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A slow introduction, a fast part featuring two contrasting themes, a key change, once again an increase in tempo leading up to an effective close - that’s the pattern the composition of many overtures to Rossini’s operas are based on. Probably one of the most well-known overtures is the one to The Barber of Seville. Here are some remarks on the arrangement on hand: The first and second voices are arranged – in their respective registers - in a way that should enable you to play them easily. The third voice, however, turned out to be more difficult to score. I think it would be best to play this voice on the basset horn or the alto clarinet since the melodious passages are notated in a register well-suited for these two instruments. In case you choose to perform this voice on the Bb clarinet, you will be forced to play some notes one octave higher. And if the bass clarinet – whose tone range just goes as far as notated Eb – takes the part of the fourth voice, you would also have to transpose some notes up an octave. These facts do certainly not detract from the performability of this arrangement! Enjoy rehearsing and performing this absolutely impressive piece. (Peter Schubert)

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