For many years orchestras and conservatories have wanted a practical and easily accessible edition of the orchestral passages required at auditions. An orchestral musician is expected to know and to have mastered not only the solo literature of his instrument but especially the opera and concert repertoire as well. The present edition contains those passages which a musician is expected to have at his or her command before being accepted into an orchestra. Unlike the many existing "orchestral studies", this collection focuses on the material commonly used in auditions. It thus forms a foundation for the practical training of young orchestral musicians, and serves professional musicians as a means of practicing difficult passages.

This project was initiated at the behest of the German Music Council and the German conservatories. It is based on statistical studies carried out by the German Union of Orchestras and from many years of professional experience gained by the editors themselves, all of whom are members of orchestras and conservatory staffs.

Orchester-Probespiel: Klarinette

Seit langem besteht in Orchestem und ,an den ausbildenden Hochschulen der Wunsch nach einer praktischen und leicht zuganglichen Ausgabe der bei einem Probespiel vorgelegten Orchesterstellen. Von einem Orchestermusiker wird erwartet, daS er neben der Sololiteratur seines Instrumentes insbesondere das Repertoire der Opem- und K.onzertliteratur kennt und beherrscht. Fiir die vorliegende Ausgabe wurden jene Passagen zusammengestellt, deren Beherrschung unabdingbare Voraussetzung fiir die Aufnahme in ein Orchester is . Im Unterschied zu den in groBer Fiille vorhandenen ,,Orchesterstudien" konzentriert sich die Sammlung auf das in der Probespiel-Praxis iibliche Material. Sie bildet somit eine Grundlage fiir die praxisorientierte Ausbildung des Orchestemachwuchses; dem praktizierenden Musiker dient sie dariiber hinaus zur wiederholten Ubung schwieriger Stellen.

Angeregt wurde das Projekt vom Deutschen Musikrat und den Musikhochschulen. Die Auswahl der Orchesterstellen beruht auf einer statistischen Erhebung der Deutschen Orche-stervereinigung (DOV) sowie auf der langjalirigen Berufserfahrung der einzelnen Herausgeber als Orchestermusiker und Hochschulpadagogen.

Contents

Symphonies 4, 6 and 8 (Beethoven)

Symphonie fantastique (Berlioz)

Prince Igor (Borodin)

Symphonies 1, 3 and 4 (Brahms)

Dances from Galanta (Kod�ly)

Hungarian Rhapsody No. 2 (Liszt)

Symphony No. 7 (Mahler)

The Hebrides (Mendelssohn)

Midsummer Night's Dream (Mendelssohn)

Symphony No 3 (Mendelssohn)

Le Clemenza di Tito (Mozart)

Peter and the Wolf (Prokofiev)

Tosca (Puccini)

Pini di Roma (Respighi)

Scheherazade (Rimsky-Korsakov)

Barber of Seville (Rossini)

Semiramide (Rossini)

Symphonies 1 and 9 (Shostakovich)

Symphony No 8 (Schubert)

Symphony No 1 (Schumann)

The Bartered Bride (Smetana)

Der Rosenkavalier (Strauss)

Salome (Strauss)

Petroushka (Stravinsky)

Symphonies 4 and 6 (Tchaikovsky)

Rigoletto (Verdi)

La Traviata (Verdi)

La Forza del Destino (Verdi)

Die Meistersinger von N�rnberg (Wagner)

G�tterd�mmerung (Wagner)

Oberon (Weber)

Der Freisch�tz (Weber)

Symphonie fantastique (Berlioz)

Bol�ro (Ravel)

Piano Concerto in G major (Ravel)

Daphnis and Chlo� (Ravel)

Till Eulenspiegel (Strauss)

Der Rosenkavalier (Strauss)

Salome (Strauss)

Rite of Spring (Stravinsky)

Suite No 2 (Bart�k)

Dante Symphony (Liszt)

Violin Concerto No. 1 (Shostakovich)

Symphony No. 8 (Shostakovich)

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