Mozart’s Clarinet Concerto

„The genius of Mozart’s inspiriation has been supplemented here with an exceptionally brilliant arrangement of the „accompaning“ keyboard instrument.

Without being overly-ambitious by giving in to excessive overloading, the arranger traces delicate linear structures while at the same time maintaing the fascinating spectrum of orchesteral colors throughout.

This is a very well-conceived, intelligent arrangement of the score, displaying keen judgement and a sense of appropriate instrumental adaptation combined with exhilarating transparency. This adaptation of orchestral music for a piano or a concert grand makes for an inspiring experience. Congratulations to arundo edition Köln for this exceptional publication.“

Bernhard Bücker, Pianist
Mail to arundo edition on 7 December 2020

Bernhard Bücker performs regularly in Europe, America and in Asia and has appeared in live media performances in Athens, Barcelona, Brüssel (RTBF), and London (BBC). In addition to presenting solo concert performances and participating in festivals, he is also a well-regarded pedagogue, holding master classes in Europe and Asia.

A Pleasure to Practise

Every clarinettist has a natural need to play more works by Mozart than he actually composed for the clarinet. In particular, much to the regret of clarinettists the range in the charming combination of clarinet, cello and piano is not exactly extensive. Some welcome relief is supplied by three wonderful arrangements of the piano trios by Mozart and Beethoven in arundo edition, Cologne. Wolfgang J. Gebhard has reworked the violin part for clarinet, and had to undertake only minor changes in the original part. Apart from these happy additions to the literature of chamber music, Gebhard is also bringing out a volume of studies that I can recommend.
These legato studies for clarinet are based on motives from famous symphonies or operas such as Carmen, Titus and La Gioconda. The motives are drawn in chromatic modulation through the keys, whilst the attempt is made to improve economy of movement through the smallest possible finger movements, and to attain a balanced play in all the keys. The familiar themes necessitate steady, even playing in all the variations, whether these are easy or difficult to execute. The beautiful melodies give pleasure and forbid any "tootling". The player is continuously motivated by their hearing to play evenly and expressively. An absolute must for the daily practice of advanced players.
Heike Fricke

In "’rohrblatt" (reed), a periodical for oboe, clarinet, bassoon and saxophone, March 2013

Comment on breaking in reeds

Dear Mr Gebhard, following your recommendation (on the last page of your very helpful legato studies) I bought an ultrasonic cleaner. It arrived today. I took one of the reeds I’d put aside and placed it in the cleaner for three minutes, and then dried and fitted it. It’s incredible! The reed was previously so dull, and now, all of a sudden, it is simply fantastic. It’s miraculous, the reed does everything I want it to. You really have done a good deed. Whenever a reed that’s been cleaned by this method delights me again, I shall think of you with gratitude. And now I intend to give new reeds this treatment as well.
Prof. Dr. Christoph Hirsch

Comment on the Legato Studies

Dear Mr Gebhard, I have been practising your legato studies on my historical bass clarinet (1890). They are excellent! …
Yours sincerely

Philippe Castejon