Adolf Busch's Suite, op. 37a, is the first large-scale, multi-movement work still extant for the bass clarinet . Both musically and technically ambitious, it appears to have no precedent closer than the unaccompanied partitas and suites of Bach and Telemann. It has a wide emotional gamut, which does not limit the bass clarinet to a narrow range of moods or emotional guises, and it makes no concessions to any supposed technical limitations. Bush who lived from 1891 until 1952, is primarily remembered as a violinist and quartet player, but also composed orchestral, choral, and chamber works influenced by the style of Max Reger, a friend and mentor.¹ The suite, although having no dedication, was almost certainly written for Werner Reinhart (1884-1951), a successful businessman and friend of the composer, who was a very influential patron of several composers and supporter of contemporary music, as well as a respected amateur performer on the clarinet, basset horn, and bass clarinet. Stravinsky's Three Pieces for clarinet solo, Honegger's Sonatine, and Hindemith's Quintet for clarinet and strings, as well as Schoeck's bass clarinet Sonata, were all written for him. The manuscript of the Suite is it the possession of the Rychenberg-Stiftung, a foundation established at Reinhart's death in order to continue his support of the arts.²

The tonal center of the work, which shifts between the minor and major modes, is E. Its tonal language is a harmonically complex, late-romantic idiom, while the frequent hemiole and implied counterpoint are reminiscent of the stile of Reger. The first movement, andante tranquillo, is clearly inspired by the preludes of Bach's suites for cello. The second movement, adagio, is a rhapsodic lament with arpeggiated flourished extending over three octaves in one hundred and twenty-eighth note values. The scherzo movement, molto vivace - molto meno vivace - Da capo, contrasts strong dynamic surprises and hemiole with tranquilly meandering eights in a pastoral trio. The final vivace movement has the character of an exuberant symphonic finale. The total length of the work is 667 measures. the range extends three octaves and a minor second from E to f'', using French notation. Altissimo notes are used to good effect, but sparingly, whike full and evenly distributed use of both the clarion and chalumeau range is made. The range distribution of the second movement (adagio), which has the broadest compass is:

¹ Sadie, New Grove, s.c. "Adolf Busch," by Robert Philip

² Hans Curjel, "Werner Reinhart-Mäzen in Winterthur," Melos 12, December 1969, 505-509.