Jrg Widmann, an internationally sought-after soloist and professor of clarinet at the Freiburg Musikhochschule, displays the exquisite refinement of contemporary clarinet sound in 'Fnf Bruchstcke' (already published) for clarinet and piano (KLB 54) and in the present 'Fantasie' for solo clarinet. While noise, as a means of expression, is given much attention in 'Fnf Bruchstcke', 'Fantasie' is largely based on the usual Romantic melodious sound, though this time with ironic side trips into dance, klezmer and jazz music, the clarinet's equivalent of light music.

"'Fantasie' for solo clarinet is my first real piece for my own instrument, the clarinet. With its eccentric virtuosity and its cheerful, ironic fundamental character, it reflects the experience with Stravinsky's 3 Pieces for solo clarinet of 1919 and the tonal innovations which did not appear in music before Carl Maria von Weber's notation for the clarinet, and takes them further in a new way. It is a little imaginary scene uniting the dialogues of different people in close proximity in the spirit of the commedia dell'arte."

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The first solo clarinetist to win the CAG Competition in nearly 30 years, Korean-Canadian Yoonah Kim joins the ranks of prominent solo clarinetists discovered by CAG, including David Shifrin, Michael Collins, and David Krakauer. Yoonah became the first woman to win first prize at the Vandoren Emerging Artist Competition in 2016. She is also a member of Ensemble Connect, a highly selective two-year fellowship program under the joint auspices of Carnegie Hall, The Weill Institute, and The Juilliard School.

With this work, a theoretical-practical investigation is proposed in which we will try to offer knowledge about the life, work and circumstances of the musician, conductor and composer Jrg Widmann, as well as the context of the clarinet in Germany. There will also be a technical-interpretive analysis of the work in question, Fantasie for solo clarinet.

Widmann has stood out for various facets in the field of music, in this work we will focus on his facet as a composer, although we will give some explications of the other two facets of him. Widmann's style has been influenced by composers such as Stravinsky, Boulez or Weber himself, creating his own compositional voice, in which he takes dynamics, tempo, technical performances to the extreme. Prior to the staging of the work, we will carry out a study on everything that makes it difficult for us to study, such as passages with great technical difficulty for which we will propose some study alternatives, or for extended techniques, which we will find throughout of the piece. 589ccfa754

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