Sonata, Op. 5, No. 7 in D minor Cover Image

Sonata, Op. 5, No. 7 in D minor: Clarinet, Solo with Piano, Book

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Sonata, Op. 5, No. 7 in D minor Cover Image
Sonata, Op. 5, No. 7 in D minor: Clarinet, Solo with Piano, Book

Sonata, Op. 5, No. 7 in D minor: Clarinet, Solo with Piano, Book

By Arcangelo Corelli, ed./arr. by Eric Hanson

Grade: 3

Item: 36-10440206
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Description
This SONATA by Arcangelo Corelli (1653-1713) was originally written as part of TWELVE VIOLIN SONATAS, Op. 5. The SONATA in D minor is the 7th in the collection. Three of the four movements (the Preludio as been omitted) have been transcribed by Eric Hanson for clarinet and piano, keeping the original key of D minor. It is a perfect selection for the intermediate to advancing clarinetist to take to contest or recital. Movements: I. Courante; II. Sarabande; III. Gigue.

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Additional Details
Series: LudwigMasters Woodwind Series
Publisher: Keiser Productions, Inc.
ISBN10: 1-63361-540-5
ISBN13: 978-1-63361-540-3
UPC: 605258873231
SKU: 36-10440206
Instrumentation: Clarinet and Piano 10% retail.

More about this title

About the Composer: Arcangelo Corelli

Arcangelo Corelli (1653-1713) was an Italian violinist and composer whose twelve sonatas for violin and continuo, Op. 5, became foundational repertoire for string players across Europe. His music established many conventions of the Baroque sonata form and influenced generations of composers who followed. Corelli's writing is marked by lyrical melodic lines, clear harmonic structure, and an emphasis on singing tone quality that translates beautifully across instruments.

As a pedagogue, Corelli shaped violin technique itself; his works remain teaching standards because they balance technical development with genuine musical substance. His legacy extends far beyond the violin, and this D minor sonata demonstrates why arrangers have continually adapted his music for other instruments.

Why we love this

This arrangement honors Corelli's elegant voice-leading while giving intermediate clarinetists the chance to work with music of real historical consequence. The three-movement structure (Courante, Sarabande, Gigue) provides variety and style exploration without overwhelming length, making it an ideal recital or contest piece that sounds substantial without excessive technical demands.

What to expect

The D minor key lends a contemplative, sometimes introspective character to these dances. Corelli's melodic gift ensures the clarinet voice feels natural and songful throughout, whether in the stately Sarabande or the spirited Gigue, creating a program piece that feels both refined and distinctly musical.

Who it's for

Intermediate to advancing clarinetists preparing for contest, recital, or solo performance. This sonata suits players ready to engage with Baroque style and phrase architecture while building confidence with multi-movement works of historical significance.

How to get the most out of it

  • Shape the Courante's running passages with gentle phrase direction rather than mechanical evenness; let the harmonic rhythm guide your phrasing.
  • Approach the Sarabande as a vocal meditation, considering where a singer would breathe and how a singer would shape long lines over the supporting harmony.
  • Balance clarity and legato in the Gigue's dance rhythm; too much detachment loses the movement's elegance, but too much legato blurs the rhythmic profile.
  • Use the piano part as a guide to period style and ornamentation conventions; Baroque practice differs from Romantic interpretations of phrasing and articulation.

How to use it

Program this as a centerpiece of a mixed-period recital to anchor your clarinetist's baroque credentials, or pair it with a Romantic-era concerto movement or contemporary piece to show stylistic range. It also works well in chamber concerts or student solo competitions where serious musical preparation is valued.

Skills your students will build

  • Baroque phrasing and ornamentation conventions
  • Legato and articulation contrast across three contrasting dance forms
  • D minor key facility in first, second, and third positions
  • Sustaining musical line over harmonic changes
  • Balance of technical clarity with lyrical singing quality

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