Guide to the Solo Horn Repertoire
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Guide to the Solo Horn Repertoire
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Overview
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.
Product Details
| ISBN-13: | 9780253019356 |
|---|---|
| Publisher: | Indiana University Press |
| Publication date: | 04/18/2016 |
| Series: | Indiana Repertoire Guides |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 630 |
| Sales rank: | 858,486 |
| File size: | 1 MB |
| Age Range: | 18 Years |
About the Author
Richard Seraphinoff is Professor of Horn at the Indiana University Jacobs School of Music and the Early Music Institute. He performs and records regularly on natural horn and is a maker of early horn reproductions.
Linda Dempf is Music and Media Librarian at the College of New Jersey. She earned a DM in Horn from Indiana University's Jacobs School of Music and performs on the natural horn with period instrument ensembles throughout the United States.
Read an Excerpt
Guide to the Solo Horn Repertoire
By Linda Dempf, Richard Seraphinoff
Indiana University Press
Copyright © 2016 Indiana University PressAll rights reserved.
ISBN: 978-0-253-01935-6
CHAPTER 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 68 that echoes the familiar Strauss call. Agility and flexibility are needed, particularly for the second half of this work.
Range: A[flat]–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[flat]–a[flat]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[flat]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[flat]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 7/8. 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)
C. F. Peters, 1991
David Amram wrote this work "in memory of Thelonious Monk for his friendship and inspiration." It was premiered by Douglas Hill at the 1982 International Horn Workshop in Avignon, France. Containing a prelude, a theme, five short variations, a return to the theme, then ending with a coda, this is a highly accessible work in the jazz idiom. The theme and variations are a twelve-bar blues, except for variation IV which is fifteen measures in length. A good opportunity for the intermediate hornist and above to explore jazz rhythms and style.
Range: c–g2
Duration: 6:00
Andriessen, Jurriaan (1925–1996) Netherlands
Serenade voor hoorn solo (1985)
Donemus, 1986
Featuring modal melodies with clever sections of contrapuntal writing within the framework of regular phrasing, and interesting intervallic combinations, this work is suitable for the early college player.
I. Andante rubato: Begins with a horn call motive on fourths and fifths, increasing in rhythmic complexity and dynamic intensity before a return of the opening call motive.
II. Allegro moderato: In ABA form with changing meters.
III. Andante con moto: In ABA form, the middle section is piu mosso.
IV. Allegro: A quick romp in [??] with hemiolas and interesting contrapuntal writing. This movement opens with arpeggiated figures that become smaller intervals as the piece progresses.
V. Valzer lento, Dolce grazioso, sempre espressivo: a slow and expressive waltz, felt in one.
Range: g#–a[flat]2
Duration: 12:00
Apostel, Hans Erich (1901–1972) Austria, born in Germany
Apostel was a pupil of Berg and Schoenberg and an active pianist, composer, accompanist, and private teacher in Vienna.
Sonatine, op. 39b (1964)
Universal Edition, 1965
This is an atonal work, based on a twelve-tone row, with interesting rhythmic and tone combinations. In three movements: Allegro moderato — Lento — Allegro giocoso. The first movement is a march with the form ABCBA, the middle C section being a study in the contrasting characters presented in the A and B sections. The second movement is a short theme with three variations of three or four bars each, marked espressivo. The third movement is a rondo that juxtaposes short staccato phrases, marked molto ritmico, with short legato phrases, alternating over changing 38 and 48. A challenging work in twelve-tone harmonic language.
Range: g#–c3
Duration: 5:00
Armstrong, John Gordon (1952– ) Canada
Trotte Vieille, 13 Vignettes for Solo Horn
Canadian Music Centre, 1994
Dedicated to Janine Gaboury-Sly who first performed the piece on March 26, 1997 at Michigan State University in East Lansing, Michigan. These vignettes, varying in length anywhere from six notes to three pages, can be played on their own or in different combinations and are of contrasting characters, such as "Disjointed, ragged," "Harsh, violent," and "Serene, contemplative." Moderately difficult writing for the horn, with fast technical passages that span the entire range of the instrument, extending up to c3.
Range: c–c3
Arnecke, Jörn (1973– ) Germany
Bamberger Hörnchen, für Horn solo (2009–2010) Sikorski, 2010
Commissioned by the ARD International Music Competition in 2010. Based on two extended techniques for the horn: multiphonics (singing while playing the horn) and playing on the horn's naturally occurring harmonic series. The singing voice, notated in C, uses treble clef to take into account the difference between male range and female range, and both are indicated. The recurring upward passages that unify this work are notated with microtones, indicating which notes reside outside of the tempered scale. A challenging work that fully explores these two extended techniques. The title is a humorous play on words — the piece was written in the town of Bamberg, and Hörnchen could mean "small horn," but it is also a sort of croissant which they bake in a special way in Bamberg.
Range: F#–b2
Duration: 9:00
Arnold, Malcolm (1921–2006) United Kingdom
Fantasy for Horn, op. 88 (1966)
Faber Music, 1966
Arnold wrote fantasies for different solo instruments throughout his career. The Fantasy for Horn was commissioned by the City of Birmingham Symphony Orchestra for the Birmingham International Wind Competition in 1966. It begins with a jaunty tune in 68, followed by an espressivo section, in minor marked Poco lento. A section of echoing fanfares contrasts open and stopped horn, followed by virtuosic sixteenth notes. The final section is a return to the jaunty opening material, and the piece ends with a flourish repeatedly going up to b?2 . This piece has earned a solid position in the horn repertoire, with its interesting character and tuneful writing that is well paced and idiomatic for the horn.
Range: e–b[flat]2
Duration: 3:50
Arter, Matthias (1964– ) Switzerland
Arter is a composer and oboist and serves on the faculty of the Bern University of the Arts, Switzerland
Voice, for French Horn (1998)
Egge Verlag, 2000, also available from www.marterart.ch/en/kompositionen.html
Dedicated to Karl Fassler. Explores many different colors and techniques, including multiphonics, glissandi, quarter tones and playing several phrases with a "pale sound, like a Renaissance-cornett" with slide/slides removed. Challenges include a passage on repeated b2, but judicious rests make this contemporary work well paced.
Range: G–b2
Duration: 4:00
Babbitt, Milton (1916–2011) United States
Around the Horn (1993)
Smith Publications, 1994
Composed for William Purvis, this work is dedicated to the memory of Marjorie Schuller, the wife of Gunther Schuller. An acrobatic challenge, the horn line comes out of the emphasis on different notes as it jumps two or more octaves throughout the piece. Dynamics alternate suddenly between loud and soft, achieving a brilliant echo effect. Rhythmically complex, the piece is metered with continually changing time signatures. Grounded firmly in the twelve-tone tradition, this brilliant and challenging solo pushes the boundaries of the horn, both musically and technically.
Range: f#–b2
Duration: 9:30
Bach, Jan (1937– ) United States
French Suite (1982)
Cimarron Music Press, 2012
Written for Doug Hill to perform at the 1982 International Horn Society Workshop in Avignon, France. Jan Bach was writing a horn concerto around this time and contacted Doug Hill who was writing Extended Techniques for the Horn. This piece uses several of the techniques in the book, and bears a loose resemblance to the baroque suite. The first movement, Fantaisie, is unmeasured and free, marked Leisurely, un poco rubato. The Courante consists of active sections of changing meters that alternate with a quiet stopped horn theme, echoing, or coming from afar. Sarabande features a cantabile horn line with a "soft shoe" effect, achieved by rubbing a hairbrush or sandpaper back and forth on a mute. The last movement, Fugue, is full of jazz inflections, with running eighth notes, crescendos, accents, and quick flutter tonguing.
Range: Bb–c3
Duration: 12:40
Baldwin, Daniel (1978– ) United States
Rashomon (2006)
Imagine Music, 2006
Commissioned and dedicated to Mike Keegan. The title refers to the ancient gate of Kyoto. This work is suitable for a strong high school player, with a section of slurred sixteenth notes and stopped and muted echo effects.
Range: A–g2
Duration: 3:00
Barboteu, Georges (1924–2006) France
Barboteu was principal of the Orchestre de Paris and professor of horn at the Paris Conservatoire. He composed many studies for the horn as well as chamber music for horn and other brass instruments.
Cinq Pieces poetiques, pour cor en fa (1972)
Editions Choudens, 1974
These five movements are tuneful and flowing. The first movement is an easygoing [??]. The second, marked Mouvement tres libre, provides opportunity for freedom of expression with legato leaps and a cadenza like flourish up to a[flat]2 in the middle of the movement. The fourth movement is in ABA form, starting and finishing with an Allegro vivo in a steady [??], mostly triadic writing, with flutter tonguing, sixteenth-note figures, and trills. The middle section, in [??], is reminiscent of the first movement. The final movement is expansive and free and is based on fourths and fifths. Suitable for the college player.
Range: d–c3
Duration: 10:15
Fa 7, pieces pour cor seul
Editions Choudens, 1987
1. Étrange
2. Volubile
3. Monologue
4. Chanté
5. Enjoué
Averaging one minute apiece, each movement explores contemporary horn techniques found in twentieth-century music, including wide vibrato, stopped notes, trills, flutter tonguing, and multiphonics. In addition, there are instances of pronouncing words into the horn. These sounds and techniques are all explored within the context of traditional metric notation.
Range: G–c3
Duration: 6:00
Basler, Paul (1963– ) United States
Cantos, for Solo Horn
RM Williams, 2003
For William Capps. Commissioned by and written for the 2004 Southeast Horn Workshop as the required first-round work for the collegiate solo horn competition. Short work in contrasting sections that gradually builds momentum, with a final return to the opening motive, this time played fortissimo and sustained. Quickly moves between different moods, and opportunities abound for expression in this very idiomatic work for horn. Features expressive wide legato leaps and some stopped writing. A very accessible work for the college-level student and above.
Range: B[flat]–[flat]2
Duration: 3:50
Five Pieces for Solo Horn
RM Williams, 1998
Written for Michelle Stebleton, associate professor of music at Florida State University. The composer describes this work in the preface: "Descriptive in nature, each piece deals with a specific horn 'issue'— i.e. fast scalar passages, lyrical arpeggios, fingering exercises, etc." In five movements: Chopbuster — Rhapsodic — March — Song for Vitali — Auto pilot. These works have a pedagogical focus, yet are tuneful and interesting.
Range: b–b3
Duration: 10:00
Marathon, for Solo Horn (1997)
RM Williams, 1998
Written for Michelle Stebleton. The composer writes, "the piece combines supple, lyrical arches with fearless, athletic leaps in a 'marathon' of sorts for the horn player." Changing tempos and wide leaps through different ranges, with some stopped writing and flutter tonguing. A challenging work requiring good overall endurance, but with judicious rests for the performer.
(Continues...)
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Table of Contents
Preface
Scope
Using the Guide
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
Title Index
Name Index for Premieres, Commissions and Dedications
Index - Music for Horn with Band, Wind Ensemble, or Brass Ensemble
Index - Music for Horn with Small Instrumental Ensemble
Alphabetical List by Composer Nationality