This site is home to Alea Publishing & Recording, specializing in music for the bass clarinet.
We offer a growing catalog of creative, artistic transcriptions and new works for bass clarinet solo & ensemble.
We thank Lacey Golaszewski for her review of this publication in The Clarinet (September 2022), which reads in part:
We thank Lori Ardovino for her review of this publication in the NACWPI Journal (Spring 2022, Volume 69, Issue 3), which reads in part:
"Three Compositions, Op. 40 is a welcome addition to the clarinet and bass clarinet repertoire. The first two pieces (La Captiva and Berceuse) could be performed by an advanced high school student, grade level 3. Mazurka is more demanding but could be included with the mix. ... This is a beautiful set, skillfully arranged by Dr. Cook. I would program this work on a recital as I’m sure many other professional clarinetists would."
About the Music
Amy Cheney Beach published her Three Compositions op. 40 for violin and piano in 1898, with a subsequent version for cello and piano published in 1903. In transcribing these pieces for clarinet (Bb and A) or bass clarinet and piano, I attempted to remain faithful to both the violin and cello versions.
My editorial suggestions not included in Beach’s original notation are printed with dotted lines, such as the ties in mm. 33–35 of the Mazurka. The most substantial deviations from the original versions for violin or cello occur in the Clarinet in B-flat part for the Mazurka. The B-flat part is identical to the A part except for mm. 13–14, m. 51, and mm. 92–94, where low concert C-sharps are out of range on the B-flat instrument. In mm. 13–14 and m. 51, I slightly altered the pitch content while retaining the same register as the A part; the pitches from the A part (and Beach’s original) are transposed an octave higher and indicated parenthetically. The performer can choose which option they find preferable. The melodic content calling for concert C-sharps in mm. 92–94 is simply transposed an octave higher. Less notably, I included a key change in mm. 93–109 of the Mazurka in the Bb clarinet and bass clarinet parts so the performer will read in A-flat major instead of the less familiar G-sharp major. This change is purely notational and does not change the sounding pitches.
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Piano score: 20 pages; parts: 5 pages each. Extended-range instrument NOT required for bass clarinet part.
Listen to the arranger's own performance of the first two pieces:
About the Arranger
Critically praised for “brilliant and stunning” performances, “terrific virtuosic playing,” and “a fine sense of drama,” David Cook is Assistant Professor of Clarinet and Chair of Instrumental Performance Studies at Millikin University, Principal Clarinet of the Millikin-Decatur Symphony Orchestra, and clarinetist for the Appian Duo (with Emily Grabinski, piano) and the Greyline Duo (with Alexandra Rodriguez, flute). Previously a member of the Wichita Symphony Orchestra, the Lawton Philharmonic Orchestra, the Lieurance Woodwind Quintet, and the wind quintet Fiati Five, David has also performed with the Chicago Sinfonietta, Illinois Symphony Orchestra, Sinfonia da Camera, Northbrook Symphony, Champaign-Urbana Symphony Orchestra, Heartland Festival Orchestra, Oklahoma City Philharmonic, Norman Philharmonic, and the Texas Music Festival Orchestra. As a chamber musician, David has performed at Chamber Music Campania and with the Brightmusic Chamber Ensemble and the From the Edge Chamber Music Series. An advocate for contemporary music, David has commissioned and premiered new works from composers such as David Maslanka, Pierre Jalbert, David Biedenbender, Whitney E. George, Cody W. Forrest, Cody Criswell, Garrett Gillingham, and Andy Francis.
David has been recognized in numerous competitions including The American Prize for Instrumental Performance, the American Virtuoso International Music Competition, the Ernst Bacon Memorial Award for the Performance of American Music, the Cynthia Woods Mitchell Young Artist Competition, the Oklahoma Community Orchestra Young Artist Competition, and the White Lake Chamber Music Festival Solo Competition. Past appearances include the International Clarinet Association’s ClarinetFest®, the College Music Society National Conference, the National Association of College Wind and Percussion Instructors Conference, the American Single Reed Summit, the Amicitia Clarinet Extravaganza, the Clarinet Colloquium at Texas A&M University-Commerce, the KNOB New Music Festival, and recitals across the United States and abroad. His book Clarinet Conditioning: Warm-Ups and Perspectives, featuring contributions from clarinetists including members of the Chicago Symphony Orchestra, Cincinnati Symphony Orchestra, and “The President’s Own” United States Marine Band, is published by Conway Publications and was lauded as “insightful, thorough, comprehensive” and “an incredibly valuable resource for clarinetists.” His research appears in The Clarinet, the NACWPI Journal, and The Instrumentalist.
At Millikin University, David teaches applied clarinet, chamber music, clarinet pedagogy, and clarinet methods. He was previously Instructor of Clarinet at Wichita State University (2016–2018) and Instructor of Music Theory at the University of Oklahoma (2017–2018). He is also a member of the clarinet faculty at Blue Lake Fine Arts Camp, a Programming Coordinator for the American Single Reed Summit, and previously taught as Clarinet Mentor for the Detroit Symphony Civic Orchestra and Central Michigan University’s Summer Music Camp.
David holds Bachelor of Music and Bachelor of Music Education degrees from Central Michigan University, Master of Music degrees in clarinet performance and chamber music from the University of Michigan, and the Doctor of Musical Arts degree in clarinet performance and the Master of Music degree in music theory from the University of Oklahoma. His principal teachers include Suzanne Tirk, Chad Burrow, Theodore Oien, and Kennen White. David is a Buffet Crampon USA Performing Artist and a member of the Silverstein Works PRO Team, performing exclusively on Buffet Crampon clarinets and Silverstein Works ligatures.
Duo Alea, the father-daughter duo of Michael and Kimberly Davenport, began performing music for bass clarinet and piano in 1996. As performers searching for new repertoire and teachers working with students eager to develop as performers, it quickly became clear that there was a need for more repertoire featuring the bass clarinet. Filling this need became the mission of Alea Publishing & Recording.
Since our first publication in 1997, the Alea catalog has now grown to include over 300 titles. We pride ourselves on the accuracy and quality of our sheet music, as well as our ability to ship directly to customers around the world.
We are proud of the diversity of our catalog in terms of the inclusion of works by composers and arrangers from around the world. We are interested in continuing to expand this diversity, representing musical ideas from around the world.
Following Michael's passing in 2019, Kim has taken over solo management of Alea Publishing. In 2020, Alea established the Dolphy Prize, an annual composition award for new works for bass clarinet by black composers.
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