Guide to the Solo Horn Repertoire

Richard Seraphinoff, Linda Dempf, Richard Seraphinoff, Linda Dempf

• Publisher: Indiana University Press
• Year: 2016
• Print ISBN: 9780253019295
• eBook ISBN: 9780253019356
• Topic: Medios de comunicación y artes escénicas
• Subtopic: Música

This comprehensive, annotated resource of solo repertoire for the horn documents in detail the rich catalogue of original solo compositions for the instrument. Intended as a guide for practical use and easy reference, it is organized into three large sections: works for unaccompanied horn, works for horn and keyboard, and works for horn and ensemble. Each entry includes publisher information, a brief description of the form and character of a work, technical details of the horn writing, and information on dedication and premiere. The authors also include commentary on the various techniques required and the performance challenges of each piece. Representing over ten years of careful compilation and notation by an expert in horn performance and pedagogy, and by a seasoned music librarian and natural horn performer, Guide to the Solo Horn Repertoire will be an invaluable resource for performers, educators, and composers.

1

Music for Unaccompanied Horn

INTRODUCTION

The literature for unaccompanied horn has come about for many different reasons. Horn teachers have written unaccompanied works as exam pieces for students. Performers intrigued by the possibilities of their own instrument have been inspired to write for horn alone, often to fulfill the need for more freely expressive pieces for their own performing. Contemporary composers interested in exploring the horn’s different timbres and technical possibilities have written many works for horn alone and in recent years have succeeded in pushing the boundaries of the instrument’s technical and expressive capabilities.

The beauty of the unaccompanied work—the range of expression available, the total freedom possible—is also what makes these works so challenging. The performer has complete responsibility for all aspects of the piece. And since there is no one else to carry the music forward or share in the expression, these works are not only some of the most taxing and technically difficult in the horn literature but they also require much individual musical thought in their preparation and presentation. Another challenge for both composer and performer is avoiding the monotony inherent in a work for one instrument. The same timbre heard for more than just a few minutes can wear on the listener, no matter how beautiful the line or how novel the gesture. However, when composed and performed effectively, the sparseness, immediacy, and expressiveness of an unaccompanied work can balance out a recital and add great variety to a program. Unaccompanied pieces also give the horn player the opportunity to perform in a more theatrical way than the average ensemble player may be used to, since the visual aspect in an unaccompanied performance can be just as important as the sound.

Since so many of these works push the technical and expressive boundaries of the horn, there are many extended techniques that require careful consideration, deciphering, and coordination. Unaccompanied works are an excellent pedagogical opportunity and can be used in conjunction with etudes. In addition to the great technical challenges, the complete musical responsibility that these works require make them a powerful teaching tool. As with the other sections of this book, we have made no attempt to establish a grading system for individual works, but instead try to give some idea of the difficulties and appropriateness of each work for players of different skill levels through description in the text of the various techniques required, and the challenges that each presents.

MUSIC FOR UNACCOMPANIED HORN

Adler, Samuel (1928– ) United States, born in Germany

Canto XI for Solo Horn

Ludwig Music Publishing, 1986

Dedicated to Adler’s Eastman colleague Verne Reynolds, “with a slight apology to Richard Strauss.” Adler wrote “cantos” for many different instruments over a sixteen-year period, starting in 1970. The heroic nature of the horn is developed in this work, and the listener will hear echoes of the famous call of Richard Strauss’ Till Eulenspiegels Lustige Streiche. In two contrasting sections: The first, “Slowly and quite freely” is unmeasured and features beautiful, loud, legato playing, full of romantic sweeps reminiscent of great orchestral horn writing. The second section is a fast

that echoes the familiar Strauss call. Agility and flexibility are needed, particularly for the second half of this work.

Range: A♭–c³

Duration: 6:30

Agrell, Jeffrey (1948– ) United States

Jeffrey Agrell is the former associate principal horn of the Lucerne Symphony Orchestra (Switzerland) and currently on the faculty at the University of Iowa.

Attitudes (2005)

RM Williams Publishing, 2005

I.Exuberant

II.Grieving

III.Peevish

IV.Fast Lane

Commissioned for the 2006 Midwest Horn Workshop Solo Competition and dedicated to Patrick Miles. Each movement has an improvised cadenza. Notes are included for the individual cadenzas, plus there are extensive instructions on how to approach improvising in general, and how to practice it. This is a solid addition to the solo horn and pedagogical literature for anyone interested in trying out improvisation through an unaccompanied work. Suitable for the college-level player and above.

Range: E♭–a♭²

Duration: ca. 8:00

Meditation (1997)

JOMAR Press, 1997

A short, flowing, unaccompanied work with modest technical demands and plenty of opportunity for expression. This would be a suitable introduction to unaccompanied playing for the high school or early college player.

Range: a–e♭²

Duration: 2:30

Romp

Editions Marc Reift, 1996

A short, energetic and rhythmic work in

, to be played with abandon. Includes a few extended techniques. This was a required piece for horn players at all conservatories in France in 2003.

Range: G–b♭²

Duration: 2:00

Aho, Kalevi (1949– ) Finland

Solo X (2010)

Fennica Gehrman, 2011

The composer wrote this as a preparatory work for his Horn Concerto to explore characteristics of the horn. A virtuosic work with a wide range of ideas, from expressive horn calls in the opening that alternate stopped and open gestures, to driving rhythmic motives. Contrasts abound, with swift changes in dynamics and quick leaps between extreme ranges of the horn. This is challenging and dramatic writing for the horn.

Range: E–c³

Duration: 7:00

Almila, Atso (1953– ) Finland

Unicorno, op. 14 for Solo Horn (1976)

Warner/Chappell, 1995

Dedicated to Esa-Pekka Salonen. Four short movements, mostly unmeasured, with one section in

. The length of this work will vary, due to improvisational sections. The first movement has a recurring theme of twelve notes, interspersed with an angular sixteenth-note passage. The second movement is based on minor seconds and major sevenths and has fast chromatic slurs and passages of wide leaps. The third movement opens and closes with a twelve-note theme that goes through various permutations of more angular writing. The fourth movement is the most free in form, with many decisions left up to the performer. Challenges include alternating open and closed notes and negotiating wide leaps. The movements are short and well paced.

Range: f♯–c³

Duration: 6:10–8:35

Amram, David (1930– ) United States

Horn player, composer, conductor, and jazz hornist. His works are infused with elements of jazz and world music.

Blues and Variations for Monk (1982...

Table of contents

• Cover
• Half title
• Title
• Copyright
• Dedication
• Contents
• Preface
• Acknowledgments
• 1 Music for Unaccompanied Horn
• 2 Music for Horn and Keyboard: Piano, Organ, Harpsichord
• 3 Music for Horn and Ensemble: Orchestra, String Orchestra, Band, Wind Ensemble, or Other Instrumental Group
• Indexes