Concerto #5 For French Horn And Orchestra. Piano Score And Part

This work was commissioned by the Royal Philharmonic Orchestra. It was first performed on 2nd May 2000 at the Barbican Centre London conducted by Peter Maxwell Davies. Duration c.23 minutes. Peter Maxwell Davies: The hornwriting 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 afirst horn soloist presenting here challenges of embouchure and sheer stamina I should think fairly unprecedented.Solo part and piano reduction on sale (CH61758) Conductor's score and orchestral parts available for hire.

Farewell to philosophy. Par BRYARS GAVIN. I have a great fondness for the lower string instruments: I am a bass player, my mother is a cellist, as are both my daughters; my own ensemble includes two violas, a cello and a bass, and for the instrumentation of my opera Medea I omit the entire violin section from the orchestra. As I have written a number of works for solo instrument or voice with orchestra I welcomed the opportunity to write a concerto for cello and orchestra and especially one which focuses particularly on the instrument’s lyrical qualities. Although the piece is in one continuous movement, and the soloist is playing almost without a break, it nevertheless falls into distinct sections which are recognisable by a shift of tempo as well as by a change in the music’s character. One of the early ideas Julian Lloyd Webber and I discussed was that it might form a companion piece to one of the Haydn concertos. Given my friendship with some members of the English Chamber Orchestra and my awareness of their repertoire, this suggested a number of particular musical references. The subtitle to the work, for example, combines the subtitles of two idiosyncratic Haydn symphonies and I allude to them in different ways but chiefly through orchestration: for The Philosopher by including a section in the concerto where the orchestration resembles that of the symphony’s first movement (pairs of English and French horns, muted violins and unmuted lower strings); for The Farewell, by the progressive reduction in the orchestration towards the end. Indeed, apart from the orchestral tutti in the last few bars, the last pages of the score are virtually for string quartet. The subtitle also refers to my own background as a philosophy graduate... The piece was commissioned by Philips Classics for Julian Lloyd Webber and is dedicated to him. The first performance was given by Julian Lloyd Webber and the English Chamber Orchestra conducted by James Judd, 21 November 1995, Barbican Hall, London. Gavin Bryars/ Répertoire / Violoncelle et Orchestre

Des trois concertos pour cor et orchestre de Joseph Haydn deux ne sont pas parvenus à la postérité tandis que deux autres lui sont souvent attribués à tort. Le seul concerto conservé de Haydn dont l?authenticité ne peut être remise en cause est le concerto en ré majeur Hob. VIId:3. Fondée sur l?édition complète des ?uvres de Haydn l?édition urtext propose deux parties de soliste: la partie de cor en ré correspondant au manuscrit autographe de Haydn ainsi qu?une transcription moderne en fa. Les trois mouvements comportent des cadences pour le soliste. Ces cadences reproduites dans la partie séparée de cor sont du corniste Johannes Ritzkowsky et exploitent au mieux lespossibilités techniques réduites du cor naturel de l?époque de Haydn. Elles ne devraient pas poser trop de difficultés aux cornistes actuels et constituer une contribution bienvenue.

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.

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.

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.