For Horn And Orchestra-The horn is surely the most ?romantic? of instruments and it is a well-known fact that it plays a prominent role in Weber?s oeuvre. Der Freischütz and Oberon would be unthinkable without their horn calls whether to signifyyearning or the clarion call of the hunt. But Weber did more than give the instrument important solo parts in his operas; he also wrote a virtuoso concert piece that to this day is regarded as one of the most difficult in thewhole horn repertoire not least because the soloist has to play three-part chords (!) in the cadenza. This Henle Urtext edition is based on the autograph the engraver?s copy (checked by Weber himself) and the first edition andso offers the best possible musical text for those wishing to learn this highly effective virtuoso piece. The Preface also for the first time provides biographical details of Sebastian Rauch the Munich horn player whocommissioned this Concertino.

This work was commissioned by the Royal Philharmonic Orchestra. It was first performed on 2nd May 2000 at the Barbican Centre London by Richard Watkins. Peter Maxwell Davies: The horn writing is extremely virtuoso throughout not least in exploring the full range of the horn from the deepest notes in the bass normally exclusive to an orchestral fourth horn player to the highest most exposed sostenuto of a first horn soloist presenting herechallenges of embouchure and sheer stamina I should think fairly unprecedented.Duration c.23 minutes. Miniature score on sale CH61757 Conductor's score and orchestral parts on hire.

As if looking back on his youth toward the end of his life Richard Strauss wrote a second concerto for horn and orchestra again in Eb major around sixty years after his first concerto for horn. This sublimely beautiful late work which gives no indication of the oppressive circumstances of Strauss? poor health and the Second World War was premiered in 1943 by Gottfried von Freiberg under the direction of Karl Böhm. It was not until after Strauss? death that the concerto appeared in print in London making a critical new edition on the basis of the autograph sources and performance material more than overdue. The editor Hans Pizka former principal horn of the BavarianState Opera in Munich learned first-hand about the performance tradition and genesis of the concerto as a pupil of Gottfried von Freiberg. For use in lessons and for performances the especially playable piano reduction by Johannes Umbreit is a great help. As if looking back on his youth toward the end of his life Richard Strauss wrote a second concerto for horn and orchestra again in Eb major around sixty years after his first concerto for horn. This sublimely beautiful late work which gives no indication of the oppressive circumstances of Strauss? poor health and the Second World War was premiered in 1943 by Gottfried von Freiberg under the direction of Karl Böhm. It was not until after Strauss? death that the concerto appeared in print in London making a critical new edition on the basis of the autograph sources and performance material more than overdue. The editor Hans Pizka former principal horn of the BavarianState Opera in Munich learned first-hand about the performance tradition and genesis of the concerto as a pupil of Gottfried von Freiberg. For use in lessons and for performances the especially playable piano reduction by Johannes Umbreit is a great help.

The virtuosic double concerto Concerto for Violin Horn and Orchestra follows the traditional concerto three-movement form I Allegro moderato II Elegy (In Memoriam) and III Presto. The sheet music includes alternate parts forViola or Cello with Piano accompaniment.Composer Ethel Smyth was a prolific composer of serious music for several decades at the turn of the last century whose works commanded great critical acclaim and earned her the honour ofDame Commander of the Order of the British Empire. A fiery powerful personality Smyth pursued her musical studies and career against her family’s wishes travelling to Leipzig to study there. Her style is late Romantic withrich Orchestration which fell out of favour in the 20th century. Sir Thomas Beecham was a champion of her work as was Henry Wood to whom this work is dedicated.

About Concerto Movement for Horn and OrchestraBy Wolfgang Amadeus Mozart. Edited by Dominic Nunns. For Horn Solo Oboe (2) Horn (2) Strings. Piano Reduction/Vocal Score. KV 494a. Duration 4'30''. Published by Baerenreiter-Ausgaben (German import). (BA5349 90)

KV 412 + 514 (386b)-Mozart's Horn Concerto No.1 In D arranged for Horn with a Piano reduction of the orchestral material. Parts for solo Horn in F and solo Horn in D are also included.

Mozart composed his Rondo In E-Flat Major for Horn and Orchestra on 21 March 1781 just five days after his move from Munich to Vienna. The Rondo was most likely intended as a final movement of what would have been Mozart's first Horn concerto.

Oddly Mozart wrote out the score of his most famous Horn Concerto not only in black ink but also in red green and blue. Whether he meant this as a genial prank or had higher aspirations in mind willremain an eternal mystery. Whatever the case Henle‘s Piano reduction takes Mozart at his word and prints the enclosed urtext Horn part in exactly the same colours as are found in the autograph score. Perhaps themulti-coloured publication will inspire Horn players to create new interpretations of this popular concerto.

Mozart's Horn Concerti display the pinnacle of classical elegance with delightfully playful melodies and musical interaction. This arrangement is for solo Horn with a Piano reduction of the original orchestral material by W. Salomon.

Canto serioso for Horn and Piano-Carl Nielsen's Canto Serioso for Horn in F and Piano. Urtext edition score.The Danish composer Carl Nielsen was one of the most original composers at the turn of the 20th century. Basedon the German Romantic tradition he developed his own musical language especially in his symphonies that are still played very frequently. He also however often turned to chamber music settings.CantoSerioso was originally written as an audition piece for the Copenhagen Opera Orchestra where the position of low Horn player was to be filled. This fairly short work makes the most of the low register and theinstrument’s sonorous mid-range making it a welcome addition to the late Romantic repertoire for Horn.