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Clarinet Concerto No. 2: Full Orchestra Full Score

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Clarinet Concerto No. 2 Cover Image

Clarinet Concerto No. 2: Full Orchestra Full Score

By Malcolm Arnold

Level: Advanced

Item: 12-0571507972

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Martin Cooper writes 'The concerto has a dashing first movement marked by jazz memories and a lento whose wistful melancholy also suggests the sentimental lyrical style of the 1930s. The leap from this to the crude whooping and the stomping rhythms of the finale was irresistible. . .'

Daily Telegraph, 12 October 1976

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Additional Details
Series: Faber Edition
Publisher: Faber Music
ISBN10: 0-571-50797-2
ISBN13: 978-0-571-50797-9
UPC: 9780571507979
SKU: 12-0571507972

More about this title

About the Composer: Malcolm Arnold

Malcolm Arnold (1921, 2006) was a British composer of remarkable versatility whose output spanned symphonies, concertos, ballets, and over 140 film scores. He won an Academy Award for his music to The Bridge on the River Kwai and remained one of the most performed British composers of the 20th century. Arnold's gift for melody and orchestration made him equally comfortable writing for concert halls and cinema screens.

His concertos showcase a composer unafraid to blend high modernism with accessible lyricism, drawing on jazz idioms, folk traditions, and the musical vocabulary of mid-century Britain. For conductors and students, Arnold's scores offer clarity of orchestration and direct emotional communication alongside genuine compositional sophistication.

Why we love this

Arnold's Second Clarinet Concerto captures something rare: genuine wit and structural mastery without sacrificing heart. The first movement's jazz inflections give way to a lento that genuinely moves, then explodes into a finale that feels earned rather than tacked on. For conductors looking to program something that challenges orchestras and soloists while remaining engaging for audiences, this is an orchestration masterclass in motion.

What to expect

Arnold's concerto swings between nostalgia and exuberance. The first movement recalls 1930s popular idioms with sophistication, the slow movement aches with genuine introspection, and the finale lets loose with unbridled energy and humor. It's a piece that rewards listeners who embrace its emotional directness alongside its compositional craft.

Who it's for

Advanced orchestras with a strong clarinet soloist and the ensemble depth to handle Arnold's colorful writing. This sits naturally in the hands of music conservatories, university orchestras, and professional ensembles looking to program mid-20th-century British repertoire that goes beyond the standard concerto canon.

How to get the most out of it

  • Balance the clarinet soloist against the full orchestra in the opening movement by using lighter articulation in the wind choir and giving brass players generous breathing space around the soloist's phrases.
  • In the lento, shape the accompaniment with the harmonic support of strings and harp (if indicated) so the clarinet's wistful melody sits naturally above rather than fighting for space.
  • Establish the finale's rhythmic vitality early in rehearsals; the stomping and whooping sections need precision and ensemble commitment to land their theatrical impact without sounding contrived.
  • Work the transition from lento to finale carefully with your soloist and principal winds to ensure the tonal shift feels organic rather than abrupt.

How to use it

Pair this with other mid-century British works (Britten, Walton) to build a cohesive concert identity, or program it as a centerpiece in a 20th-century survey. The contrasting emotional territories it covers make it an ideal anchor for a concert that spans from introspection to celebration, giving audiences a full sense of Arnold's range.

Skills your students will build

  • Balancing a virtuosic soloist with full orchestral textures
  • Conducting through tonal and stylistic shifts within a single work
  • Interpreting jazz-influenced harmonic language in a concert setting
  • Ensemble precision in rhythmically complex or syncopated passages
  • Shaping long lyrical lines with orchestral accompaniment

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