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

Mendelssohn composed these concert pieces specifically for the Baermann family, and they remain rarities in the clarinet-basset horn repertoire. Graham Sheen's arrangement opens this music to wind ensembles by pairing the soloists with a chamber wind group, making a historically significant work accessible to school and college ensembles without sacrificing the elegance of the original material.

The D minor tonality gives this piece a reflective, sometimes brooding quality, with moments of lyrical warmth woven throughout. The writing showcases Mendelssohn's gift for melody and his understanding of the clarinet and basset horn as singing instruments, creating intimate dialogue against a supportive harmonic backdrop.

This arrangement serves conductors building a chamber wind ensemble repertoire or looking to feature advanced clarinet and basset horn soloists in a substantial work. It works for college wind ensembles, pre-professional chamber groups, and advanced high school programs with strong reed players.

• Balance the solo clarinet and basset horn so both voices project clearly against the ensemble; their dialogue is the heart of the work, and the supporting winds should frame rather than overpower them.
• Pay attention to the independence of the two soloists in passages where they weave together; they are partners, not in unison, and rhythmic clarity between them will define the musical character.
• Shape phrases through the ensemble parts as you would in a traditional wind band arrangement, maintaining ensemble cohesion while allowing the soloists room for expressive flexibility in their lines.

Program this as a chamber ensemble offering on a concert that also features full wind band or orchestra repertoire, as a way to highlight individual soloists and demonstrate the range of your ensemble's capabilities. It pairs well with other Mendelssohn works or other Romantic-era chamber pieces for clarinet.

• Maintaining ensemble balance between solo voices and accompaniment
• Ensemble intonation adjustment when supporting prominent soloists
• Reading wind ensemble scores with independent musical lines
• Collaborative playing in a chamber context with clear solo and supporting roles