Full Score-The Horn Concerto was written in 1971 and was the first of the ten concertos Gregson has composed to date. It is dedicated to the English horn player Ifor James who died in 2004 and was originally written for brass band. However in 2013 Gregson was asked by Paul Klein Principal Horn of the Ulster Orchestra and BBC Northern Ireland to undertake an orchestral version for him.  Gregson decided to score the concerto for a late Haydn sized orchestra with the addition of a percussionist to add some colour to the texture. The concerto takes as its starting point the Mozartian model namely a sonata form opening movement a song-like slow movement and a jaunty rondo finale. The opening movement opens with a strident motif built on rising fourths announced by the soloist and answered by the orchestra. This pattern of ‘question/answer’ continues until a climactic moment breaks the tension and is followed by a lyrical second subject announced by the soloist over undulating rhythmic patterns on strings. The music is developed and recapitulated from these ideas with the lyrical idea returning via solo clarinet with horn answering in canon. The movement ends with the strident fourths this time in inversion. The slow movement is in tertiary form and opens with an expansive melody from the soloist over a repetitive harmonic and melodic pattern. This is expanded and developed building all the while in intensity until it is interrupted by cadenza-like passages on the horn and muted brass. After a brief climax the music subsides into a moment of emotional serenity before the opening melody returns this time on solo oboe with the horn interweaving its own answering melodic lines. The rondo finale is more light-hearted in mood with a catchy 6/8 tune at its heart. It is twice interrupted first by an idea built on long held chromatic notes from the soloist against a highly rhythmic backdrop (wind brass and snare drum) then by a slower more thoughtful melodic idea. However

Roughly eight months after the death of Anton n Dvorák (1 May 1904) his son-in-law Josef Suk began to compose a funeral symphony. While he was working on it fate struck a second time with the death of his beloved wife Otilie. He dedicated the five-movement symphony to Dvorák and his daughter Otilie and named it after the Angel of Death ?Asrael?.The principal source for our edition is the first edition of the score (1907) supplemented by the corrections Suk entered at the suggestion of conductor Václav Talich (1921). The most significant change was the expansion of the orchestra to include ad libitum parts for the fifth and sixth horns.Firstscholarly-critical editionIncludes Suk?s later corrections including ad libitum parts for the fifth and sixth hornsDetailed Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editorPerformance material (BA9532-72) available for hire

Orchestral Score. Instrumentation.     3 Flutes (3=Piccolo) 2 Oboes 2 Clarinets in B - 2 Bassoons(2=Contrabassoon) 4 Horns in F 2 Trumpets in C 2 Trombones Tuba Timpani (1 set) Percussion (3 players) TamtamCrotales Vibraphone Glass Chimes Bass Drum Tamtam Bass Drum Marimba 3 Gongs (G+ A B) Harp Celesta Strings The score is transposed.Crotales sound two octaves higher than writtenDuration: c. 6 minutesOrchestral parts areavailable on hire from the publisher

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.

10 Pieces by 10 Composers Edited by the Horn Virtuoso Barry Tuckwell-This title contains ten pieces by ten revered composers arranged by Horn virtuoso Barry Tuckwell. Barry Tuckwell has had an extensive performing career playing from a young age in the Melbourne andSydney Symphony Orchestra to playing First Horn in the London Symphony Orchestra. Pieces range from C minor to F Major. Composers include Beethoven Cherubini Förster Haydn Mozart Rossini Schumann Strauss Telemann and Von Weber.    

Score-Walter Piston's Variations On A Theme By Edward Burlingame Hill (1963). Full score.Instrumentation:2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet2Bassoons4 Horns In F2 Trumpets In C3 TrombonesTubaPercussion (Triangle Tambourine Bass Drum)Harp

Franz Strauss's Concerto for French Horn and Orchestra is unmistakably in the style of 19th-century romanticism and the tone often veers toward the operatic. Edited and arranged for French Horn and Piano by Barry Tuckwell one of the world's leading Horn virtuosi.

Par HYYTINEN TOMMI . Tommi Hyytinen (DMus, Finnish horn player and pedagogue) writes about this collections: 'I composed these 30 Etudes for Low Horn to be at the same time instructive and at the same time fun and interesting to play. The etudes consist similar technical challenges than a low horn player confronts in orchestra. The etudes also encompass many of the technical challenges that a horn player encounters in chamber music and in solo repertoire, especially since many of the touring soloists in the 18th and 19th centuries were Cor-Basse players. Some of these etudes are not the most serious in nature in the horn literature, but nevertheless they challenge and develop the playing technique in wide variety of ways. The ambitus of the etudes is very virtuosic, encompassing almost four octaves. Some of the etudes are more melodic and concentrate in lyrical phrasing, legato-playing, sound and intonation, others contain technically tricky passages, articulations and fingerings. Rhythmic accuracy and ?finding the groove' is of utmost importance in all of the etudes. The etudes develop the sound and control of the low register of the horn and flexibility between the registers. These 30 Concert Etudes work as individual pieces or as a set of pieces. You can for example choose a set of etudes and perform them in a concert or matinée. I hope you have as much fun practising and playing these etudes as I had composing them.' / Date parution : 2022-05-31/ Etude / Cor

pour cor & piano-Paul Dukas' Villanelle for Horn and Piano is a demanding but enjoyable piece for advanced Horn players. It is something of a technique tour-de-force and incorporates most of the Horn's charateristic sound features. Originally for French Horn and Orchestra this is a reduction for French Horn and Piano accompaniment.

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.

for Horn and Orchestra. Par SCHWARZ OTTO M.. Le cap Horn est le point le plus austral des terres rattachées à l?Amérique du Sud. Cap promontoire, il est situé sur l?île Horn dans le sud du Chili. Pendant de nombreuses années, le cap Horn a été l?un des passages les plus dangereux au monde pour les navires voulant transiter de l?océan Atlantique au Pacifique à l?ouest. Si la découverte du cap est communément attribuée à l?Anglais Sir Francis Drake, qui découvrit ce passage en 1578 au cours de sa circumnavigation, le navigateur néerlandais Willem Cornelisz Schouten fut le premier à franchir le cap Horn (Kaap Hoorn) en 1616, qu?il baptisa ainsi d?après son lieu de naissance, la ville de Hoorn aux Pays-Bas. Le cap Horn a la réputation d?être un cimetière marin. Plus de 800 navires et 10 000 hommes ont disparu dans les eaux glacées au moment de « doubler » le cap. Cape Horn (Le cap Horn) est une oeuvre pour Cor solo et Orchestre d?Harmonie. La musique reflète la beauté et les dangers de cette région. Animé par un esprit de curiosité et soucieux d?élargir le répertoire pour instrument soliste et Orchestre d?Harmonie, Otto M. Schwarz développe des passerelles entre les styles et les genres. La musique de film est l?expression musicale de prédilection du compositeur. L?esthétique, les parties expérimentales et les lignes mélodiques palpitantes sont parfaitement caractéristiques de l?écriture du compositeur. / Date parution : 2023-03-11/ Répertoire / Cor et Orchestre

Having won many prizes at the Paris Conservatoire during the 1920s and 1930s Eugène Bozza went on to conduct the orchestra of the Opéra-Comique and to become Head of the Conservatoire in Valenciennes. As a major figure on the classical music frontline Bozza's compositions were well-received by audiences En Foret being no exception. This Bozza piece for French Horn and Piano masterfully combines a virtuosic Horn solo with impressionistic Piano accompaniment. The composer includes reminders of the Horn's hunting roots with frequent uses of call and response throughout. As a music educator PaulGriffiths has written of Bozza's compositions saying how 'his works reveal melodic fluency elegance of structure and a consistently sensitive concern of instrumental capabilities.'

From Bach to Dvorak this collection of classics arranged presents a unique treat spanning 200 years of great music arranged for French Horn and concert band. Includes a high-quality printed music score and a compact disc containing a complete performance with soloist then a second version with the orchestral accompaniment minus the soloist. Performed by Lisa Pike french horn Accompaniment: Stuttgart Festival Orchestra Conductor: Emil Kahn

for soprano solo horn and large ensemble - Full Score-Five Portraits of Women is a set of songs with large ensemble derived by Aulis Sallinen from arias from three of his operas: The Red Line The King Goes Forth to France and Kullervo. Each draws a portrait of a woman compelled in her role by fate or a mission. The vocal lines differ only very slightly from their original counterparts in the operas but the revised orchestral accompaniment creates an extraordinary new soundscape as background to the arias consisting as it does of a woodwind orchestra four cellos a harp and a piano. There is also a solo French horn which acts as a sort of masculine counterweight to the female vocalist. Tuiskuaa lunta (It is stillsnowing) (from The Red Line) is the story of Riikka waiting in her snowbound cabin for the arrival of a good life-enhancing message. Carolinen häät (Caroline’s Wedding) (from The King Goes Forth to France) describes the deranged Caroline Tammatukka (Caroline with the Thick Mane) in a feverish hallucination involving the King whose arrival she awaits. The King is in fact already married but Caroline believes that he has left France for their wedding. Minä odotan sinua paimen (When we meet this evening) (from Kullervo) is the aria of the smith’s young wife who waits impatiently for the arrival of Kullervo. Itkenkö minä sinua? (How can you ask if I’ll mourn you) from the same opera describes the all-embracing love of a mother which encourages yet overrules the scorn of others for the youth. On tämä silta tehty naisista (That’s the bridge that’s made of womankind) (from The King Goes Forth to France) is the song of Caroline Iloinen [The Nice Caroline] explaining the biological eternal mission of woman as the bearer and birth-giver of life. The libretto of the opera The King Goes Forth to France is written by Paavo Haavikko; the librettos of The Red Line and Kullervo are by the composer. Five Portraits of Women was commissioned by the Finnish Radio Symphony