French composer Henri Büsser entered the Paris Conservatoire in 1889. He won the 1893 Prix de Rome and led a highly successful career as a composer conductor teacher and organist. His compositions for a variety of instruments are exceptional Cantecor for Horn and Piano being no exception. As reflected in Cantecor for Horn and Piano Büsser's compositional style was sophisticated yet true to the 19th Century French tradition. Elements of Cantecor for Horn and Piano include chromaticism exploitation of tonality complex rhythms and significant tempo changes among other aspects. For all advanced Horn players Büsser's Cantecor for Horn and Piano is essential for a varied repertoire.

French composer Alain Louvier (b. 1945) studied at the Paris Conservatoire where he won the 1968 Prix de Rome. His L'Hydre À Cinq Têtes makes for an exciting addition to the repertoires of the Horn Trombone Alto Saxophone Clarinet and Bassoon. As suggested by the title this Louvier work is influenced by a serpent-like water monster in Greek mythology the Lernaean Hydra who possessed many heads. Louvier's composition is virtousic for all instruments exploiting extended techniques such as ornamentations articulations and breath notes amongst other elements. With a typical performancelasting around four minutes Louvier's L'Hydre À Cinq Têtes is perhaps ironic in being adaptable to five different solo instruments; Horn Trombone Alto Saxophone Clarinet or Bassoon with Piano accompaniment. L'Hydre À Cinq Têtes is a challenging yet inspiring work for advanced players.

Par PAUSET BRICE. Une première petite chronique. Depuis longtemps l'idée - la nécessité plutôt - d'en finir avec les belles architectures victorieuses, les solides métaphores, le confort du déjà connu, pour imaginer les conditions d'une musique sinon inimaginable, du moins, moins 'calibrée'. Ce morceau représente la première pièce d'un cycle que je me refuse donc à planifier comme tel, tant le sujet est par ailleurs rétif aux outils de la raison. Les larmes - en allemand : Tränen (NdE) nous concernent tous sans exception. Elles matérialisent l'expression de nombre de nos sentiments. Nous les produisons nous-mêmes, avec nos propres corps et elles nous déterminent dans notre fragilité, ou plus exactement dans ce que nous acceptons d'en montrer. Il s'agira donc plutôt d'une chronique en forme de dérive, sans plan et sans fondations, mêlant distanciation poétique, observation presque physiologique, dialogues et même autobiographie. On me dira qu'il est étrange pour un compositeur mâle (ou supposé tel) de se pencher ainsi sur un sujet si traditionnellement féminin. On m'a appris tout petit qu'un homme ne pleure pas - une faille de plus dans mon éducation: je pleure très facilement et pour toutes sortes de raisons. Difficulté de rester dans le sujet, et de ne pas glisser vers ses conséquences: ne pas parler de pleureuses, donc, mais songer à des 'larmes professionnelles' - et surtout ne pas s'appesantir sur les larmes de tristesse: je leur préfère celles produites par le rire, ou celles, fluides entre toutes, émanant de la joie de retrouver enfin un être cher. Le chant - en allemand : Gesang (NdE) promis par le dernier élément du titre est un chant 'en négatif'. Il m'est personnellement très difficile, très périlleux de parler en pleurant. Les larmes sont plus fortes que le discours et imposent leur propre rythme à la voix. Le parler devient alors, à travers les larmes, un chant étrange, involontaire: le timbre de la voix se modifie, son souffle se dévoile sous un jour inhabituellement sensuel, la scansion du verbe est comme conditionnée par le mètre des larmes, faisant intervenir de courts silences, le discours lui-même se prête plus volontiers à des redites, comme des refrains compulsifs. Il s'agirait donc d'une musique purement mélodique, dont la ligne n'existerait en tant que telle qu'à travers une collection de brisures, de trous d'air, de vexations - une musique dépourvue de masque. Brice Pauset / contemporain / Répertoire / Cor en Fa et Piano

Two pieces from 1978 by Christopher Bunting that reflect the courtly musical forms of the Baroque. Written for the confident Horn soloist with Piano the pieces are rich in melodic invention and energy.

Instrumental Play-Along-Who needs a singer? With Play Puccini instrumentalists can bathe themselves in luxurious Italian melody! These ten opera arias are among the composer's most famous and distinctive achievements here transcribed forintermediate level solo instrument and piano. The book includes a biography of Puccini notes about the plot of each opera and the dramatic context of the selected aria. The companion CD features excellent performances as wellas piano accompaniments for practice. Includes arias from: La Bohème La Fanciulla Del West Gianni Schicchi Madama Butterfly Manon Lescaut Suor Angelica Tosca andTurandot.

French composer, Henri Büsser entered the Paris Conservatoire in 1889. He won the 1893 Prix de Rome and led a highly successful career as a composer, conductor, teacher and organist. His compositions for a variety of instruments are exceptional, Piece In D for French Horn and Piano being no exception. As reflected in Piece In D, Büsser's compositional style was sophisticated, yet true to the 19th century French tradition. Elements of the work include include, chromaticism, use of a wide tessitura, complex rhythms, scalic passages and wide intervals. For all advanced Horn players, Büsser's Piece In D is essential to a varied repertoire.

Par WEDGWOOD PAM. Pam Wedgwood's After Hours for French Horn and Piano presents eight atmospheric, original pieces for the intermediate French horn player with piano accompaniment. They are ideal for teacher or pupil and provide a perfect follow-on for those that have used and enjoyed Pam's highly acclaimed Jazzin' About series./ Recueil / Cor et Piano

Horn solos written and arranged by Ifor James and Stefan De Haan. Includes parts for both F and E flat Horn.

The title of this piece comes from 'Celtic Cross' by Norman MacCaig, a poem that brings to life the symbols of an earlier time, carved in stone, entwined and plaited in abstract forms. The idea of a coiling serpent and the image of the coiled horn also came together in my mind. The opening phrase of the piece is responsible for much of the musical material for the whole piece, a strong and vibrant phrase that I wanted to capture something of the essence of these noble creatures on Celtic crosses. The idea of plaiting and entwining plays an important part in the unfolding of the piece. John Casken / Cor Et Piano

Mozart’s final year was a difficult one as his employment was precarious his financial situation usually quite desperate and his wife Constanze frequently in ill health and at the spa in Baden near Vienna for treatments. On one such occasion in June of 1791 Mozart visited her and while there composed a short sacramental anthem for his friend Anton Stoll organist and choirmaster of the Baden parish church. The exquisite Ave verum corpus (K.618) was the first piece of sacred music he had written in over eight years (and the last before his unfinished Requiem) and has proven to be one of his most beloved compositions. Within six months of its writing Mozart himself hadfallen seriously ill and died in December of that year.

Short concert pieces with the emphasis on musicianship and performance skills. Parts for Eb Tenor or Horn in F and piano are included.

pour cor en Fa et piano. ?Musique française? is a series designed for students and teachers as well as professionals. These editions offer masterworks in French music, with performance suggestions and historical and stylistic commentary by noted scholars.

This exciting edition includes irreverent arrangements of Charpentiers' Prelude to Te Deum the 2nd movement from Haydn's Trumpet Concerto and Chanson Napolitaine from Tchaikovsky's The Sleeping Beauty. Arranged here for Horn in F or E-Flat with Piano accompaniment by Edward Maxwell. Score and parts.Includes CD of performances and recorded accompaniments.

Chant Lointain is a piece for F Horn and Piano by Eugène Bozza. Written for intermediate players this melodious work is divided into three distinct parts: Slow (6/8) Allegro moderato (4/4) and Slow (6/8). Really energetic  Chant Lointain sees the Piano and the Horn answering to each other. The piece lasts a total of four minutes during which the Horn appears as a really majestic instrument. Eugène Bozza won different prizes at the Conservatoire de Paris such as the First Prizes for the Violin conducting and composition as well as the Grand Prix de Rome. He composedseveral operas chamber works and ballets among others.

Classical Highlights' presents the best-known and most popular performance pieces of the classical repertoire in arrangements for horn and piano. The comprehensive selection of works enables the musician to access classical masterpieces - from Handel and Bach via Schubert, Mendelssohn, Schumann and Wagner to Fauré, Elgar, Debussy and Satie. There will be something for any hornist who is looking for a popular classical work for teaching or performing purposes. / Cor Et Piano