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concertos and began at least two oth-
ers. The traditional numbering of the From the graceful opening theme in Throughout the brisk third movement
four concertos is misleading and is the first violins to the closing tutti the two- or three-note hunting calls
used here only as a matter of accepted chords, this is the most elegant of
tradition, but they were actually writ- Mozart's horn concerto movements, a David Hoover has a D.M.A. in music
ten in the sequence of 2, 4, 3, 1. rare distinction. The rondo, though education from the University of South-
Mozart composed the horn concer- suggestive of the chase, maintains the ern California. He taught brass methods
tos for his godfather, Ignaz Leutgeb, mood. at U.S.C. and is currently the horn
who was 20 years older than Mozart, Every solo note in the concerto's instructor at California State University,
but that did not deter Mozart from first movement is in the best horn Northridge; chairman of the music
making Leutgeb the butt of his jokes. octave, from A3 to A4, except for a department at Mulholland Middle School
The second concerto bears the dedica- single eighth-note B4, and Sussmayr's in Van Nuys, California; and horn coach
tion, "Mozart has taken pity on that second movement stays in the same and faculty artist at the Idyllwild Arts
ass, ox, and fool, Ignaz Leutgeb," and range. Sixteenth-note passages are Festival Summer Session.
40 Tur.nr-,,...-
oboes and horns, with strings, (Urtext) versions to heavily over-
fourth concerto, edited examples with entire passages
rewritten or even deleted. An edition
lorn Concerto #4 in E^ Major,
that includes only a transposed solo
traverses the same range as the
part for horn in F is best avoided.
concerto but calls for more
je and agility. The full cadenza However, Urtexts can also mislead
minute length push it into a modern student performers because
difficulty. The taxing first composers of the Classical period sel-
mt dances at the top of the dom specified the exact articulations
ch of the time. More difficult they intended. A recent edition by the
ry of the other Mozart slow eminent soloist Barry Tuckwell sur-
nts, the crystalline Romanza mounts all of these problems in one
!ess affords some respite from package. In Wolfgang Amadeus Mozart's
rs of the first movement, Concertos for Horn with piano accom-
ipport is the key to the con- paniment (G. Schirmer, Vol. 2004),
effort it takes to play the Tuckwell shows what was in the origi-
nelodic lines so they sound nal and suggests articulations and
The third movement, dynamics in brackets. All four of the
another jolly rondo in |, avoids the standard concertos and the completed
uppermost register so freely exploited concerto fragments are bound to-
^ so subsequent notes gether, ready for performance. Partic-
ier than drag. An oasis of in the first movement. Probably the
ularly useful is the fact that Mozart's
, the | Andante consists of lyric easiest rondo of them all, it comes as a own Rondo for the first concerto is
rases separated by ample rest peri- merciful favor at the close of a difficult
piece. Most editions of the fourth con- here, the nearly complete sketch fin-
ls. To some listeners, the galloping ished by Tuckwell, who includes
'"*last movement suggests running certo insert the first orchestral horn
part into the solo part whenever the Mozart's running commentary to his
horses. Although a good lip trill is
solo horn should have rests. The soloist, Ignaz Leutgeb. Sussmayr's
essential in all the Mozart concertos, a
uninitiated will often try to play every arrangement is given in an appendix.
smooth and instantaneous trill is most
important in this rollicking rondo. note and, soon exhausted, put the These concertos were originally
With a duration of 13 minutes, this is music on the shelf. intended for horn with orchestra.
the shortest of the complete three- Published editions of the Mozart Scores and parts, published by Kalmus
movement concertos. It is scored for concertos range from original notation and Breitkopf & Ha'rtel, are readily
Off
Band Music Guide - New 1996 Edition
This new 10th edition is a directors most valuable
reference tool. With 16,000 titles, the 1996 Band
Music Guide lists all band music in print. The 1996
edition includes Jazz Listings for the first time.
Enclose check, money order, or Visa/Mastercard information except for school purchase orders.
is for A cornet (Boosey & Hawkes, grade II-V, no quire a two octave range to BP 5 with skills of l j '
price). flexibility and accuracy that will tax the finest
professional. The pieces range from grade V toVf
Horn Solos and the piano accompaniment is also demanding
Several easy horn solos have been published The total performance time is about 28 minut e s
this year. Charles Forsberg's arrangement of for the three; I takes eleven minutes, II nine
Robert Schumann's Romance, Op.138, No.5, edited minutes, HI eight minutes. Each movement couU
by Miles Johnson, adds to the lyrical materials be performed as a separate recital piece (1978, no
available (Belwin-Mills, 1978, $1.50, Grade II). But price indicated for these works printed in com
the publication has a notation error in the first poser's facsimile).
measure of the horn part; the eighth notes should
be sixteenths. There is also an EP horn part in- Barry Tuckwell has published a new version of
cluded. Forsberg's Hornpipe and Dance develops a Beethoven's Sonata for Horn and Piano Op.17, with
pleasant melodic idea with simple range and an excellent stylistic indications for tonguing and
easy piano accompaniment (Belwin-Mills, 1978, phrasing. The young student might not unders-
$1.50, Grade II-III). tand Tuckwell's markings in the slow movement;
A third easy horn solo completes Belwin-Mills' the notated thirty-seconds, sixteenths, and eighths
offerings for the young hornist. Charles Forsell have staccato dots. His purpose in this case seems
has arranged Minuet and Trio from Handel's to be to eliminate the usual dull and heavy inter-
"Water Music" in a simple style with an easy piano pretation common to a student performance.
accompaniment. This pleasant, G minor melody Those who have taught this sonata over the
lies in the treble clef for the hornist. All of these decades will welcome Tuckwell's edition (G.
Belwin-Mills publications include an E" horn part Schirmer, Grade V, 1978, $6).
(grade II, 1978, $1.50). An interesting new edition of Mozart's first
movement, Allegro from the Third Horn Concerto
Medium-level horn solos are few this year. M. in Eb (KV 447), is arranged by Robert J. Bardeen.
Bradford Anderson's Prelude and March in Canon Listed as grade V with a cadenza by Micah Levy,
for horn and piano requires an excellent low the piece will stimulate teacher commentaries
register as well as the player's skilled treble clef (Kendor, 1979, $4).
capacity. This piece features imitative motives Rossini's Prelude, Theme and Variation for
played by the piano and horn in clever canonic horn and piano, edited by Barry Tuckwell, provides
style (Boosey & Hawkes, grade IV, 1973, $3). a delightful treatment of this composer's style in
Universal Edition has submitted Franz Strauss' variation form. The most difficult sections have
Nocturno, Op.7, for horn and piano in a comfor- two parts; the easier is notated, "Variation for the 3
tably phrased edition. Strauss, father of Richard lazy." The difficult piano accompaniment requires^'
Strauss and Wagner's solo hornist in such a first-rate artist (G. Schirmer, grade V-VI, $6).
premieres as "Tristan," "Meistersinger," and "Par-
sifal," set the pattern for his son's romantic horn
concertos (grade IV, $5). Richard Fote has ar-
ranged Faure Melody for horn and piano, which I con- Horn Studies
sider a grade III. But because of its demanding Fifty First Exercises for Horn is designed for t
long phrasing and sophisticated interpretive con- beginner, and it guides him up and down the over-
cept, the work might be classified as more dif- tone series to build a fine embouchure. Intelligent-
ficult (Kendor, 1978, $1.50). ly paced, the youthful hornist should become
Jagdstiick ("Hunting Piece") for two horns with adept in slurring and tonguing a variety
piano by Alexander Zemlinsky, takes advantage of rhythms using this publication (Oxford, grade
the classic style horn skills of the old, natural in- I-III, 1978, $8.95, 44 pages).
strument, and with clever alternation between the Tuckwell's second volume, Playing the Horn,
two players, this duet provides a fine addition to contains many fine suggestions about horn skills.
the literature (Universal, grade IV, requires like "Posture," "Holding the Instrument," "The Em-
muting, 1977, $10). bouchure in Detail," "Breathing in Detail"(w!th
Advanced horn solos from contemporary com- well-marked musical examples), "Articulation,"
posers lead our list of new music submitted. Usko "Lip Trills," "Muting," and "Hand-stopping." HIS
Merilainen's Grandfather Bcnno's Night Music for useful suggestions for practicing difficult
solo horn, requires an imaginative interpreter technical exercises and solos benefit all who per'
who can play from the lowest bass clef range to an form or teach the instrument. He provides a coffl-
A 5 with lip flexibility and accurate pitch skills. plete fingering chart for the double horn. This
The piece has no meter signature, and it offers a volume is a fine addition to the many documents
great variety of tempo changes within its short on the skill of playing the horn, and it's one whi
duration (Edition Fazer, Helsinki, Finland Na- should be a part of every horn player's library (Ox'
tional Brass Competition piece, 1976, grade V, $2.75). ford, 1978, $10, 45 pages), (more on page 68)