Before discussing the PDF, it is essential to understand the composer. Oscar Navarro (b. 1981) is a Spanish composer from the region of Castilla-La Mancha. Unlike many contemporary classical composers writing atonal or experimental music, Navarro grew up immersed in film scores (John Williams, Jerry Goldsmith) and Spanish folk music.
He studied at the prestigious Berklee College of Music in Boston. Consequently, his compositional voice blends the rhythmic drive of a zapateado with the orchestral lushness of a Hollywood blockbuster. His music is tonal, narrative-driven, and viscerally exciting—qualities that have made his clarinet concerto an instant hit.
Navarro wrote his Clarinet Concerto No. 2 for Spanish clarinet virtuoso José Franch-Ballester. The piece premiered in 2013 and quickly went viral in the woodwind community due to Franch-Ballester’s jaw-dropping performance on YouTube.
If you are analyzing the PDF for performance, pay close attention to these specific elements:
1. Articulation Precision Navarro writes complex articulated patterns. You will see passages where slurs are followed by rapid staccato notes. The "navarro style" requires a light, bouncy staccato that can cut through a heavy orchestra.
2. Altissimo Register The concerto sits high. The PDF contains frequent notes above High C (C6). These are not just for color; they are integral to the melodic line. The performer must ensure these notes are secure and do not sound strained. oscar navarro clarinet concerto pdf
3. Rhythmic Complexity The time signatures change rapidly.
4. Dynamics Navarro uses the full dynamic range. You will see pppp (pianississimo)
The story of Oscar Navarro 's clarinet concertos is one of blending classical rigor with the vibrant, emotional energy of his Spanish roots and modern film-scoring background
. Each of his three concertos follows a distinct narrative arc: Concerto No. 1 (2006)
Composed during the Christmas season of 2006, this work was dedicated to Belgian clarinetist Eddy Vanoosthuyse The Narrative: It is a high-energy journey that fuses jazz-inspired rhythms with classical virtuosity. Emotional Arc: Before discussing the PDF, it is essential to
The piece moves from a "misterioso" opening into fast, swing-like sections, eventually reaching a "circus-style" march finale. It is known for pushing the limits of the instrument's dynamics, using "infinite pianissimos" to hypnotize the listener into what Navarro calls the "pure essence of music". II Concerto (2012)
Navarro's second concerto is often described as a "dance" between the soloist and the orchestra, deeply rooted in the folklore of Spain. The Narrative:
This work is structured in one continuous movement with three identifiable sections. It begins with an ethnic, New Age
cantabile style before shifting dramatically into the world of Unique Elements: The performance often includes the rhythmic clapping of
, a staple of Flamenco. The clarinet is treated not just as an instrument, but as a surrogate for the human voice, exploring the "vibration of the rod" to create dark, distant sounds that mimic a moving breeze. III Concerto (2017) in the relative major
The third concerto is a grander, more atmospheric exploration that utilizes both the Bb and Eb clarinet to expand the tonal palette. Concert Music | CONCERTO – For Clarinet and Wind Band
Movement I – Allegro moderato
The movement opens with a characteristic rhythmic pattern in the band (a bulería‑like hemiola), immediately establishing a Spanish character. The clarinet enters with a declamatory, improvisatory gesture reminiscent of a cante jondo (deep song) vocal line. The first theme is angular and syncopated, leaping through tenths and using rapid articulations. The second theme, in the relative major, is legato and introspective.
Development section: Navarro treats motives through fragmentation, sequence, and modulation. A notable cadenza (written out, not improvised) occupies the center of the movement, requiring multiphonics, pitch bends, and flutter‑tonguing — extended techniques used for expressive, not merely acrobatic, effect. The recapitulation brings back both themes in altered keys, leading to a coda that accelerates to a powerful poco a poco accelerando.
Movement II – Andante
Scored in B minor (relative minor of the first movement’s D major tonality), this movement resembles a slow zapateado or a sorrowful toná. The clarinet sings a long, meandering melody over pulsating bass clarinet and low reeds. Navarro employs tempo rubato and frequent metrical changes (3/4, 4/4, 5/8) to evoke natural speech rhythm. Midway, a contrasting più mosso section in the parallel major offers a moment of respite, but the original mournful character returns. The movement closes with the clarinet fading to a high pianissimo B — a haunting effect.
Movement III – Allegro vivace
A rondo (ABACABA) with a driving 6/8 pulse. The “A” theme is a jota rhythm — fast, dotted, and infectious. Navarro calls for slap‑tonguing, rapid scalar runs, and wide leaps. The “B” episode features call‑and‑response between clarinet and solo trumpet, while the “C” episode is a pasodoble‑inspired dance that momentarily shifts to 2/4. A virtuosic cadenza near the end recalls motives from all three movements, then launches into a breakneck coda with ascending whole‑tone scales and a final trill that resolves to a triumphant D major chord.
Many musicians check IMSLP (International Music Score Library Project) first. The Oscar Navarro Clarinet Concerto is not on IMSLP, and it never will be while under copyright. Do not waste time searching there.
