Description
This is the full version of my horn sonata no. 4.
1st.Movement
It is a lively
piece after a slow introduction and requires good breath control and
tonguing throughout.
piece after a slow introduction and requires good breath control and
tonguing throughout.
The opening contains all
the ideas and motifs that are important throughout the rest of the
piece. These include, but are not exclusive to a ‘hunting call’ motif.
glissandos, triplet figures and a marching bass line. Each motif or idea
is clearly stated before being thrown into the mixing pot after the horn
cadenza.
the ideas and motifs that are important throughout the rest of the
piece. These include, but are not exclusive to a ‘hunting call’ motif.
glissandos, triplet figures and a marching bass line. Each motif or idea
is clearly stated before being thrown into the mixing pot after the horn
cadenza.
At just under 4 minutes this is not too long or
too short to be used as a concert item on its own. The whole is a very
satisfying tonal piece which would suit most medium to advanced players.
2nd. Movement
Rather than a slow
movement, I decided to base it on a minuet and trio form. The main
driver in the minuet is the quaver pattern that begins in the piano.
This should be very rubato, much more so than in the mp3. Over this, the
horn has a legato melody.
At the change to
minor, (meno mosso a piacere) the change of tempo should be abrupt (no
rall) and the whole section is very dramatic. The horn should be
strident in the louder passages and super smooth in the quieter ones.
minor, (meno mosso a piacere) the change of tempo should be abrupt (no
rall) and the whole section is very dramatic. The horn should be
strident in the louder passages and super smooth in the quieter ones.
At
the coda, the mood should be sultry, almost lazy. This is still ‘a
piacere’. The pianist needs to be really finely controlled in the
diminuendo to the finish.
the coda, the mood should be sultry, almost lazy. This is still ‘a
piacere’. The pianist needs to be really finely controlled in the
diminuendo to the finish.
3rd. Movement
This movement is marked ‘Presto’ with the beat set at 120. It should not go faster than this.
In
12/8, it has something of the character of a jig, At first between the
LH of the piano, with the RH joining in on the repeat. This happens
again, in a slightly altered way later on. This opening idea is treated
almost as a ritornello. It appears in the piano alone on its next
iteration, leading into a syncopated section in the minor.
12/8, it has something of the character of a jig, At first between the
LH of the piano, with the RH joining in on the repeat. This happens
again, in a slightly altered way later on. This opening idea is treated
almost as a ritornello. It appears in the piano alone on its next
iteration, leading into a syncopated section in the minor.
This
is followed by the ritornello and then another minor section using
short glisses and dramatic chords. There is also need of fluttertongung
in this section.
is followed by the ritornello and then another minor section using
short glisses and dramatic chords. There is also need of fluttertongung
in this section.
Finally, the ritornello idea returns in the
dominant, taking the horn up into the top register. This section leads
to the close with a downward gliss, which counterbalances the upward
gliss at the end of the first movement.
dominant, taking the horn up into the top register. This section leads
to the close with a downward gliss, which counterbalances the upward
gliss at the end of the first movement.
Additional information
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