Clarinet with a Venezuelan accent


Portavoz Ediciones This idea was born from the natural relationship between a composer and a performer, in which new facets such as music publishing were subsequently discovered and developed. The creative function of the composer as encoder of the waves of his universe needs the re-creative function of the interpreter, who actually turns those codes into music and therefore in emotions. The same occurs in the case of music publishing, which provides availability and promotion to the pieces composed. Both the performer and the publication raise the composer's voice to another register, just as the speaker hole (Portavoz) does it on the woodwind instruments.

Why the clarinet?

Well, just because we are clarinetists.

It is well known that due to its technical and expressive possibilities, the clarinet became the preferred woodwind instrument of many composers during the 19th century. Throughout the 20th century, thanks to its versatility, it reached a wide range of musical genres, while it continued to leave us with important original pages in Western music. The 21st century has been no exception and from Portavoz Ediciones we want to feature the clarinet in the contemporary Venezuelan repertoire.


Although it enjoys a certain international presence in recent decades, the Venezuelan Merengue or Guasa continues to seek more projection among Venezuelan musical genres. Its origins, its roots, its characteristic and asymmetrical five-eight time signature, the character of its lyrics and its main representatives, are yet to be discovered. On this page we want to make special mention of Andrés Barrios's Merengues for solo clarinet, where the instrument reaches a Virtuoso level. For this reason, Portavoz Ediciones offers a niche dedicated to make this tasty, fun and particular genre shine.