The entry of J. G. Orlamünder in Pazdírek's Universal-Handbuch... does little to explain the composer's choice of bass clarinet as a solo instrument. Orlamünder's two other published compositions are a concerto for trombone or tuba and the Fantasie über schwedische Leider for band. The "Romance" is listed as a composition for piano solo or for bass clarinet with piano or orchestral accompaniment. Unlike the other Schmidt publications for bass clarinet listed in Pazdírek, no versions for bassoon or trombone are mentioned.¹ In the published score of the "Romance" the solo instrument is designated only as "Solo" and is notated untransposed in bass clef. The bass clarinet part provided uses French notation and is transposed for a B-flat instrument.

The tempo of 116 measure-long piece in 3/8 meter is andante cantabile. A middle section of forty measures, marked "più lento," is in the key of F-sharp major, while the principal tonality is B-flat major. A moderate amount of figuration and written-out turns embellish a sweetly lyric air. Groups of four or six staccato thirty-seconds occour frequently. A cadenza of two measures elaborates the final return to the tonic harmony.

The range of two octaves and a minor sixth extends from F-sharp to d'', though the lowest octave of that range is infrequently used. The tessitura is primarily in the lower portion of the clarion register. Use of the instrument's compass is proportioned as follows:

Again, as with several of the works composed around the turn of the century, the fifth a-e' carries the greatest portion of the melody. The use of this tessitura deprives the listener of the instrument's rich chalumeau register which was frequently exploited in orchestral music. The printed dynamic range indicated is from pp to ff. Legato technique and expressive playing style, largely in the upper register, are the main requirements for successful performance. Triple divisions of the beat in the accompaniment must frequently be coordinated with duple divisions in the solo voice, but otherwise the relation between soloist and accompanist is quite straightforward.

¹ Pazdírek, U-HM 8: 961