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Variazioni in Blue - Jacob de Haan - Set of Clarinets

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kristal41

Variazioni in Blue - Jacob de Haan - Set of Clarinets

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VARIAZIONI IN BLUE (Jacob de Haan) Variazioni in Blue consists of a series of character variations, in which melodic blues-elements (blue notes) reoccur continuously. Following a solemn introduction, in which part of the theme already appears, there is an ornamental variation in classical style. Next we hear a variation in blues-style, followed by a quick variation with a folkloristic Eastern-European character. Exceptionally beautiful is the Andante con espressivo, standing out because of its pleasing harmonic changes. This variation blends into a repeat of the previous folkloristic variation, consequently leading up to the climax as the major variation draws the composition to its conclusion.
                 Clarinet in B 1 Clarinet in B 2 Clarinet in B 3 Clarinet in B 4 Clarinet in B 5 Bass Clarinet                               Maestoso                                                                                       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                        ritenuto                                VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Arr. by Gino Gonçals (Cover of Clarinets, Aragón, S.XXI)
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                  Allegro                       10           3 3 3           3 3 3                            3 3 3           3 3 3                      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.      3      3                          3 3 3           3 3 3                          3 3 3           3 3 3                15             3 3 3 3             3 3 3 3                 2VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.           3 3 3           3 3 3                          3 3 3           3 3 3                          3 3 3           3 3 3                            3 3 3 3             3 3 3 3               20       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.             3 3 3 3             3 3 3 3                            3 3 3 3             3 3 3 3                                              3 3 3 3             3 3 3 3               3VARIAZIONI IN BLUE
                Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.             3 3 3 3             3 3 3 3                           3 3 3 3             3 3 3 3                                                    ritenuto                                                           Blues        Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                         30                                                                                                                               4VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                                                 35                                                                                                     Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                                                                                                                                                                 40       5VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                       42                                                                                                                                                                         Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                             45                                                               ritenuto                                                       Allegro Molto  6VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                       51                         Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                       55                                                    7VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                                                                    60            Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                                                               8VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                    65                                                                                                                                      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                   70                                                                                      9VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                75                                                     Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl. 2ª Salta a CODA       2ª Salta a CODA       2ª Salta a CODA        2ª Salta a CODA        2ª Salta a CODA        2ª Salta a CODA                                                                  Andante con espressivo                            80      10VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                             Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                   85                                                                     11VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                           90                                                         Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                         3          3                           95                                             12VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                        Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                3               13VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                         105                                                                                                       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                   3                                                                                      14VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                        115                                                  Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                       A la     A la     A la     A la     A la     A la     ritenuto 15VARIAZIONI IN BLUE
            Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.  CODA            CODA            CODA           CODA          CODA          CODA           121  Allegro Molto                                                                                                                                     Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                    125                                                                                                                                              16VARIAZIONI IN BLUE
            Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                      1.         1.    1.    1.        1.        1.    2.            2.       2.    2.        2.        2.                                                                                  Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                   136 17VARIAZIONI IN BLUE
      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                                                                   18VARIAZIONI IN BLUE
          Maestoso                                          ritenuto     Allegro   10           3 3 3      3 3 3   3     3 3 3     3 3 3 15      3 3 3 3            3 3 3           3 3 3           3 3 3             3 3 3 3 20              3 3 3 3             3 3 3 3                3 3 3 3       3 3 3 3  3 3 3 3       ritenuto  Blues   30   35                                                                       40                                                                      45       VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Clarinet 1ºB Arr. by Gino Gonçals(Cover of Clarinets, Aragón, S.XXI)
     ritenuto   Allegro Molto   50  55                              60                                     65                                       70                                  75        2ª Salta a CODA                     Andante con espressivo          80                           85                                     90                             3    95                          2VARIAZIONI IN BLUE
                                                     105                                     3                   115             A la    ritenuto    CODA          121 Allegro Molto                         125                             1.            2.                                135                          3 VARIAZIONI IN BLUE
     Maestoso                           ritenuto           Allegro       10                      15                       20                                ritenuto                 Blues                               30                                                                       35                                                                     40                             VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Clarinet 3ºB Arr. by Gino Gonçals (Cover of Clarinets, Aragón, S.XXI)
                                         45            ritenuto                     50                                            55                                         60                                        65                                       70                                 75          2ª Salta a CODA              Andante con espressivo   80              85              90   VARIAZIONI IN BLUE 2
         95                                      100                           3    105                     110                   115             A la    ritenuto    CODA          121 Allegro Molto                               125                                1.    2.                                   136                                       3 VARIAZIONI IN BLUE
       Maestoso                                         ritenuto      Allegro   10           3 3 3      3 3 3   3     3 3 3     3 3 3 15      3 3 3 3            3 3 3           3 3 3           3 3 3             3 3 3 3 20              3 3 3 3             3 3 3 3                3 3 3 3              3 3 3 3             3 3 3 3       ritenuto  Blues    30                                                   35                                                                       40                              VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Arr. by Gino Gonçals Clarinet 2ºB (Cover of Clarinets, Aragón, S.XXI)
                                        45            ritenuto   Allegro Molto   50  55                                             60                                65                                     70                                    75        2ª Salta a CODA                 Andante con espressivo         80                              85                                    90                             3    95          2VARIAZIONI IN BLUE
                                 100                                     105                 110                   115             A la    ritenuto    CODA          Allegro Molto  121                             125                            1.    2.                                 135                           3VARIAZIONI IN BLUE
     Maestoso                             ritenuto           Allegro       10                      15                      20                               ritenuto                 Blues                               30                                                                      35                                                                   40                              42  VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Clarinet 4ºB Arr. by Gino Gonçals (Cover of Clarinets, Aragón, S.XXI)
                                         45                     ritenuto           Allegro Molto                  50                                           55                                       60                                        65                                      70                                   75         2ª Salta a CODA              Andante con espressivo   80              85         2 VARIAZIONI IN BLUE
   90              95                                        105                                  110                        115                            A la    ritenuto    CODA         121 Allegro Molto                              125                                           1.        2.                                         135                                           3VARIAZIONI IN BLUE
     Maestoso                         ritenuto           Allegro       10                      15                      20                               ritenuto                 Blues                               30                                                                       35                                                                      40       VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Arr. by Gino Gonçals Clarinet 5ºB (Cover of Clarinets, Aragón, S.XXI)
                     42                                     45                         ritenuto      Allegro Molto                 51                    55                                     60                                         65                                      70                                   75          2ª Salta a CODA               Andante con espressivo    80                  85        90  2VARIAZIONI IN BLUE
             95                                        105                                                               115                                 ritenuto A la       CODA         121 Allegro Molto                            125                                           1.        2.                                                 136                                       3VARIAZIONI IN BLUE
      Maestoso                       ritenuto          Allegro      10                 15               20                        ritenuto           Blues                   30                                             35                                               40                  42                               45       ritenuto         VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Arr. by Gino Gonçals Clarinet Bass (Cover of Clarinets, Aragón, S.XXI)
       Allegro Molto                51                    55                                              60                                            65                                            70                                 75          2ª Salta a CODA                Andante con espressivo    80               85             90             95                                             2 VARIAZIONI IN BLUE
                105                                                          115                   ritenuto A la        CODA           121                                    125                              1.    2.                                   136                                       3VARIAZIONI IN BLUE

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Variazioni in Blue - Jacob de Haan - Set of Clarinets

  • 1. VARIAZIONI IN BLUE (Jacob de Haan) Variazioni in Blue consists of a series of character variations, in which melodic blues-elements (blue notes) reoccur continuously. Following a solemn introduction, in which part of the theme already appears, there is an ornamental variation in classical style. Next we hear a variation in blues-style, followed by a quick variation with a folkloristic Eastern-European character. Exceptionally beautiful is the Andante con espressivo, standing out because of its pleasing harmonic changes. This variation blends into a repeat of the previous folkloristic variation, consequently leading up to the climax as the major variation draws the composition to its conclusion.
  • 2.                  Clarinet in B 1 Clarinet in B 2 Clarinet in B 3 Clarinet in B 4 Clarinet in B 5 Bass Clarinet                               Maestoso                                                                                       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                        ritenuto                                VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Arr. by Gino Gonçals (Cover of Clarinets, Aragón, S.XXI)
  • 3.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                  Allegro                       10           3 3 3           3 3 3                            3 3 3           3 3 3                      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.      3      3                          3 3 3           3 3 3                          3 3 3           3 3 3                15             3 3 3 3             3 3 3 3                 2VARIAZIONI IN BLUE
  • 4.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.           3 3 3           3 3 3                          3 3 3           3 3 3                          3 3 3           3 3 3                            3 3 3 3             3 3 3 3               20       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.             3 3 3 3             3 3 3 3                            3 3 3 3             3 3 3 3                                              3 3 3 3             3 3 3 3               3VARIAZIONI IN BLUE
  • 5.                 Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.             3 3 3 3             3 3 3 3                           3 3 3 3             3 3 3 3                                                    ritenuto                                                           Blues        Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                         30                                                                                                                               4VARIAZIONI IN BLUE
  • 6.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                                                 35                                                                                                     Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                                                                                                                                                                 40       5VARIAZIONI IN BLUE
  • 7.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                       42                                                                                                                                                                         Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                             45                                                               ritenuto                                                       Allegro Molto  6VARIAZIONI IN BLUE
  • 8.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                       51                         Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                       55                                                    7VARIAZIONI IN BLUE
  • 9.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                                                                    60            Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                                                               8VARIAZIONI IN BLUE
  • 10.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                    65                                                                                                                                      Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                   70                                                                                      9VARIAZIONI IN BLUE
  • 11.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                75                                                     Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl. 2ª Salta a CODA       2ª Salta a CODA       2ª Salta a CODA        2ª Salta a CODA        2ª Salta a CODA        2ª Salta a CODA                                                                  Andante con espressivo                            80      10VARIAZIONI IN BLUE
  • 12.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                             Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                   85                                                                     11VARIAZIONI IN BLUE
  • 13.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                           90                                                         Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                         3          3                           95                                             12VARIAZIONI IN BLUE
  • 14.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                        Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                3               13VARIAZIONI IN BLUE
  • 15.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                         105                                                                                                       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                   3                                                                                      14VARIAZIONI IN BLUE
  • 16.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                        115                                                  Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                       A la     A la     A la     A la     A la     A la     ritenuto 15VARIAZIONI IN BLUE
  • 17.             Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.  CODA            CODA            CODA           CODA          CODA          CODA           121  Allegro Molto                                                                                                                                     Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                    125                                                                                                                                              16VARIAZIONI IN BLUE
  • 18.             Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                      1.         1.    1.    1.        1.        1.    2.            2.       2.    2.        2.        2.                                                                                  Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                   136 17VARIAZIONI IN BLUE
  • 19.       Cl. 1 Cl. 2 Cl. 3 Cl. 4 Cl. 5 B.Cl.                                                                                                                                                                                                   18VARIAZIONI IN BLUE
  • 20.           Maestoso                                          ritenuto     Allegro   10           3 3 3      3 3 3   3     3 3 3     3 3 3 15      3 3 3 3            3 3 3           3 3 3           3 3 3             3 3 3 3 20              3 3 3 3             3 3 3 3                3 3 3 3       3 3 3 3  3 3 3 3       ritenuto  Blues   30   35                                                                       40                                                                      45       VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Clarinet 1ºB Arr. by Gino Gonçals(Cover of Clarinets, Aragón, S.XXI)
  • 21.      ritenuto   Allegro Molto   50  55                              60                                     65                                       70                                  75        2ª Salta a CODA                     Andante con espressivo          80                           85                                     90                             3    95                          2VARIAZIONI IN BLUE
  • 22.                                                      105                                     3                   115             A la    ritenuto    CODA          121 Allegro Molto                         125                             1.            2.                                135                          3 VARIAZIONI IN BLUE
  • 23.      Maestoso                           ritenuto           Allegro       10                      15                       20                                ritenuto                 Blues                               30                                                                       35                                                                     40                             VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Clarinet 3ºB Arr. by Gino Gonçals (Cover of Clarinets, Aragón, S.XXI)
  • 24.                                          45            ritenuto                     50                                            55                                         60                                        65                                       70                                 75          2ª Salta a CODA              Andante con espressivo   80              85              90   VARIAZIONI IN BLUE 2
  • 25.          95                                      100                           3    105                     110                   115             A la    ritenuto    CODA          121 Allegro Molto                               125                                1.    2.                                   136                                       3 VARIAZIONI IN BLUE
  • 26.        Maestoso                                         ritenuto      Allegro   10           3 3 3      3 3 3   3     3 3 3     3 3 3 15      3 3 3 3            3 3 3           3 3 3           3 3 3             3 3 3 3 20              3 3 3 3             3 3 3 3                3 3 3 3              3 3 3 3             3 3 3 3       ritenuto  Blues    30                                                   35                                                                       40                              VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Arr. by Gino Gonçals Clarinet 2ºB (Cover of Clarinets, Aragón, S.XXI)
  • 27.                                         45            ritenuto   Allegro Molto   50  55                                             60                                65                                     70                                    75        2ª Salta a CODA                 Andante con espressivo         80                              85                                    90                             3    95          2VARIAZIONI IN BLUE
  • 28.                                  100                                     105                 110                   115             A la    ritenuto    CODA          Allegro Molto  121                             125                            1.    2.                                 135                           3VARIAZIONI IN BLUE
  • 29.      Maestoso                             ritenuto           Allegro       10                      15                      20                               ritenuto                 Blues                               30                                                                      35                                                                   40                              42  VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Clarinet 4ºB Arr. by Gino Gonçals (Cover of Clarinets, Aragón, S.XXI)
  • 30.                                          45                     ritenuto           Allegro Molto                  50                                           55                                       60                                        65                                      70                                   75         2ª Salta a CODA              Andante con espressivo   80              85         2 VARIAZIONI IN BLUE
  • 31.    90              95                                        105                                  110                        115                            A la    ritenuto    CODA         121 Allegro Molto                              125                                           1.        2.                                         135                                           3VARIAZIONI IN BLUE
  • 32.      Maestoso                         ritenuto           Allegro       10                      15                      20                               ritenuto                 Blues                               30                                                                       35                                                                      40       VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Arr. by Gino Gonçals Clarinet 5ºB (Cover of Clarinets, Aragón, S.XXI)
  • 33.                      42                                     45                         ritenuto      Allegro Molto                 51                    55                                     60                                         65                                      70                                   75          2ª Salta a CODA               Andante con espressivo    80                  85        90  2VARIAZIONI IN BLUE
  • 34.              95                                        105                                                               115                                 ritenuto A la       CODA         121 Allegro Molto                            125                                           1.        2.                                                 136                                       3VARIAZIONI IN BLUE
  • 35.       Maestoso                       ritenuto          Allegro      10                 15               20                        ritenuto           Blues                   30                                             35                                               40                  42                               45       ritenuto         VARIAZIONI IN BLUE Jacob de Haan ©Gino Gonçals Arr. by Gino Gonçals Clarinet Bass (Cover of Clarinets, Aragón, S.XXI)
  • 36.        Allegro Molto                51                    55                                              60                                            65                                            70                                 75          2ª Salta a CODA                Andante con espressivo    80               85             90             95                                             2 VARIAZIONI IN BLUE
  • 37.                 105                                                          115                   ritenuto A la        CODA           121                                    125                              1.    2.                                   136                                       3VARIAZIONI IN BLUE