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This is the 3rd movement of the First Sonata for Clarinet and Piano. Tempi are very general and indicative, the only exception being that if performed alongside the first movement, the tempo relationship is clear at the appropriate place. I have suggested an experimental method of holding the bell of the clarinet above the resonating strings of the piano towards the end. All crossed-hands passages can be adjusted at will. The composer just likes showing off! as they appear to be more difficult that he suspects they actually are.nThe second movement is currently being rewritten.nThe work (whole or in individual movements) may be publicly performed on condition that the performance is logged with the PRS.n
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