"[9] Instead, however, Domaines would prove to be one of Boulez's last mobile works,[10] and became the basis for Dialogue de l'ombre double for clarinet and electronics (1985).
"[12] Author David Schiff noted that Elliott Carter's Clarinet Concerto, commissioned and premiered by Boulez, divides the orchestra into six groups amongst which the soloist can wander, and thus can be heard as an homage to Domaines.
The version for clarinet and ensemble was premiered in Brussels on December 20, 1968, with soloist Walter Boeykens and the Radio Belgium symphony orchestra, conducted by Boulez.
[14][15] Reviewing a 1976 performance, Donal Henahan of The New York Times stated that he "found the solo work fascinating, but the overall score rather mechanically developed and contrived.
"[16] In a review of a 2005 concert, The Washington Post's Cecelia Porter noted that the score required the soloist "to venture... through endless fluctuations of sonic effects, often reflecting electronic-acoustic musical language," and acknowledged the "wispy echoing motifs alternat[ing] with lightning-quick trills and barely discernible pitch changes.
"[18] Clarinetist Roger Heaton, who recorded the piece in 2013,[19] commented: "The writing for clarinet is fascinating, wonderfully colourful and detailed in notation...
"[21] Igor Toronyilalic of The Arts Desk described a 2011 performance as "quite suburban," and stated that the soloist "pays two polite visits to each of six charmingly well-behaved chamber groups, who offer an opening brass fanfare, a pastoral eddy and a springing to life in several genteel dances."