The work Au pays de la soif et de la peur is wonderfully expressive and unfolds in slow movements, making use of the full breadth of the two instruments’ ranges. Although he does not seek virtuosity, the performance of the work demands the utmost of performers, and above all, requires an extreme rapport.
Everything is so relative: past, present, future, etc.
This melody, taken from the repertoire of the chansonniers, is also representative of a musical repertoire that interested Poulenc, one which he made use of in the third movement of his Clarinet Sonata.
Climes I has only one movement and is conceived in complete freedom, both in its harmonic aspects and its formal aspects. It is a lyric rhapsody where some chords and certain sequences act as structural elements in the composition, with the central part being poco scherzando to balance the score.
Though not a virtuoso work, it is still very demanding. The first part of the Impromptu núm. 9a by F. Fleta Polo creates a restless harmonic climate with many chromatic nuances. The second part, in contrast, is very rhythmic and features an element of perpetual movement that defines the intense, energetic nature of the work.
Música per a clarinet i piano (Music for clarinet and piano) is written in a bold, daring style, in three parts with a free formal structure.
The work Quatre Poemes (Four Poems) for clarinet and piano arose from four poems of Joan Brossa: these are inspired by the frivolous spirit and the elements of reflection and surrealism, and are based on a hidden rhythmic beat over which the two instruments dialogue.
The characters of the Commedia dell’Arte have been referenced in many creative spheres. In the Sonata to Columbine, the Columbine character, as described in the poem by Verlaine, is the point of reference that determines the composition.