Concert Piece No. 1 (Konzertstuck) in F minor, Op. 113 [arrangement]: Nonet, Solo Woodwind(s) with Ensemble, Solo Part

This arrangement honors the original concert duet that Mendelssohn composed for a father-and-son pair of clarinetists, now scaled for full chamber ensemble. Graham Sheen's orchestration captures the conversational brilliance of the original while opening the work to ensembles that lack basset horn specialists—the wind septet provides textural support without overwhelming the lyrical dialogue between clarinet and basset horn. It's a chance to program genuine Mendelssohn chamber writing that feels both intimate and fully voiced.

The piece unfolds with Mendelssohn's signature blend of virtuosity and songfulness. The two woodwind soloists exchange graceful, ornamented phrases over a foundation of harmonic warmth from the wind septet. There's an ebb and flow between display and lyricism—moments where the soloists shine in rapid figuration alternate with longer, singing lines that feel almost operatic.

This arrangement serves clarinet and basset horn players in chamber ensembles, wind bands with capable soloists, and schools with access to basset horn. Directors seeking Mendelssohn's chamber repertoire at an intermediate to advanced level will find an efficient way to feature both soloists without requiring the original trio's piano partner.

• Balance the two solo lines so they share equal presence; neither should recede into the ensemble even when the wind septet fills harmonic space.
• Treat the wind septet as responsive accompaniment rather than a choir. The ensemble should listen closely to the soloists' phrasing and adjust attacks and releases accordingly.
• Shape the dialogue between clarinet and basset horn as conversation. Mark places where one voice leads while the other supports, then reverse the roles in corresponding passages.
• Pay attention to the original context: Mendelssohn wrote this for skilled performers. Secure intonation and precision articulation in both solos will unlock the work's elegance.

Program this as a bridge between chamber and concert band contexts, or use it to showcase two principal players within a larger ensemble setting. It works well as a concert piece in its own right or as part of a Mendelssohn-focused program alongside overtures, symphonic excerpts, or other chamber works.

• Balancing solo lines within ensemble texture
• Sustained intonation at moderate to fast tempos
• Articulation and phrasing in Romantic idiom
• Listening and responding to another soloist's musical choices
• Accompanying technique that supports without dominating