Little Concert Pieces, Book 2 Cover Image

Little Concert Pieces, Book 2: Clarinet, Collections, Book

$17.95 USD
$17.95 USD
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Little Concert Pieces, Book 2 Cover Image
Little Concert Pieces, Book 2: Clarinet, Collections, Book

Little Concert Pieces, Book 2: Clarinet, Collections, Book

By Kalman Berkes

Grade: 3

Item: 36-M256491
$17.95
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Description
This collection in two volumes by Hungarian clarinetist Kálmán Berkes is intended for first-year students, and has been arranged mostly from works of ancient composers. Most of the pieces to be found here were not originally written for the clarinet. They have been used here with the intention of acquainting students at the beginning of their studies with the works of old masters. It is desirable that by gradually mastering the necessary technique, the students should develop the faculty for solo performance. These selection pieces give them initial help. Included in book 1: 1. Adagio from Cantata No. 156 (J.S. Bach); 2. Sarabande (Handel); 3. Adagio from the String Quartet in G (Haydn); 4. Andante con variazioni and Rondo from a Bassethorn Quartet in F (Druschetzy); 5. Village dances (Mozart); 6. Andante grazioso from Divertimento No. 10 in f, K. 247 (Mozart); 7. Bagatelle (Beethoven); 8. Moment musical (Schubert); 9. Song without Words (Mendelssohn); 10. Traumerei - Dreaming) (Schumann); 11. Russian folksong: How so early, my dear ? (arr. Borogym); 12. Autumn Song, Op. 37, No. 10 (Tchaikovsky); 13. Numorous Cradle-song from the opera Pan Voyevoda (Rimsky-Korsakov); 14. Cradle Song (Arensky); 15. Woeful Shepherd (Weiner); 16. Barn Dance (Weiner); 17.Rondo (Gaal); 18. Evening Song (Hajdu); 19. Round Dance (Hajdu); 20. Andantino (Khachaturian); 21. Recruiting Dance "1848 (Geszler).

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Additional Details
Series: Master Woodwind Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563662-7
ISBN13: 979-889-563-6626
UPC: 612735736347
SKU: 36-M256491
Instrumentation: Clarinet and Piano

More about this title

About the Composer: Kalman Berkes

Kálmán Berkes was a Hungarian clarinetist and pedagogue whose career centered on making the clarinet repertoire accessible to young students. Rather than commissioning new works, he drew from the classical canon, recognizing that first-year clarinetists benefit from encountering the language and phrasing of Bach, Mozart, Haydn, and Schumann in manageable arrangements.

Berkes understood that exposure to masterworks during foundational study shapes musical taste and ambition. His two-volume collection reflects this philosophy: students build technical facility while absorbing the melodic contours and harmonic logic that define Western classical music. By the time they move to advanced repertoire, these pieces have already taught them how music breathes.

Why we love this

Berkes strips away the complexity that can overwhelm first-year students while preserving what makes these pieces worth playing: genuine melody, character, and the unmistakable voice of composers who understood the human voice and instruments. Each selection moves students beyond exercises and into real repertoire without requiring technique they haven't yet developed.

What to expect

A curated concert of elegant miniatures drawn from the old masters, scaled down but never diminished. Pieces shift between intimate reflection (Schumann's Träumerei, Arensky's Cradle Song) and rhythmic life (Village Dances, Barn Dance, Recruiting Dance), giving players a taste of the emotional and stylistic range they'll encounter as they continue their studies.

Who it's for

First-year clarinetists preparing for recitals or informal performances, and teachers seeking tasteful solo material that builds musicianship alongside technique. This collection works for private lessons, studio recitals, and young soloists who need to move beyond exercises but aren't ready for uncut classical sonatas.

How to get the most out of it

  • Approach the phrasing with legit singing lines; even in a simplified key or range, these Bach and Haydn arrangements retain their original architectural logic. Shape the melodic contour the way a vocalist would.
  • Balance the dialogue with the piano part rather than doubling it. The arrangement assumes the clarinet will lead and the piano will support, not compete.
  • Take time with the slower pieces (Adagios, Sarabandes, Cradle Songs) to establish a warm, centered tone on the staff lines and spaces before attempting faster selections.

How to use it

Program one or two selections from this collection as opening pieces for a student recital, or pair a Romantic-era selection with a Baroque piece to show the evolution of melody and phrasing. These works also serve as stepping stones between method-book etudes and full-length Classical sonatas, giving students confidence in a public performance context.

Skills your students will build

  • Sustaining lyrical phrases over multiple measures without technical interruption
  • Responding to harmonic structure and phrase endings from the piano part
  • Interpreting stylistic differences between Baroque, Classical, and Romantic-era melodic writing
  • Building confidence in solo performance through familiar, beautiful music

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