Guide to the Solo Horn Repertoire , livre ebook

Guide to the
SOLO HORN REPERTOIRE
Indiana Repertoire Guides
Guide to the
SOLO HORN REPERTOIRE
LINDA DEMPF and RICHARD SERAPHINOFF
This book is a publication of
INDIANA UNIVERSITY PRESS
Office of Scholarly Publishing
Herman B Wells Library 350
1320 E. 10th Street
Bloomington, IN 47405-3907
iupress.indiana.edu
2016 by Indiana University Press
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z 39.48-1992.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Names: Dempf, Linda, compiler, editor. | Seraphinoff, Richard, compiler, editor.
Title: Guide to the solo horn repertoire / Linda Dempf and Richard Seraphinoff.
Other titles: Indiana repertoire guides.
Description: Bloomington ; Indianapolis : Indiana University Press, 2016. | 2016 | Series: Indiana repertoire guides | Includes indexes.
Identifiers: LCCN 2016006153| ISBN 9780253019295 (cloth : alkaline paper) | ISBN 9780253019356 (ebook)
Subjects: LCSH : Horn music-Bibliography. | Horn and keyboard instrument music-Bibliography. | Horn with instrumental ensemble-Bibliography. Classification: LCC ML 128. H 67 D 46 2016 | DDC 016.7889/4-dc23 LC record available at http://lccn.loc.gov/2016006153
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To the memory of Philip Farkas (1914-1992)
Contents
PREFACE
Scope
Using the Guide
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
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
List of Composers by Nationality
Preface
SCOPE
This book is meant to serve as a comprehensive guide to the music for solo horn that is significant and available. Our aim is to bring together information in one location for readers who want to know what solo music has been written for the horn, some basic information about the pieces, and where they can be obtained. It is intended for horn players and teachers, but we hope that it will be useful for conductors, composers, and scholars who may be interested in finding out more about the literature written for the horn.
The guide includes music written originally for the horn, so excludes arrangements, with the exception of piano reductions of works for horn and ensemble. We have included mostly published works that are available for purchase or available from libraries in the United States. In a few cases we have included unpublished works, either obtaining these directly from the composer or from a lending library, such as the Fleisher Collection at the Free Library of Philadelphia. We corresponded with several international music centers that serve as clearinghouses for music in other countries and included works that were of significance, our thought being that if we are able to obtain the music, you would be able to as well.
To identify the significant works for horn, we consulted many bibliographies, lists, and publications about horn repertoire, including Robin Gregory, The Horn: A Comprehensive Guide to the Modern Instrument Its Music; Bernhard Br chle and Kurt Janetzky, The Horn; Gunther Schuller, Horn Technique; Douglas Hill, Collected Thoughts on Teaching and Learning, Creativity, and Horn Performance; and Verne Reynolds, The Horn Handbook . Several dissertations were invaluable starting points, including Timothy Kerwin, A Core Repertoire of Solo and Accompanied Works for the Horn: An Annotated Bibliography with Analysis; Gayle Chesebro, An Annotated List of Original Works for Horn Alone and for Horn with One Other Non-keyboard Instrument; Karen Robertson Smith, An Annotated Bibliography of Works for Unaccompanied Horn, 1975-1995; and Lin Foulk, Works for Horn and Piano by Female Composers: An Annotated Guide . For information on composers and works, we consulted composers and publishers websites, Worldcat, music and recording reviews published in The Horn Call and other journals, plus many reference works and dissertations, particularly those written about works for horn by specific composers. We examined nearly every score that is included in the list; a few, however, were not obtainable, but determined significant enough for inclusion, so are listed with as much information as available. The focus of this guide is on the music itself, but there are occasional see also references when a source has been consulted or quoted extensively, or to point readers to a significant resource about a piece.
USING THE GUIDE
The guide is organized into three large sections: works for unaccompanied horn, works for horn and keyboard, and works for horn and ensemble. The appendix contains indexes for titles of works, names of soloists and dedicatees, and a list of the composers by country designation. We have also provided two ensemble indexes for locating solos with band, wind ensemble, brass band and smaller instrumental ensemble.
In each chapter, composers are listed alphabetically with dates and their primary country of residence. The title of the work appears in italics, with date of composition, when available, indicated in parentheses. We list publisher and date, and have made no attempt to include every published edition of a work, but instead list the major editions available and of interest to performers. For works for horn and ensemble, we indicate if a piece is available as an arrangement for horn and piano (piano reduction), or as a full score only. Annotations include a brief description of the form and character of a work, technical details of the horn writing, and information on dedication and premiere. Our goal is to let you know about a piece, give you guidance on its significance, and pique your curiosity, providing enough basic information in the event you are interested in finding out more. In a few entries we refer to New Grove , which is the New Grove Dictionary of Music and Musicians , second edition. Entries may include a composer s own words about a piece, and unless otherwise noted, quotations are from the preface of a score, or from a dedication on the title page. Range is for horn in F unless indicated otherwise. The system of octave designation for horn range is adapted from D. Kern Holoman s style guide, Writing About Music: A Style Sheet , as seen in figure 1 . Durations, when included, have been taken from the printed music, from a commercial recording, or from the authors own calculations.

Figure 1: Octave designation for horn range.
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. This system has its own inherent problems, yet we hope that by doing this, each entry will give a fuller picture than an assigned grade and also be more specific in what makes a piece particularly challenging or accessible. We indicate when a work stands out as particularly suited to a certain level of player, such as a high-school player or a younger college player, or if a work is a good introduction to a specific technique or style for a certain level of player.
Acknowledgments
We would like to thank the many people who made this book possible. We are grateful to all of the composers who sent us their scores, recordings, and words of encouragement, continually reminding us that this was a worthwhile endeavor. Numerous publishers and distributors sent us music, including Theodore Presser, Solid Wood, Musik Fabrik, JOMAR Press, RM Williams, and Veritas Music. A special thanks to Robert King Music, who allowed us to peruse scores on site over two snowy days at their North Easton, Massachusetts, headquarters. The staff in the publishing rental departments at Schott/EAM, Boosey Hawkes, Theodore Presser, Schirmer, and C.F. Peters were tireless in their efforts in tracking down music and helping us navigate the complex world of rental scores and distribution.
Many colleagues provided invaluable feedback and support. Special thanks to Tomoko Kanamaru, for her collegiality and her help with translations, and to Barry Tuckwell and faculty at the Barry Tuckwell Institute for inspiration and encouragement during early stages of the book. The horn faculty and horn students at Indiana University provided invaluable input by bringing pieces and composers to our attention, and talented graduate assistants in the horn department at Indiana, Katie Baker and Burke Anderson, provided helpful research assistance.
We are grateful to music librarians and staff at the libraries we visited and corresponded with, who came through time and again with their expertise and suggestions, including Eva Heater at Yale University, the music specialists at the Performing Arts Reading Room at the Library of Congress, Stu Serio at the Fleisher Collection of the Free Library of Philadelphia, and Darwin Scott at Princeton University. The ever efficient Interlibrary Loan departments at our home institutions, Indiana University Library, and The College of New Jersey Library, obtained literally hundreds of research materials for us, for which we are extremely thankful.
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