exile in an uncongenial land.The vocal range is from first space F to D above the staff with alternative provided for the highest notes. The duration is about 5 minutes. Click here to listen to a recording of this piece.
The Shepherd and the Mermaid
21.95

V040: Ariel, Five poems of Sylvia Plath for Soprano, Clarinet and Piano by Ned Rorem. Boosey & Hawkes, 1974, SS. The five poems are Words, Poppies in July, The Hanging Man, Poppies in October, and Lady Lazarus. The two poppies pieces are relatively easy while the other three are advanced.
Gotham Ensemble Plays Ned Rorem - Thomas PiercyTransicence
24.95

V067: Tres Canciones Mexicanas for Soprano, Clarinet and Piano by Antonio Salazar arranged by Tony Taño. Vivace, 2015, SS, includes all parts and piano score. Antonio Salazar (1928-2000) was a jeweler by profession and a singer songwriter by avocation. The three songs are Por Ti, Inspiración and Sueño en el Puerto. The vocal range is from D just below the staff to top line F.
Jessica Rivera sings Romantic Music
17.95

V023: Patterns in Blue by Simon Sargon. Boosey & Hawkes, 1976, SS. For medium voice (mezzo-soprano), clarinet, and piano. Patterns in Blue is a cycle of three mood pieces employing elements of the jazz idiom. The texts, all dealing with different aspects of loneliness, are from from three major American poets: James Agee (Cabaret Song), Carl Sandburg (Snatch of Sliphorn Jazz), and Kenneth Patchen (Lonesome Boy Blues). None of the parts are particularly difficult. Duration about 6 minutes.
17.95
V001: The Shepherd on the Rock (Der Hirt auf dem Felsen) by Franz Schubert. G. Schirmer, SS. For high voice and piano with clarinet (flute or violin) obbligato. This edition has the original words and an English translation. One of the best known works for this combination.
Recital No. 2 Harold WrightThe Obbligato Clarinet - Colin BradburyLe Pâtre sur le Rocher - MoisanOf Shepherds, Romance, and Love - Fred OrmandThe Shepherd and the MermaidJessica Rivera sings Romantic Music
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4.95
V019: Der Hirt auf dem Felsen (The Shepherd on the Rock) by Franz Schubert edited by Walther Dürr. Baerenteiter (BA 5619), 1988, SS, 25 + 4 pages. For high voice, clarinet and piano. An attractive edition in large print. Includes only the original German text and notes on the edition in German and English.
Recital No. 2 Harold WrightThe Obbligato Clarinet - Colin BradburyLe Pâtre sur le Rocher - MoisanOf Shepherds, Romance, and Love - Fred OrmandThe Shepherd and the MermaidJessica Rivera sings Romantic Music
16.95
V039: Die Verschworenen, Romanze: Ich schliece bang' un still herum for Soprano, Clarinet and Piano by Franz Schubert edited by Robert Osborne. Classical Vocal Reprints, 2002, SS. Includes a piano score and a separate clarinet part. In Schubert's one act Singspiel "Die Verschworenen" (The Conspirators), Helene enters full of melancholy (her husband is away fighting in the Crusades) and sings this song. The first line translated is "Anxiously and quietly I creep around."
Of Shepherds, Romance, and Love - Fred OrmandRosario MazzeoThe Shepherd and the Mermaid
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9.95
V073: Meine Heimat for tenor or soprano and clarinet with piano by Johann Sobeck. Rosewood Publications, 2006/2013, SB/SS, piano score with both the vocal and clarinet parts and two copies of the vocal and clarinet parts in score format. Johann Sobek (1831-1914) was born in what is now the Czech Republic. Sobeck was a clarinetist and teacher and spent most of his working career in Germany. The vocal range is from bottom line E-flat to G just above the staff. This is a facsimile edition. The piano score is a based on a photocopy (with the piano part cleaned up) while the separate vocal and clarinet part has been completely reset. Click here to listen to the opening two minutes.
The Shepherd and the MermaidLe Pâtre sur le Rocher - André Moisan clarinet
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5.75

V022: Alpenlied Op. 167 No. 7 for Soprano, Clarinet, and Piano by Andreas Spaeth edited by Colin Bradbury. Lazarus Edition, 2004, (includes a clarinet part, a vocal part with the clarinet shown in concert pitch, and a piano score). Andreas Spaeth (1790-1876) was a born near Coburg in what is now Bavaria. He began his career as clarinetist in a wind band at the court of Saxe-Coburg-Gotha. From 1821 to 1837 he worked as organist, violinist, conductor and singing teacher in Switzerland and began to establish a reputation as a composer. For the clarinet Spaeth composed a concerto, concertino, salon pieces and, most successfully, a Symphonie concertante for two clarinets and orchestra.  The Alpenlied was published as a supplement to Sechs Schweizer Lieder Op. 167. Marked Lieblich und freundig bewegend (con moto) this is a college level piece with a duration of about 3:30.
The Obbligato Clarinet - Colin BradburyThe Shepherd and the Mermaid
21.95
V055: Recitative and Aria "Ich bin allein" from the Opera Faust for soprano and piano with clarinet obbligato or two clarinet and piano by Louis Spohr edited by Pamela Weston. European Music Archive, 1983/2003, SS. Includes piano score with both the vocal and clarinet parts, clarinet obbligato part with the vocal part and the clarinet part as an alternative to the vocal part. This piece was originally written by Spohr in 1811. In 1852, he inserted it into his opera Faust which he was conducting in London and which he had expanded from two acts to three.
22.95
V008: Six German Songs Op. 103 by Ludwig Spohr. Baerenreiter, SS. For high voice and piano with B-flat clarinet obbligato. Spohr was asked to compose this work in 1837 by the clarinetist Johann Simon Hermstedt at the request of Princess Sondershausen. This very attractive edition has a score with the piano and vocal parts in normal sized type with the clarinet part in concert key in small type and a separate clarinet part for B-flat clarinet.
A Portrait of David WeberThe Obbligato Clarinet - Colin BradburyClarinet Candescence - Melvin WarnerLe Pâtre sur le Rocher - MoisanOf Shepherds, Romance, and Love - Fred OrmandJessica Rivera sings Romantic Music
17.95
V006: An April Day by Oscar W. Street. Rosewood Publications, 2001, SS. For soprano voice, B-flat clarinet, and piano. Separate parts for clarinet and voice. This work is based on part of a poem by Henry Wadsworth Longfellow, written before the poet was 19. Appropriately (and unlike most of the pieces on this page), this piece should be easy enough for many high school musicians (all parts).
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9.75
V007: Duet: Se il mio ben, cor mio tu sei by Carl Maria von Weber edited and arranged by Luigi Magistrelli. Rosewood Publications, 2003, SS. For two alto voices, obbligato clarinet and piano. Includes piano score, a separate clarinet part, and the vocal parts in score format. Weber made several versions of this work. This arrangement uses the piano to replace strings and horns in the first version. It is in two parts, an Andante with very little clarinet followed by an Allegro in 6/8 with a typical obbligato clarinet part. College level. 
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7.75
V052: Drei Lieder (Three Songs) Op. 18 for Voice, E-flat Clarinet and Guitar by Anton Webern. Universal Edition, 1927, SS, includes instrumental parts and score with vocal part. Anton Webern (1883-1945) was an Austrian composer and conductor who wrote this piece in 1925. The range of the vocal part is from the G sharp below middle C to the D above the staff. The songs are I. Sehr ruhig, II. Erlösung from Des Knaben Wunderhorn (Sehr bewegt), and III. Langsam. The parts are very independent. This will be a challenging work for all performers. Click on the cover image to view a sample page from the score.
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22.95
V051: Fünf Canons (Five Canons) Op. 16 for Voice, Clarinet (in A) and Bass Clarinet by Anton Webern. Universal Edition, 1928, SS, includes instrumental parts and score with vocal part. This piece was written in 1924. The vocal part has a Latin text and a range from the G sharp below middle C to the C sharp above staff. The canons are I. Rasch, II. Ruhig, III. Langsam, IV. Sehr lebhaft and V. Betwegt. The bass clarinet is tacet on II and the soprano clarinet on IV. The parts are independent. College level. Click on the cover image to view a sample page from the score (second page of I.).

21.95
V004: Three Vocalises by Ralph Vaughan Williams. Oxford University Press, SS, 1960, 7 pages. For soprano voice and B-flat clarinet. In score format with an additional staff showing the clarinet part in concert key. The vocal range is two octaves from middle C.
Pastoral - Emma JohnsonClarinet Chamber and Solo Classics Vol II - DrushlerTo Be Sung Upon the Water - Combs
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14.95

Bindings:  HB: Hard Bound,  PB: Perfect Bound (paperback with square spine),  SS: Saddle Stitch (paper, folded and stapled),  SB: Spiral Bound (plastic or metal)