The singing quality and expressive flexibility of the bass clarinet, particularly at soft dynamic levels, are the principal focus of Bontoux's "Intermezzo." The seventy-eight measure piece, marked "Moderato assai (♩=66)," has a printed dynamic range of ppp to mf and includes numerous expressive directions such as majesteux, avec abandon, en caressant, fièrement, and calme et solennel. The principal tonality is B minor, though the middle section is in B-flat major. French notation is used for a range of three octaves and a major second, extending from E to f-sharp''. Melodic activity, though favoring the lower register somewhat, is distributed fairly evenly throughout this range, as indicated by the distribution percentages:

Although not of a larger scale than previously published French works, this piece is more demanding of fluent technique, expressive flexibility, and control throughout the instrument's range. The altissimo register is used at points of greatest delicacy. The primarily slow, plain melody is augmented with frequent embellishments and flourishes and requires an overtly emotional, rubato style. Dedicated to Pierre Sainte- Marie, the "Intermezzo" had an orchestral accompaniment, as well the published piano accompaniment. Bontoux wrote two other works using the bass clarinet: "The Bénédiction Nuptiale," for clarinet, bass clarinet, and organ, and the "Hymne à Sainte-Cécile," a sextet for two soprano, alto, bass and contrabass clarinets. Both of these works were published in 1900.¹

¹ BMF 117:8 (for "Bénédiction Nuptiale") and 118:10 (for "Hymne à Sainte-Cécile"), 1900