Eljen A Magyar Opus 332: 4 Clarinets Conductor Score & Parts

Peter Schubert's arrangement captures what makes this Strauss original sing: the interplay of key centers and the tension between energetic and lyrical character. For clarinet quartets, this piece offers real substance without overwhelming younger players, and the contrasts in tempo and texture give each player moments to lead. It's the kind of piece that audiences genuinely enjoy hearing, which matters when you're programming a concert.

The opening crackles with Viennese wit and forward motion, voices dancing around each other with rhythmic clarity. Then, without warning, the piece softens into something almost tender, letting the clarinets sing with a warmth that feels more like a serenade than a dance. This push and pull between vivacity and lyricism gives the piece its character.

Clarinet quartets at the intermediate to early-advanced level will find this arrangement approachable yet musically satisfying. It works equally well for school chamber groups, college studio classes, or advanced student ensembles looking for quality repertoire that fits their instrumentation.

• Establish the brisk opening with precision in articulation; clarity here sets up why the shift to legato feels so pronounced later
• Shape the melodic line across the key changes rather than treating them as separate sections. The harmonic movement should feel purposeful, not jarring
• Lean into the contrast by softening dynamics during the legato passage; resist the urge to play all four parts at equal volume
• Let the first clarinet carry the tune confidently in the opening section, then balance the texture so inner voices emerge during the slower, more contrapuntal passages

Pair this with other chamber works on a recital to show range within the clarinet quartet repertoire. It also works beautifully as a lighter concert piece that breaks up heavier contemporary work, or as a closing selection that leaves audiences smiling. The modest performance demands make it realistic for mid-year concerts when rehearsal time is limited.

• Navigating modulations and maintaining pitch center across key changes
• Contrasting articulation styles within a single work (crisp staccato versus sustained legato)
• Balancing individual lines while supporting ensemble texture
• Shaping longer melodic phrases with intentional dynamic control
• Quick tempo and character transitions without losing musical coherence