In the last three decades there has been a surge in original compositions for clarinet and guitar resulting in the repertoire virtually doubling in size. However, documentation and research of original works in published sources remains limited and is quickly becoming outdated. This document reviews the current resources and reviews the newer published materials.
Early chamber music works for guitar and clarinet typically required the guitar to supply harmonic support to the clarinet’supper voice, which carried the themes. An examination of the earliest works, which date from the early nineteenth century, suggests, in other words, that the two parts were not treated equally, in contrast to modern-day chamber music, in which melodic elements are proportionally balanced between the two instruments. A critical survey and comparison of four significant works from the repertoire reveals a development toward motivic balance, a progression towards melodic equality that continued in subsequent compositions. The four works surveyed are: Heinrich Neumann’s Serenata Svizzera Op.29, Ferdinand Rebay’s Sonata for Clarinet and Guitar No.2 in A minor, Libby Larsen’s Blue Third Piece, and Gernot Wolfgang’s Four Miniatures.An extensive compilation of over 300 original published and unpublished works for clarinet and guitar, bass clarinet and guitar, and more than one clarinet and/or guitar is included.
Kellie Lignitz digital.library.unt.edu
