Concert Piece No. 2 (Konzertstuck) in D minor, Op. 114 [arrangement]: Nonet, Solo Woodwind(s) with Ensemble, Conductor Score

This arrangement expands access to one of Mendelssohn's rarest works without losing the intimacy and virtuosity of the original. Graham Sheen's orchestration surrounds the soloists with a wind septet that enhances rather than obscures the dialogue between clarinet and basset horn, making this an ideal choice for ensembles seeking elegant, musically substantial repertoire that features two solo voices without requiring pianists or orchestral forces.

The D minor key lends the work a contemplative, introspective character. The soloists engage in a graceful conversation that unfolds across varied moods, from lyrical tenderness to passages of spirited brilliance, all wrapped in the warm support of the wind septet. This is music that rewards close listening and invites the audience into an intimate musical dialogue.

Conductors seeking repertoire that showcases skilled clarinet and basset horn soloists within a chamber ensemble context. Ensembles with strong woodwind players and the flexibility to field both clarinet and basset horn will find this a rewarding addition to concert programs and chamber music festivals.

• Balance the clarinet and basset horn as equal partners in conversation. Neither soloist should dominate; think of them as characters responding to and completing each other's musical phrases.
• Let the wind septet support rather than accompany the soloists. The ensemble instruments should breathe with the soloists and follow their expressive choices, creating a unified ensemble sound.
• Shape phrases with clear articulation and dynamic contour. Mendelssohn's melodic lines benefit from attention to direction and weight; avoid playing passages as mere note sequences.
• Coordinate entrances and releases precisely in tuttis. The blend between wind pairs (oboes, clarinets, horns, bassoons) matters as much as the solo lines.

Program this as a special feature on a chamber ensemble or wind band concert, pairing it with other Romantic-era chamber works for a thematic set. Its moderate length and elegant character make it effective as a contrast to larger ensemble pieces, and it serves as a natural showcase for your most accomplished reed soloists.

• Balancing solo voices within an ensemble texture
• Basset horn intonation and ensemble blending (basset horn players)
• Following and responding to solo lines while maintaining ensemble cohesion
• Shaping Romantic-era phrasing with clarity and direction
• Precise coordination of wind entrances and cut-offs in tutti sections