An Examination of Selected Double Horn Concerti from Baroque to Romantic

By

Lindsay Marie Smith, BM, MM

A Document In Performance

Submitted to the Graduate Faculty Of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of

DOCTOR OF MUSICAL ARTS Performance (Horn)

Approved

Christopher M. Smith Chairperson of the Committee

Lisa Rogers

James Decker

Accepted

Mark Sheridan Dean of the Graduate School

May 2019

Copyright 2019, Lindsay Marie Smith Texas Tech University, Lindsay Marie Smith, May 2019

TABLE OF CONTENTS

Abstract ...... iv

List of Figures...... v

Chapter

I. Introduction ...... 1

Overview of the Study...... 1

Justification for the Study ...... 3

Limitations of the Study ...... 4

Review of Literature ...... 4

II. The Development of the Double Horn Concerto ...... 6

III. Music and the Horn in the Baroque Time Period ...... 9

Brief Historical Context ...... 9

Innovations to the Horn ...... 10

Concerto in E-flat for Two Horns and Strings, TWV 54:Es1 by Georg Philipp Telemann ...... 13

Brief Compositional Analysis ...... 13

Performance Practice Considerations ...... 19

Concerto in F major, RV 538 for Two Horns by Antonio Vivaldi ...... 21

Brief Compositional Analysis ...... 21

Performance Practice Considerations ...... 22

IV. Music and the Horn in the Classical Time Period ...... 24

Brief Historical Context ...... 24

Innovations to the Horn ...... 25

ii Texas Tech University, Lindsay Marie Smith, May 2019

Concerto in E-flat for Two horns, strings and basso continuo by Leopold Mozart . .27

Brief Compositional Analysis ...... 27

Performance Practice Considerations ...... 29

Concerto for Two horns in F major, M. C61 by Francesco Antonio Rosetti ...... 31

Brief Compositional Analysis ...... 31

Performance Practice Considerations ...... 35

V. Music and the Horn in the Romantic Time Period ...... 37

Brief Historical Context ...... 37

Innovations to the Horn ...... 38

Concertante for Two Horns in E by Franz Strauss ...... 40

Brief Compositional Analysis ...... 40

Performance Practice Considerations ...... 41

Concertino for Two Horns and Orchestra, Op. 45 by Friedrich Kuhlau ...... 43

Brief Compositional Analysis ...... 43

Performance Practice Considerations ...... 44

VI. Conclusion ...... 46

Implications for Further Research...... 48

Bibliography ...... 49

Appendix ...... 51

iii Texas Tech University, Lindsay Marie Smith, May 2019

ABSTRACT

This document examines six Double Horn Concerti from the Baroque, Classical, and

Romantic musical eras. It aims to provide relevant information from each of the selected six

Double Horn Concerti and provide performance practice considerations for each composition. The six Double Horn Concerti are Concerto in E-flat Major for Two Horns,

TWV 54:Es1 by Georg Philipp Telemann (1681-1767), Concerto in F Major, RV 538 for Two

Horns by Antonio Vivaldi (1678-1741), Concerto for Two Horns, Strings, and Basso

Continuo by Leopold Mozart (1719-1787), Concerto for Two Horns in F major, M.C61 by

Anton Rosetti (1750-1792), Concertante for Two Horns in E by Franz Strauss (1822-1905), and Concertino for Two Horns and Orchestra, Op. 45 by Friedrich Kuhlau (1786-1832).

One of the goals of this document is to highlight Double Horn Concerti that are common and provide a framework for further study. These six were chosen because of their popularity on

YouTube when searching for Double Horn Concerti.

The structure of this research document includes six chapters. Chapter one provides an overview and introduction to the study as well as justifications, limitations, and a review of existing literature. Chapter two discusses the development of the Double Horn

Concerto through several eras of music history from its early stage as a Concerto grosso to its later stage as a concerto specifically written for two horns. Chapters three, four, and five discuss in order the Baroque, Classical, and Romantic musical eras and the concerti selected to represent each era. Each chapter provides a brief historical context for the corresponding musical era, information on the innovations to the horn, and brief compositional analyses and performance practice considerations for each concerto represented. Chapter six includes conclusory and comparable information for all six Double Horn Concerti.

iv Texas Tech University, Lindsay Marie Smith, May 2019

LIST OF EXAMPLES

2.1 The Harmonic Series ...... 8

3.1 Telemann, Concerto in E-flat for Two Horns & Strings, TWV 54:Es1, Mvt.1, mm. 1-7 ...... 11

3.2 Telemann, Concerto in E-flat for Two Horns & Strings, TWV 54:Es1, Mvt.1, mm. 16-19 ...... 12

v Texas Tech University, Lindsay Marie Smith, May 2019

CHAPTER 1

INTRODUCTION

Overview of the Study

The chamber concerto seemingly played a significant role in musical literature as well as the development of the horn. Specifically, the Double Horn Concerto emerged from the

Baroque musical era via the development of the Concerto grosso. Throughout the Classical and Romantic eras, the Double Horn Concerto expanded even more as changes took place relative to horn design and playing abilities. When examining the Double Horn Concerto through several musical eras in history, one can appreciate the development reflected in a pattern of growth of the horn both structurally and aesthetically as seemingly seen in the writing of the concerti for the various horns.

This document analyzes the horn writing of six important Double Horn Concerti. In particular, the author’s goal is to provide a practical performance guide for these six Double

Horn Concerti including historical contexts, innovations to the horn, and performance practice considerations. Two works were chosen from each of the Baroque, Classical, and

Romantic eras in order to demonstrate contrasts of developing literature for the horn. The compositions selected to represent each era were chosen based on their popularity on the platform YouTube as well as the numerous recordings by well-known horn players. When searching for Double Horn Concerti on YouTube, concerti by Georg Philipp Telemann,

Antonio Vivaldi, Leopold Mozart, and Francesco Antonio Rosetti are among the first listed.

Concerto for Two Horns in E-flat by Telemann had over 116 thousand views and the

Concerto for Two Horns in F RV 538 by Vivaldi had over 32 thousand views. These frequented videos makes them arguably two of the most popular videos of Double Horn

1 Texas Tech University, Lindsay Marie Smith, May 2019

Concerti on YouTube from the Baroque era. A YouTube search yields several recordings of

Concerto for Two Horns in E-flat by Leopold Mozart, with six different recordings available among the immediate listing. One movement of the concerto alone has over six thousand views. A recording of Rosetti double horn concerti has over 61 thousand views on YouTube.

These concerti have been also performed and recorded by popular artists including

Hermann Baumann and Sarah Willis. Hermann Baumann is a popular solo and natural horn artist in the horn community and an IHS (International Horn Society) Honorary Member.

The discography on his website lists 114 recorded CDs to his credit. He has recorded several of these Double Horn Concerti. Sarah Willis is fourth horn of the Berlin Philharmonic and a popular solo artist. She currently has a following of over 15 thousand people on her

Facebook page and has recorded many of the Double Horn Concerti including the Concerto for Two Horns in F C61 by Rosetti. The final two concerti from the Romantic era, by Franz

Strauss and Friedrich Kuhlau, were chosen as they are the only two in print and available from this musical era.

The structure of this research document includes six chapters. Chapter one provides an overview and introduction to the study as well as justifications, limitations, and a review of related literature. Chapter two discusses the development of the Double Horn Concerto through several eras of music history from its early stage as a Concerto grosso to its later stage as a concerto specifically written for two horns. It traces the development of horn writing from the compositions for opera to the composers that began to use pairs of horns in the orchestra. Chapter two also discusses the horn players for whom many of the Double

Horn Concerti were written. Chapters three, four, and five discuss in order the Baroque,

Classical, and Romantic musical eras and the concerti selected to represent each era. Each

2 Texas Tech University, Lindsay Marie Smith, May 2019

chapter provides a brief historical context for the corresponding musical era, information on the innovations to the horn, and a brief compositional analysis and performance practice considerations for each concerto represented. Chapter three specifically focuses on the

Baroque musical era and examines Concerto in E-flat for Two Horns and Strings,

TWV54:Es1 by Georg Philipp Telemann and Concerto in F major, RV 538 for Two Horns by

Antonio Vivaldi. Chapter four includes an examination of Concerto in Eb for Two Horns,

Strings, and Basso Continuo by Leopold Mozart and Concerto for Two Horns in F Major, M.

C61 by Francesco Antonio Rosetti from the Classical musical era. Chapter five includes two concerti, Concertante for Two Horns in E by Franz Strauss and Concertino for Two Horns and Orchestra, Op. 45 by Friedrich Kuhlau for examination. Chapter six includes conclusory and comparable information for all six Double Horn Concerti.

Justification for the Study

There seems to be very little written and available regarding Double Horn Concerti.

While several artists have recorded many of the Double Horn Concerti available, there still lacks practical performance information regarding the works. These Double Horn Concerti are in the author’s opinion an important part of the horn repertoire. They provide a unique opportunity for collaboration among two horn players. By studying these works, performers gain experience reading cor-alto and cor-basse parts “high horn and low horn parts.” These part designations translate to many of the excerpts players will study.

3 Texas Tech University, Lindsay Marie Smith, May 2019

Limitations of the Study

This study is limited to examining six Double Horn Concerti from the Baroque through Romantic musical eras. A further limiting factor is the small number of these concerti in publication with some lost and others out of circulation. Possibly the most challenging limitation found in the process of this study comes from the lack of compositional information and analysis for each work. Due to this lack of information regarding the Double Horn Concerto and in particular the six examined, this document is based primarily off of personal observations through brief analysis of the Double Horn

Concerti selected. The six Double Horn Concerti chosen for analysis were selected by searching on YouTube for the most popularly viewed performances. The works and their composers that appeared as most popular in rankings were Concerto for Two Horns in E-flat

TWV 54:Es1 by Telemann, Concerto for Two Horns in F by Vivaldi, Concerto for Two

Horns in E-flat by Leopold Mozart, and Concerto for Two Horns in F C61 by Rosetti.

Additionally, the two concerti selected from the Romantic era, Concertante for Two Horns in

E by Franz Strauss and Concertino for Two Horns and Orchestra Op. 45 by Kuhlau were chosen because they are the only two available. The author also selected reputable performers featuring horn players Hermann Baumann and Sarah Willis. The use of YouTube results also limited the number of Double Horn Concerti examined in this document.

Review of Literature

There is little information available about Double Horn Concerti and few writers have explored the topic. I searched for Double Horn Concerti on YouTube and found the four chosen from the Baroque and Classical musical eras. These four were the first to appear on the search results with multiple views. The concerti utilized for examination from the

4 Texas Tech University, Lindsay Marie Smith, May 2019

Romantic era are the only two published and available. One source that was incredibly helpful to the author was an article by Sterling E. Murray entitled “The Double Horn

Concerto: A Specialty of the Oettingen-Wallerstein Court” found in The Journal of

Musicology. In the article, Murray discusses the Double Horn Concerti written during the musical eras and the musicians for which they were written. Another influential source that provided information on several of the available Double Horn Concerti was a research document by Guan-Lin Yeh entitled “Concerto for Two Horns in E-flat Major Attributed to

Joseph Haydn: A New Arrangement for Wind Ensemble.”1 Although this research document did not provide specific information used in the following document, it provided a starting place for research on Double Horn Concerti as well as provided a representative list of

Double Horn Concerti available (see Appendix).

1Guan-Lin Yeh, “Concerto for Two Horns in E-Flat Major Attributed to Joseph Haydn: A New Arrangement for Wind Ensemble” (DMA diss., Arizona State University, 2011) 15-16. 5 Texas Tech University, Lindsay Marie Smith, May 2019

CHAPTER 2

THE DEVELOPMENT OF THE DOUBLE HORN CONCERTO

The horn, as a musical instrument, developed from the hunting horn tradition. The horn has enjoyed a long history evolving from ancestry of an animal horn and moving through buccina, a brass instrument, to hunting horns, before finally being recognized as a musical instrument in the late 17th century. The buccina was a brass instrument in the shape of a “C” used by the Roman Army in the 1700s. The earliest resemblance to the modern horn is the French cor-de-chasse, a hunting instrument used out in the field as a tool for signaling. Not until King Louis XIV helped to codify a list of horn calls and bring attention to the instrument aside from hunting, did the horn take the first step towards becoming an orchestral instrument.2 Many of the first examples of the horn being used in music are in theatrical genres to paint a “visual spectacle of a hunting scene” and to provide horns calls as special effects.3 Jean Baptiste Lully was the first to use horns in Moliére’s play La Princesse d’Elide in his incidental music.4 This was the first use of the horn in music. The horn was brought to the orchestra by Franz Anton Count von Spörk although the “first recorded use of horns as an integral part of the orchestra” was a “performance of Carlo Agostino Badia’s opera, ‘Diana rappacificata con Venere e con Amore’” around 1700.5 The horn during this time went by several names including Cor de chasse, Jagdhorn, Corno da caccia,

Parforcehorn, Waldhorn, and Corno. Bach was one of the first major composers to use the horn on a regular basis in his compositions. Composing for pairs of horns became common

2Arthur Elson, Orchestral Instruments and Their Use (Boston: The Page Company, 1902), 210. 3Barry Tuckwell, Horn (New York: Schirmer Books, 1983), 13. 4Ibid. 5John Humphries, The Early Horn A Practical Guide (Cambridge: Cambridge University Press, 2000), 8. 6 Texas Tech University, Lindsay Marie Smith, May 2019

practice in 1760 utilizing the first horn as a cor-alto player and the second horn as a cor- basse player. Cor-alto writing was performed by the first horn playing the higher register.

The first horn or the cor-alto usually had the melody. Due to the higher placement of the first horn within the harmonic series (i.e. range of the first horn), the writing for the horn was closer together and usually stepwise. The cor-basse player, also known as the second horn, provided harmonic accompaniment typically. The writing was in the lower to middle octaves of the horn and notes placed on the lower notes of the harmonic series for the horn usually featured many jumps, skips, and arpeggiated figures. Double Horn Concerti, concerti written for two horn players likely developed out of the Concerto grosso.

The Concerto grosso was a popular form found in music during the Baroque musical era from approximately 1600-1750. Concerto grosso is defined as a form in the Baroque era where music was passed from the concertino (a small group of soloist) and the ripieno (the orchestra). Allessandro Stradella is credited with having developed the form around 1680.6

There are two main types of Concerto grossi, the concerto da chiesa (“church concerto”) and the concerto da camera (“chamber concerto”). Bach loosely followed the Concerto grosso form in his Brandenburg concerti. Bach’s Brandenburg Concerto number one features two horns as the concertino section. The Concerto grosso eventually developed into the concerto and a form of this became the Double Concerto. The prehistory of the Double Horn

Concerto “can be traced to the Concerti grossi of late Baroque composers such as Vivaldi

6Rosie Tanabe, “Concerto Grosso,” New World Encyclopedia, 2013, accessed January 24, 2019, http://www.newworldencyclopedia.org/p/index.php?title=Concerto_Grosso&oldid=969989. 7 Texas Tech University, Lindsay Marie Smith, May 2019

and Telemann and to the prominent horn parts found in some of the orchestral music of J.S.

Bach and Handel.”7

There were many notable horn players these Double Horn Concerti were written for including the Zwiny brothers Joseph, Wenzel, and Jacob who worked in the Mannheim court and later worked for the Duke of Württemberg in Stuttgart.8

Other players included the brothers Hosa (Thomas and Georg), Bohemian horn players employed by Prince Charles of Loraine in Brussels, the brothers Boeck, a Bavarian duo who concertized throughout Europe during the 1780s; the brother Dornaus (Johann Peter and Phillipp) who, along with their father Christopher Dornaus, constituted the horn section of the electoral orchestra at Koblenz in the mid 1780s; and the brothers Gugel or Gugl (Joseph and Heinrich), whose performing careers bridge the eighteenth and nineteenth centuries.9

Perhaps the most famous horn duo was Johann Palsa and Carl Thürrschmidt who performed through the 1780s and early 1790s.10

7Sterling Murray, “The Double Horn Concerto: A Specialty of the Oettingen-Wallerstein Court,” The Journal of Musicology 4, no. 4 (1985): 509. 8Horace Fitzpatrick, The Horn and Horn-Playing and the Austro-Bohemian Tradition from 1680 to 1830 (London: Oxford University Press, 1970), 123. 9Murray, “The Double Horn Concerto: A Specialty of the Oettingen-Wallerstein Court,” 512-513. 10Ibid., 514. 8 Texas Tech University, Lindsay Marie Smith, May 2019

CHAPTER 3

MUSIC AND THE HORN IN THE BAROQUE MUSICAL ERA

Brief Historical Context

The musical Baroque era according to An Outline History of Western Music by Milo

Wold, Gary Martin, James Miller and Edmund Cykler falls between 1575-1750.11 There was overlap in the style of writing by composers from the Renaissance and Classical musical eras. The Baroque movement had “its inception in Italy as a part of the Counter-

Reformation” but was “equally a vital part of the Protestant Reformation.”12 The Thirty

Years War took place during the first part of the Baroque era.

During this time, music functioned in a number of ways including liturgical purposes, private entertainment among amateur musicians, and public entertainment in the form of opera and ballet. Music was characterized in the Baroque era by several stylistic compositional devices. One of the devices was monody. Monody was “a manner of writing in which melodic line was supported by a very simple chordal accompaniment.”13 Another characteristic was stile concertato. In this style, the composer used either instruments or voices “against one another whether as soloist or as groups.”14 This was later represented in the style of Concerto grosso. The melody of the Baroque era could be declamatory, like recitatives, or florid. A recitative is a type of monody where the vocal line imitates speech like patterns over very few notes. An example of florid writing is fortspinnung, a “process of melodic writing in which short figures are developed into melodic lines of substantial length

11Milo Wold et al., An Outline History of Western Music, Seventh. (Dubuque, IA: Wm. C. Brown Publishers, 1973), 81. 12Ibid., 81-82. 13Ibid., 84. 14Ibid., 85. 9 Texas Tech University, Lindsay Marie Smith, May 2019

and complexity.”15 Melodies used in an extended range, were primarily homophonic and used balanced phrases and periods. Repeated metrical units, constant tempo, and motor rhythms can characterize rhythm during the Baroque era. Motor rhythms are rhythms repeating several times in sequence like an engine motor. The harmony was fast moving and had a steady harmonic rhythm. It utilized chromaticism and dissonance for expressive purposes and utilized a major and minor system rather than the previously used modes during the Renaissance. “Harmonic figurations of the bass line…were then realized by the keyboard performer”, which was known as basso continuo.16 Commonly known composers in the

Baroque era included Claudio Monteverdi (1567-1643), Arcangelo Corelli (1653-1713),

Antonio Vivaldi (1678-1741), Georg Philipp Telemann (1681-1767), Johann Sebastian Bach

(1685-1750), and George Frideric Handel (1685-1759).

Innovations to the Horn

The horn in the Baroque era was shaped much like the horn today. It was one coil of tubing designed with particular lengths to achieve needed keys. Different horns were used for different keys until possibly the first major design implemented with the development of the crook in the early 1700s. The horn crook allowed the horn to quickly be changed into various different keys by replacing a slide to add or remove tubing from the horn. The horn was limited to each specific series of harmonic notes since there were no valves on the

Baroque horn and hand horn technique would not be invented until the middle of the 18th century. The harmonic series consists of a series of notes that can be produced on a length of tubing (see Example 2.1).

15Ibid. 16Ibid., 89. 10 Texas Tech University, Lindsay Marie Smith, May 2019

Example 2.1: The Harmonic Series for Horn in F.17

Another innovation on the instrument may have come from the need to play a few notes off of the harmonic series. Both Telemann and Vivaldi wrote the following concerti with the majority of the notes playable by composing them to fit the harmonic series. Both of the following concerti do employ one non-harmonic tone, the “F5.” This note could have been produced a number of ways. Joseph T. Falvey, in his doctoral dissertation suggests there are three choices to consider when deciding how the performers were able to achieve notes outside of the harmonic series. These choices are “hand-stopping, nodal venting, and lipping.”18 Lipping the note is also known as changing the pitch of the note by using the embouchure. The note would not have to be lipped to far down as it almost always occurs as the minor third, which to be in tune must sit “16 cents sharp.” Another way this note could have been produced is through experimentation with the hand or venting holes on the horn.

If there is any certainty of how the performers of the Baroque era accomplished the performance of the horn parts, then it must be noted there are no authorities claiming a definitive method and nothing historically available to support one method over the other.

Richard Seraphinoff in his article, “Nodal Venting on the Baroque Horn A Study in Non-

Historical Performance Practice,” says,

17John Ericson, “Horn 101: The Harmonic Series,” Horn Matters, 2008, accessed January 24, 2019, http://hornmatters.com/2008/07/horn-101-the-harmonic-series. 18Joseph T. Falvey, “An Equipment Guide to Performing Baroque Horn Music” (DMA diss., University of Miami, 2011), accessed March 11, 2019, https://scholarlyrepository.miami.edu/oa_dissertations/525. 11 Texas Tech University, Lindsay Marie Smith, May 2019

It soon became clear that there were two possible explanations of how horns and trumpets were played in the Baroque period: either the players were very good at bending notes into tune with the embouchure (or, in the case of horns, possibly using the hand), or audiences were simply used to the system of intonation used by the brass, which did not match with the intonation of other instruments, and accepted this fact as part of the character of those instruments.19

The following two pieces, Concerto in Eb for Two Horns and Strings, TWV 54:Es1 by Georg Philipp Telemann and Concerto in F major, RV 538 for Two Horns by Antonio

Vivaldi, were chosen to explore performance practice issues based on popularity of response when performing searches on YouTube for Double Horn Concerti from the Baroque musical era. As mentioned previously when searching for Double Horn Concerti on YouTube, compositions by Telemann and Vivaldi were among the first to be listed and had numerous views. Both Telemann and Vivaldi were popular Concerto grosso writers. Telemann wrote many works for the horn including his Concerto in D and at least six Double Horn Concerti.

Among his works, one can find numerous compositions also featuring solo horns. Vivaldi wrote significantly less for horn during his lifetime. He wrote two Double Horn Concerti in

F side by side.

19Richard Seraphinoff, “Nodal Venting on the Baroque Horn: A Study in Non-Historical Performance Practice,” The Horn Call 27, no. 1 (November 1996), accessed March 13, 2019, http://seraphinoff.com/printVersion.php?p=bf9e6fd4-be82-47b8-a5b2-fddc3354f6a0.

12 Texas Tech University, Lindsay Marie Smith, May 2019

Concerto in E-flat for Two Horns and Strings, TWV 54:Es1 by Georg Philipp Telemann

Brief Compositional Analysis

Georg Philipp Telemann wrote TWV 54:Es1, Concerto for Two Horns in E-flat Major in 1733, while he was the cantor in Hamburg, Germany. Through the additional raise in salary and the support of patrons, Telemann was able to increase the size of the orchestra and produce a wider number of complex works. The Double Horn Concerto TWV 54:Es1 is a part of his TWV 54, Tafelmusik or table music. This work is made up of three large sections and comprised of smaller works within each section. Tafelmusik was composed as banquet music and intended to provide entertainment for large periods of time. Compositionally, each section is a progression of smaller works using less people until it is completed with once again a large orchestral tutti section. It progresses from smaller to larger instrumental forces. TWV 54:Es1, the Concerto for Two Horns and Strings, is a part of the third section.

Although Telemann wrote the piece for two Trombe selvatiche, translated “forest trumpet,” it is commonly played by horn players.

There are several compositional processes that set this Baroque concerto apart from other concertos in the Baroque and Classical eras. The concerto is comprised of four movements, although the third and fourth movements are typically combined because of the harmonic nature of the third. Another aspect of Telemann’s overarching form of the concerto is the order of the movements. Instead of the Classical era standard of a “Fast –

Slow – Fast,” Telemann orders his movements as follows, Maestoso, Allegro, Grave, and

Vivace, or “Slow – Fast – Slow – Fast.” The concerto is in the style of a Concerto grosso, similar to the entire Tafelmussik work.

13 Texas Tech University, Lindsay Marie Smith, May 2019

Movement one, Maestoso, is a three-part form in the key of E-flat Major. Since many forms had yet to be codified in the Baroque era, an overarching ABA form exists. The “A” section presents two main themes, “a” and “b” and is followed by the return of “a” in the key of B-flat Major. This is followed by “b” and “a” again back in the home key of E-flat Major.

The “a” theme is presented in the horns for the first time in measures 1 through 11 and the

“b” theme is presented in combination with the violins from measures 11 through 24. Instead of the Classical double exposition, where the solo is followed by the theme presented in the tutti orchestra, the horn and violins equally share the theme trading off every few bars as heard in the “b” theme. This seems to be unique to the Baroque era. In the following musical eras, there is more independence of the solo line and less accompanimental figures.

The “a” theme returns in measure 25 this time altered and in the key of B-flat Major. The

“B” section features two new themes, closely related to the previous themes. Telemann obscures the key, like a development, with the use of secondary dominants on the sixth scale degree. The return of section “A” only features the “a” theme and the theme finally returns to the home key of E-flat Major. The dominant is prolonged by the fermata in measure 73 before a strong cadence to the tonic.

Telemann uses the two horns in movement one in different ways. The horns are featured in mostly unison rhythms in the intervals of a third, fourth/fifth, or in octaves/unison. An example of this can be seen in the first seven measures (see Example

2.2).

14 Texas Tech University, Lindsay Marie Smith, May 2019

Example 3.1: Telemann, Concerto for Two Horns in E-flat Major, TWV 54:Es1, Mvt. 1, mm. 1-7, intervals between first and second horn20

Rarely are the horns used in dissonance with each other, again calling to the style of

Baroque music compared to the later periods and especially the Romantic era. One reason for the tonality is due to the horn’s placements on the harmonic series. The first horn has a more melodic role featuring stepwise, conjunct motion, while the second horn features more disjunctive motion with larger leaps and harmonization (see Example 2.3).

Example 3.2: Telemann, Concerto for Two Horns in E-flat Major, TWV 54:Es1, Mvt. 1, mm. 16-19, disjunctive motion and larger leaps in second horn21

This style of writing for two horns is known as cor-alto and cor-basse. This separation of roles into those two categories will be seems to become more obvious as the

Double Horn Concerti develops in the Baroque and Classical eras. The harmonic series represents those notes that can be played on the open horn. Since the valve had yet to be invented, this work would have been performed on a natural horn with an E-flat crook and the majority of the notes in both horn parts played on the open horn.

20Georg Philipp Telemann, Concerto for 2 Trombe Selvatiche and 2 Violins, TWV 54:Es1, ed. Max Seiffert (Leipzig: Breitkopf and Härtel, 1927). 21Ibid. 15 Texas Tech University, Lindsay Marie Smith, May 2019

Although it is claimed that hand horn technique wasn’t invented until Anton Joseph

Hampel used it, Telemann’s music challenges this notion with the use of non-harmonic tones. Telemann uses the “F5” and “F-sharp5” strategically. The muffled, likely covered/stopped, note of “F5” is used in melodic passing of melodies, while the “F-sharp5” is used to emphasize a cadence such as found in measures 18 through 19 (see Example 3.2).

It is possible these notes could be produced by bending the pitch down with the lip or with venting holes, aside from using the hand to bend the pitch, but there is no documentation of what was done during this musical era.

The ranges of both horn parts vary from movement to movement. The first horn part uses the range from “B-flat2” to “C6” while the second horn has a smaller range from “B- flat2” to “F5.” The horn parts are different in the way of Baroque style ornamentation. The first horn frequently has small, written mordents such as found in measures 16 through 17

(see Example 3.2). While they both have the same underlying rhythm, the first horn adds ornamentation to the melody. Both horn parts use a combination of half and whole step trills adding a significant level of technique, seemingly more than if performed on the natural, hunting horn.

The second movement, an Allegro in 2/4 meter, is also an ABA form, but has elements of

Sonata-Allegro form through the addition of a brief development.

Sonata-Allegro form is a musical structure that is most strongly associated with the first movement of various Western instrumental genres, notably, sonatas, symphonies, and string quartets. Maturing in the second half of the 18th century, it provided the instrumental vehicle for much of the most profound musical thought until about the middle of the 19th century, and it continued to figure prominently in the methods of many later composers.22

22Bernard Jacobson, “Sonata Form,” Encyclopedia Britannica, accessed March 25, 2019, https://www.britannica.com/art/sonata-form. 16 Texas Tech University, Lindsay Marie Smith, May 2019

The three parts to the form are exposition, development, and recapitulation. The exposition usually consists of two themes in contrasting keys, the development develops these themes or fragments of a theme, and the recapitulation repeats the themes both in the tonic key. Theme one is presented in the horns while the second theme is presented in the solo violins with horns providing rhythmic accompaniment. The “A” section ends with a short final theme, in the key of “Bb” Major, presented by the two solo horns. The exposition like section is from measures 81 to 107 and followed by a repeat. The “B” section starts at measure 107 and explores various key centers as well as even a minor section, which is similar to a development. The recapitulation, or the return of the “A” section, begins in measure 159 with the two solo horns. As in the exposition, the development and recapitulation have repeats.

The use of the horns in movement two varies from the first movement. Instead of the rhythmic similarity, which still exists on a small level, the two horns have more independent rhythmic lines. This independence of the two lines is heightened with the use of one horn using syncopation, while the other is not, as evidenced in measure 127.

At times the first horn is also featured more as a heightened soloist on top of a counter melody or pedal point in the second horn. Both horns are frequently featured in duet sections without the accompaniment of the orchestra. In tutti passages where the orchestra and soloists play together, the melody is a composite of the violins and horns represented by the trading of lines. The range of the two horns varies in this movement from the first movement. The first horn’s range decreases while the second horn’s range increases. The first horn’s new range “D3” to “C6” and the second horn’s range is “B-flat2” to “G5.”

17 Texas Tech University, Lindsay Marie Smith, May 2019

Movement three, Grave, begins in the relative minor key and uses the major five- chord to eventually modulate to G minor. The movement is in strophic form, which is patterned AA’B. The “A” sections feature melodic material in the violins, while the “B” section features the two horns. Telemann crafts the movement to go from C minor to G minor and cadence back in C minor with a major dominant chord to the C minor tonic chord.

Instead of ending the movement, he adds a two-bar extension that ends on the major dominant of C minor chord, which is G Major. This ending allows for a seamless entrance into the final movement, resulting in the frequent combination of the two movements into one continuous movement.

The role of the individual horns is skewed in this movement. Instead of sticking to the roles of the cor-alto and cor-basse, the third movement features a dovetailing of the melodic line in the “B” section. This dovetailing creates many cross-voicings of the two, solo horn lines and allows for both horns to serve an important melodic role in this section.

Outside of this melodic material, the horns are purely accompaniment and important to the harmonic progressions as the chords change. They enter on whole notes providing dominant prolongation through repeated rhythms on the dominant chord as in measure 242. The range of the first horn decreases in size again, from “D4” to “B-flat5,” along with the range of the second horn, from “D4” to “G5.” The ranges are very similar in this movement although the average range is much lower for the second horn. These high entrances seemingly present incredible technical demands on the first horn related to pitch accuracy in the high register and fatigue.

18 Texas Tech University, Lindsay Marie Smith, May 2019

The fourth movement, Vivace, is in the form similar to what would be known later in music as a Rondo form. Each time one of the themes returns, it is modified slightly in key, length, and instrumentation.

The use of the horns in this movement is similar to movement one of the concerto.

The roles of the horns as cor-alto and cor-basse return with the occasional trading of lines employed in measures 260 through 261. The first horn is more melodic in nature with stepwise motion, while the second horn makes several leaps when not playing melodic material. The violins share an important role with the horns by providing soloistic, repeating passages with the horns. The ranges of this movement are similar to the first movement with the first horn “D4” to “C6” and the second horn “B-flat2” to “G5.”

In this work, the dynamics work in sharp contrast of one another and the use of solo horns in this work echo those dynamic contrasts. The horns will present one statement at forte and then immediately contrast it with a restatement at piano. Dynamic contrast is an important aspect to the structural use of the horns in this concerto. Their roles change from soloistic to accompanimental frequently with an importance placed on the melodic material provided. Although the function of each horn is not completely equal, the second horn frequently equals the melodic importance of the first horn. Movement two is the only point in which one sees a brief melodic dominance of first horn compared to second horn.

Performance Practice Considerations

When performing Concerto for Two Horns and Strings TWV54:Es1 by Telemann, it could be performed on one of several instruments. It could be played on a natural horn in E- flat, a venting horn, or a modern-day instrument. If performed on natural horn, the only notes that would need to be adjusted would be the “F5” which cannot be played on the open

19 Texas Tech University, Lindsay Marie Smith, May 2019

harmonic series. Using a venting horn or the modern-day instrument would solve this problem. The horns mostly work in unison rhythms therefore ensemble wise precision should be relatively easy in the author’s opinion. The author further believes varying dynamic shifts when the horns shift between melody and accompaniment is worthy of note and work.

In the author’s opinion, a challenge to performing this work is the high range of the first horn, which expands upwards to a high “C6.” The music centers itself for the first horn around the octave “C5” to “C6.” The tempo and technique required to articulate the passages of music is not as technically demanding as some of the other Telemann concerti, which the author believes makes this one of the most playable for the majority of the horn community.

20 Texas Tech University, Lindsay Marie Smith, May 2019

Concerto in F major, RV 538 for Two Horns by Antonio Vivaldi

Brief Compositional Analysis

The author believes Antonio Vivaldi uses the horns similarly to Telemann and is seemingly consistent with the Baroque era style of composition for horn. All of the notes fall on the harmonic series with the exception of the “F” natural, which probably would have been played sharp and adjusted with the lip. The ranges of horn one and horn two are similar. The first horn ranges from “G3” to “A5” and the second horn has a two-octave range from “G3” to “G5.”

In movement one, both of the horns are treated equally with the lower horn sitting one harmonic down from the first horn. They trade melodic features back and forth starting in measures six through ten and do this frequently in the work highlighting the equality of the parts. When not trading the melody back and forth, the two horns provide harmonization for one another. The first horn is one harmonic above the second horn providing consonant sounding intervals rather than dissonance. An example of this consonance is found in measures 56 and 57.

The horns are absent from the second movement with prominence given to a solo cellist supported by the other strings rather than have the horns supply any accompaniment.

The author believes one possible reason for this could be that the horns of the time were not equipped to play in different keys and the composer, Vivaldi, chose to place the second movement in the key of D minor. Horns of the time could not produce the concert “C-sharp” called for in the movement. Another reason could be due to the melodic structure of the second movement, where the melody moves too diatonically to be played by the horn

21 Texas Tech University, Lindsay Marie Smith, May 2019

moving primarily on intervals based on the harmonic series of the horn. In the author’s opinion, the composer would be limited in what he could write melodically if utilizing horns.

The third movement uses the horn similarly to the first movement. When the horns are not trading melodic material as in measures 30 through 34, they are playing in consonant intervals available in the harmonic series such as found in measures 22 through 28. In this movement in measures 107 through 111, the horns also repeat material previously heard in canon of one another.

Performance Practice Considerations

The most challenging aspect of this concerto is the trading of fast melodic figures between horn one and horn two. In the author’s opinion, measures six through ten are good examples of the technique required to perform this work and the trading of melodic lines between two horns. When the horns are playing together, the first horn takes a slight lead by playing the melody while the second horn plays accompaniment. These passages usually emphasize cadences and are not the normal writing in the first movement. This style of writing seemingly becomes more popular in the last movement. Another challenge for performers are the trills found in measures 11 through 14. They move stepwise from “C5” to

“F5.” In measure 13, the author would suggest that the performer consider performance practice of the time and choose to play the trill on the open side of the horn in F.

In the author’s opinion, the horn range is very accessible in Vivaldi’s work expanding upwards only to an “A5” in the first and second horn parts. Although most likely to be played on valves today, the author believes it can be good to practice this on natural horn. It could build technique on note accuracy among the notes on the harmonic series and hearing the “F5” in tune with the second horn written “D.” As mentioned previously, the “F5” would

22 Texas Tech University, Lindsay Marie Smith, May 2019

need to be “16 cents sharp” to be in tune with the minor third occurring between the first and second horn parts. In measures 56 through 57, the author believes it would be nice for both players to play on the open harmonic series to secure pitches in place while moving stepwise together.

23 Texas Tech University, Lindsay Marie Smith, May 2019

CHAPTER 4

MUSIC AND THE HORN IN THE CLASSICAL ERA

Brief Historical Context

The Classical musical era occurred between 1750 and 1820. Classicism in the arts was centered on the ideas of “form, logic, balance, and restrained expression.”23 In music the Classical musical era was known for “clarity, repose, balance, lyricism, and restraint of emotional expression.”24 The Enlightenment Movement affected several areas of the

Classical era and particularly affected music in the area of patronage.

The Enlightenment Movement was a European intellectual movement of the 17th and 18th centuries in which ideas concerning God, reason, nature, and humanity were synthesized into a worldview that gained wide assent in the West and that instigated revolutionary developments in art, philosophy, and politics. Central to Enlightenment thought were the use and celebration of reason, the power by which humans understand the universe and improve their own condition. The goals of rational humanity were considered to be knowledge, freedom, and happiness.25

Patronage of the individual courts was strong in Germany and Austria making these places the centers of musical activity. Music functioning primarily as entertainment was indicative of the Classical period. The concert hall became an established institution rather than the smaller concert venues of the Baroque era. Music still served an important role in the home, as “this was the era of amateur musical performances, both vocal and instrumental.”26 With the home still maintaining a strong role among those musicians in the amateur community, it is likely some of the works written for horn were written with the amateur in mind.

23Wold et al., An Outline History of Western Music, 122. 24Ibid. 25Brian Duignan, “Enlightenment | Definition, History, & Facts,” Encyclopedia Britannica, accessed March 25, 2019, https://www.britannica.com/event/Enlightenment-European-history. 26Ibid., 123. 24 Texas Tech University, Lindsay Marie Smith, May 2019

There are two important elements that are influential in works of the Classical era; the forms, such as the Sonata-allegro form, and the definition of those forms through clear, marked cadences. The Sonata-allegro form was one of several forms becoming solidified during the Classical period. Again Sonata-allegro form is a common first movement form found in Western classical music. It consists of three sections including the exposition, the development, and the recapitulation. These two developments, the clear cadences and the

Sonata-allegro form, greatly impacted the Double Horn Concerti. Melodies of the Classical era were much smoother with a focus on lyricism while rhythms were written simply and in constant patterns with clear rhythmic cadences matching the harmonic and melodic cadences.

Harmonically, music was still fairly consonant sounding, utilizing relatively simple chords as well as seventh chords. The harmonic rhythm slowed down in the Classical period.

Innovations on the Horn:

Developments in the horn during the Classical period include the use of crooks to change keys rather than the previous tradition of actually changing horns. Crooks were various lengths of brass tubing that changed the key of the horn when inserted into the instrument. With the development of specific crooks, a few of them became more commonplace and were designated as specific solo keys for the horn. The use of the hand in the horn bell to change pitch developed at this time. Anton Hampel developed the hand horn technique and his pupil Giovanni Punto (Stitch) became well known for his use of the technique. This technique allowed composers the ability to write additional notes outside of the harmonic series previously relegating the horn to simple harmonic melodies. Hand horn technique is where the player manipulates the hand in the bell to affect pitch. This is done by

25 Texas Tech University, Lindsay Marie Smith, May 2019

closing and opening the hand and the bell throat. There are many positions for the hand to be in including fully stopped to fully open.

The following two compositions Concerto in E-flat for 2 horns, Strings, and Basso

Continuo by Leopold Mozart and Concerto for Two horns in F Major, M. C61 by Francesco

Antonio Rosetti were chosen for examination due to their popular appearance on YouTube when searching for Double Horn Concerti as well as the performers that recorded the works.

Leopold Mozart is perhaps best known for being the father of Wolfgang Amadeus Mozart.

Rosetti, formerly known as Franz Anton Rösler, was a prolific horn concerto writer and

Double Horn Concerto writer, writing seven Double Horn Concerti and ten solo concerti for the natural horn during his lifetime.

26 Texas Tech University, Lindsay Marie Smith, May 2019

Concerto in E-flat for Two Horns, Strings, and Basso Continuo by Leopold Mozart

Brief Compositional Analysis

Concerto in E-flat for Two Horns, Strings, and Basso Continuo was written in 1752.

Most likely the concerto was written for Johannes Türrschmidt and Joseph Fritsch.27 These two horn players were employed in the court of Count Philipp Carl.28 The music is written in the typical late Baroque era to early Classical era style.

Movement one, Allegro, is in Sonata-allegro form with the orchestra first introducing the primary themes followed by the horn presenting the same material. Seemingly, this composition for the two horns shows more independence of parts compared to that of the

Baroque concerti. The horns begin together playing the same material, with the second horn one harmonic apart from the first horn. However, this style of composition does not last long, and the horns quickly become more independent of each other. The first horn provides the main melodic material of the movement and the second horn provides a harmonic counter melody, which essentially outlines the rhythm of the first horn melody. The second horn part is fairly acrobatic in nature as it expands and jumps over an octave and a half in range at times. The first horn has ornamental trills and turns written in the part. Although there is not a cadenza written in the concerto, there are multiple cadential areas where a cadenza or ornamental passage would likely have been played.

The second movement, Andante, consists of two sections commonly referred to as binary form. When the horns enter, the first horn has a solo line followed by the entrance of both horns at measure seven. The writing for the two horns is found to be similar to the first

27Leopold Mozart, Concerto in E-Flat for 2 Horns, Strings and Basso Continuo, ed. William Blackwell and Robert Paul Block (London: Musica Rara, 1976). 28Ibid. 27 Texas Tech University, Lindsay Marie Smith, May 2019

movement, with the first and second horns both playing similar rhythmic material. As in the first movement, the first horn leads with the main theme and at times the second horn provides harmonic support of the first horn outlining the rhythm. In the second movement, measures 20 and 21 require the horn players to use hand horn technique to manipulate the pitch, highlighting an important characteristic of the horns and style of horn playing in the

Classical era. While much of the concerto is written with the horns playing pitches on the harmonic series of an E-flat horn, the cadential material in measures 20 and 21 for the second horn consist of a written “F3” and “F-sharp3” and these two notes do not lie on the harmonic series for the horn. The editors, William Blackwell and Robert Paul Block, write in the score that “these passages reflect graphically the experiment of some early innovator of the hand- technique which was to become so highly developed by the end of the century.”29 Unlike the music of the Baroque era, music in the Classical era continued to incorporate an extended use of the hand-technique.

The third movement, Allegro La Caccia, appears to be in a loose rondo form and mimics the early writing style for horns, the hunt. The title suggests this conclusion as well.

There is a brief call and response section between the orchestra and the horns from measures

82 through 85. Similar writing exists between the horns as described in the previous two movements. The only difference, found, is having the second horn leap between the octaves from measures 63 to 69 effectively breaks up the chord providing harmonic support for the first horn. This movement also requires the second horn to trill.

Overall the writing for two horns is different than the previous eras. The use of the second horn still provides harmonic support but also is a more rhythmically independent line.

29Ibid. 28 Texas Tech University, Lindsay Marie Smith, May 2019

The playing ranges of the horn also expand even though the first horn range is somewhat limited to just a little over an octave from written “C5” to “E6.” The second horn range is much more expansive written from “C3” to “G5.” The two horns are identified as cor-alto and cor-basse to highlight the role and range of the horns. The primary role of the cor-alto is to provide the high melodic material while the cor-basse is written in the lower tessitura.

Considerations for Performance:

This concerto is, in the author’s opinion, extremely difficult for both horn players requiring an exceptionally high range and stamina for the first horn and a fluid dexterity of interval playing for the second horn. The second horn requires an accomplished technical versatility because of the acrobatic nature of the second horn part. An example of this is found in measures 25 and 26. These measures are perhaps the most difficult measures for the second horn in the entire piece. While the first movement is the most complicated, the other two movements are much more accessible to the horn player.

If performed on natural horn, most of the notes are playable on the harmonic series and in instances can make the second horn writing more accessible to a moderately advanced horn player. However, the author would recommend practicing on the natural horn. For example, there is the pattern of a low “F3” and “F-sharp3” written in the first movement measure 62 and the second movement measure 20. This would require a working knowledge of how to manipulate the hand in order to play these notes. Other hand technique would need to be employed on the “F5” and the “A4,” which are employed frequently.

The grace notes are suggested by some editors including Blackwell and Block to be played as measured notes receiving half of the length from the note it precedes. There are a few instances where a cadenza could be inserted. The first cadential period is in measure 62

29 Texas Tech University, Lindsay Marie Smith, May 2019

of the first movement. The editors of at least one edition, the Thompson Edition, suggest an optional part that expands the writing of the first horn and keeps the second horn the same.

In the author’s opinion, this could be expanded more for the first horn if a cadenza was desired. The other opportunity for a possible short cadenza in the author’s opinion is found in the second movement measure 20. Again, an alternate part is suggested in the Thompson

Edition.

30 Texas Tech University, Lindsay Marie Smith, May 2019

Concerto for Two horns in F Major, M. C61 by Francesco Antonio Rosetti

Brief Compositional Analysis

Francesco Antonio Rosetti was a prolific horn concerto and Double Horn Concerto composer, writing seven Double Horn Concerti and ten solo concertos for the natural horn during his lifetime. The dates of these works are mostly unknown, but the style and techniques used definitely suggest to the author that they were written within the Classical musical era. Rosetti’s essays in the Double Horn Concerto date from the late 1770s and one of his works, likely the Concerto for Two Horns in E-flat, was performed by Palsa and

Thürrschmidt on March 24,1780.30

The first movement of Concerto for Two Horns in F Major, M.C61, is in the standard

Sonata-allegro form. The work opens with a le premier coup d’archet (the first stroke of the bow) gesture using a three-note motive of an “f” arpeggio and identifying the first theme. An accompanimental variation of dotted rhythms on the same arpeggio completes the introduction. Following the introduction, having been based off the principal theme, the first horn is heard presenting the theme in its entirety. The opening two motives serve as tutti orchestral passages and the first theme group begins with the three-note arpeggio in measure

72. The first theme group is comprised of two periods, with the first parallel period, measures 72 through 83, using the opening three-note motive for the first phrase ending on a half cadence. The second phrase using the second motive with the dotted rhythms ending on a perfect authentic cadence. The second period, measures 84 through 95, consists of three, four bar phrases ending in concert F Major. The second theme group starts in measure 98 in the dominant key of concert C Major at measure 98. This key is emphasized by using the

30Murray, “The Double Horn Concerto: A Specialty of the Oettingen-Wallerstein Court,” 524. 31 Texas Tech University, Lindsay Marie Smith, May 2019

written “f-sharp” and the concert C Major scales. In measure 140, the concert C Major cadence is strengthened by the written “f-sharp” leading tone in the second horn. The development section begins in measure 164 still in the concert key of C Major. An effective and frequent use of accidentals allows Rosetti to develop and modulate through several keys.

The material heard during the development is related to the first theme group and the two opening motives. The recapitulation begins in measure 217 where the same material is again presented in concert F Major and followed by a codetta and an opportunity for a cadenza.

Rosetti writes for the horn in many capacities. Similar to a concerto for a single instrument, the themes are primarily presented in the two horns with the first horn taking the most melodic role and the second horn providing harmonization. In the case of the first period, the second horn’s role is to provide the motivic accompaniment for a few bars, while the first horn has the solo melody. The second horn enters at cadence points to help create a stronger resolution. In the second period, the second horn provides harmonization based off of the interval of a third, again having the second horn provide harmonic support via an arpeggio of the note in first horn, as represented in the third and fourth beats of measure 89.

While still using the intervals of a third, fifth, and an octave, Rosetti employs dissonance frequently and strategically. Evidence of this can be found in his call and response sections, as seen in theme group two. He displaces the melodic figure in the second horn part by an eighth note or quarter note resulting in the dissonance, creating tension soon to be resolved.

Technique in each part requires exceptional command of the horn. The first horn has the melody primarily in stepwise motion or thirds, while the second horn has the occasional arpeggio and is not in rhythmic unison with the first. Both parts require trills, mordents, grace notes, and turns to ornament the melody. The range of the first horn is exceptionally

32 Texas Tech University, Lindsay Marie Smith, May 2019

high for modern day expectations, ranging from “E4” to the occasional use of “D6.” On average, the first horn plays an octave from “B-flat4” to “B-flat5” while the second horn uses a two-octave range of “G3” to “G5.” Instead of sticking primarily to an octave, as in the case of the first horn, the second horn covers both octaves consistently, putting more demands on the second horn player.

Movement two, Romance, begins in concert F minor an ABA form where the primary theme returns at the end. The “A” section has two subordinate themes, which start differently and yet carry a similar melodic motive up to the half cadence. The first subordinate theme starts in the second horn and the second subordinate theme starts in the first horn. Each theme is symmetrical, consisting of two phrases, a four-bar phrase ending in a half cadence, plus a three-bar phrase ending in an authentic cadence of in concert F minor.

The “B” section is new material, featuring the horns sharing the melodic material. The return of the “A” section melds the two sub themes together forming only three-phrases, rather than the four from the first “A” section. It begins with the first phrase of the second subordinate theme, but changes to the first phrase of the first subordinate theme before it ends with the second phrase of the second subordinate theme. Rosetti takes the fourteen bar, four-phrase

“A” section and melds it into only a ten bar, three-phrase return of the “A” section prior to the movement ending with a series of chords resolving to concert F minor in measure 61.

Instead of ending the movement there, he continues four bars and weakens the concert f minor chord to end this movement by delaying the final chord. This adjustment technique prepares the listeners ear to be ready for the return of F Major in the next movement.

In the second movement, the horn writing is similar to the first movement; however, the second horn takes more of a melodic role instead of being used primarily as harmonic

33 Texas Tech University, Lindsay Marie Smith, May 2019

support. The second horn starts the movement with the solo melody and creates a four-bar phrase, while the first takes over in the second bar with only a three-bar phrase. This happens a couple more times with the second horn, as seen in measures eight and 51. The first, in the same style as the second horn, also starts the second sub theme melody alone as well as the “B” section. The minor third interval is the most common interval used between the two horns, and Rossetti also adds dissonances of a minor second to draw the attention of the listener to a new idea, as marked in measure nine. These minor intervals are important because they require the horns to use hand horn technique to play the accidentals used to create the minor intervals. The range of the second horn in this movement is “F3” to “F5”, while the first horn only has the range of “G4” to “A-flat5.”

The final movement, Rondo: Allegro, is indeed a version of rondo form. The “A” theme is in concert F Major with the primary melody given to the first horn. The second horn returns to function primarily as harmonic structure for the first horn with the addition of arpeggios. The “B” theme is in the dominant key of concert C Major, as one would expect.

The “A” theme occurs once again after a strategic fermata delaying the return of tonic. The

“C” section is in concert F minor and after the “C” section, there is another statement of “A,”

“B.” “A.” Followed by this, is another section, “D” similar to “C.” The “D” section uses the second horn in a more melodic role aside from its typical role. After “D,” “A,” “B,” “A” returns again followed by a brief coda.

The use of the second horn is much more expansive in this final movement and shows a sharper contrast between the cor-alto and the cor-basse playing. While the first horn caries the melodies, the second horn has fast arpeggiated chords with many wide intervals, making this final movement the most challenging movement in the work due to the technically

34 Texas Tech University, Lindsay Marie Smith, May 2019

difficult writing of the second horn part. The range of the second horn in the final movement is over two octaves, spanning from “C3” to “F5”. The second horn player often has to cover over an octave within a single beat. The first horn part, although slightly easier, still requires the player to play from “D5” to “C6” with little time for the horn to rest within this register.

This work for the horns would have been intended for the natural horn using crooks.

Likely this would be played on the F crook for both the first and second horns. Hand stopping, allowing for a great use of the complete scale for melodies, was in full use during the period this was written. Although still very tonal and not chromatic, Rosetti uses accidentals in the developmental sections and the second movement. These sections would require more use of the hand and would result in a muffled sound at times. The second horn has significantly fewer non-harmonic tones, since the majority of the time it does not have melodic material functioning as harmonic support with acrobatic arpeggios and leaps. Other techniques more prevalent in this concerto than earlier periods include mordents, turns, trills, and grace notes.

Performance Practice Considerations

This work would be more easily accessible on the modern-day valve horn compared to the natural horn because of the extensive use of the hand that is required. Rosetti does not shy away from using the hand to manipulate pitch, although the majority of notes still rest on the harmonic series. The use of hand technique was popular during the era Rosetti composed in. Many players were proficient in the use of the hand including the famous Giovanni Punto

(Stitch).

In the author’s opinion, Rosetti’s concerto is arguably the most difficult concerto examined for this document. The first horn has many runs up in the upper register and the

35 Texas Tech University, Lindsay Marie Smith, May 2019

second horn has many fast arpeggiated figures requiring complete command of the instrument. The parts are equal in terms of difficulty. Both parts are interesting and have their own unique difficulties. The first horn needs complete command over the upper register in order to perform this work in the author’s opinion. The first horn players part is made slightly easier because the higher notes are usually approached by a stepwise run rather than a leap up to a higher note. The author believes the descant horn could make the first horn part more playable. The descant horn can provide more stability to the upper notes by moving the harmonic series up an octave on the high “f” horn.

The second horn has many large intervals and covers a much larger range than the first horn. The third movement requires the second horn to perform many fast arpeggios.

The author suggests practicing these arpeggios away from the music and on the horn without the use of valves.

Another seemingly challenge in the work is the trading of sixteenth-note runs in the last movement. An example of this is found in measures 19 through 22. The author believes performers need to pass the sixteenth-notes seamlessly between both parts.

36 Texas Tech University, Lindsay Marie Smith, May 2019

CHAPTER 5

MUSIC AND THE HORN IN THE ROMANTIC ERA

Brief Historical Context

The Romantic era in music is commonly believed to be from 1830-1900. The nineteenth century was “a time of strong contradictions between capitalism and socialism, freedom and oppression, logic and emotion, science and faith.”31 These contradictions played an important role influencing the development of music as well. Music became more concerned with expression of the composer’s ideals over the restraint and rules of the

Classical style. “Composers sought to express their own personal convictions and to portray events and ideas as they understood them.”32 This led to a rise in the middle class and music became much more directed toward the masses compared to the previously held position of only being for the wealthy. However, “Romantic music was usually too technically demanding for unskilled performers” creating a division between amateurs and professional musicians.33 The form of the music still created a separation between contrasting melodies or theme groups and the sonata form was still favored although altered and expanded in the nineteenth century. Cadences became less clear and sections would often overlap. The effect on melodies led to less regular phrase groups which became irregular in shape.

Compositions featured frequent dynamic changes and favored chromaticism to create harmonic tension. Rhythm remained similar to the Classical era with added irregularities of syncopation and number of beats per measure in the later nineteenth century. Harmonically speaking things began to change quite drastically with the introduction of “chromaticism,

31Wold et al., An Outline History of Western Music, 147. 32Ibid. 33Ibid., 149. 37 Texas Tech University, Lindsay Marie Smith, May 2019

nonharmonic tones, altered chords, and extensive use of ninth and thirteenth chords.”34 All of this served to skew the sense of tonal center. The texture of Romantic era music was denser than the lighter more transparent texture of Classical era music.

Innovations to the Horn

An important change to the structure of the horn was the invention of the valve in

1814. This opened a new world of opportunities for the horn performer in the Romantic era where the use of valves made almost anything possible. Since the horn was now able to produce all of the notes in comparison to previous times, composers began writing for the horn with the valve in mind, no longer limited to the specific harmonic series. The horn was now fully chromatic. There were many types of chromatic horns invented and many different styles of valves. A few of the inventions were the piston valve, the box valve, the

Vienna valve, and the rotary valve. In some instances, crooks were still used and added to a single F horn to change the harmonic series of the horn. With the help of the valve, composers wrote in varying keys and changed keys more frequently than the past eras.

The following two compositions, Concertante for Two Horns in E by Franz Strauss and Concertino for Two Horns and Orchestra, Op. 45 by Friedrich Kuhlau, were chosen for examination in part due to the limited number of double horn compositions during the

Romantic Era. These are the only published compositions available for two horns. Franz

Strauss was an avid composer and musician in Bavaria during his lifetime serving as both performer on horn and instructor of music at the Academy of Music in Munich. His son is the renowned Richard Strauss. Many of his compositions are works for horn, including several solo pieces and a concerto. Friedrich Kuhlau was a concert pianist and composer

34Ibid., 153. 38 Texas Tech University, Lindsay Marie Smith, May 2019

writing over 200 published compositions. His most popular works were written for opera, the piano, and the flute.

39 Texas Tech University, Lindsay Marie Smith, May 2019

Concertante for Two Horns in E by Franz Strauss

Brief compositional analysis

Although not a concerto, the concertante is a solo work for two horns and orchestra written during the Romantic musical era. There is no recording currently available of this composition. Franz Strauss was a horn player and composer during the late 19th century who joined the Bavarian Court Orchestra in 1847 before retiring in 1889.35 His son, Richard

Strauss became a famous composer and his music seems obviously influenced by his horn- playing father. There is little, if any, historical information about the Concertante for two horns in E and it was not published until 2006. As there are very few double horn concerti in the Romantic era available for performance, it was included in this study to demonstrate the characteristics of composition for horn in the Romantic musical era.

The Concertante for Two Horns in E begins with a slow introduction marked Adagio maestoso. The opening motives played by the horn serve as an introduction followed by the themes presented by horn one as a solo and presented by horn two as a solo. Solos are traded back and forth, demonstrating several important concepts from the Romantic musical era.

First, the ability to trade the melody between the two horns demonstrates the capability of the horn following the invention and addition of the horn valve in 1814. The addition of the valve makes all notes of the scale playable. This demonstrates a change in the composer’s ability to move away from simple harmonic passages and avoid stopping sounds created by hand techniques previously in use. The melody now found in this piece by Strauss displays the inclusion of many non-harmonic tones and even accidentals out of the key for both horns.

An example of this is the “e-flat” and “a-flat” in measures 11 through 18. Secondly, the

35John Ericson, “Franz Struass (1822-1905),” International Horn Society (2003), accessed January 24, 2019, https://www.hornsociety.org/ihs-people/past-greats/28-people/past-greats/128-franz-strauss. 40 Texas Tech University, Lindsay Marie Smith, May 2019

trading of horn melodies led to the absence of a cor-alto and cor-basse players, as both players are treated as equals carrying their portion of the melody. The second horn player was just as capable of playing melodies in the low range of the horn as the first horn player was capable of playing melodies in the higher range of the horn. The typical cor-basse parts characterized by arpeggios, broken chords, and multiple leaps and jumps, are not represented in the composition.

In the Tempo di Pollacca, the second horn begins with the melody further emphasizing a sense of equality among the parts. Even when the first horn joins, the second horn is heard taking a subordinate role continuing a long tradition of providing harmonic accompaniment.

The ranges and techniques used by the horns are still limited, and interestingly, the upper range of the second horn is only slightly extended. The range of the first horn is from written “C4” to “F5” and the range of the second horn is from written “G3” to “G5.” The similar range supports the argument of the two horns being treated more equally. There are no uses of extended techniques found in the composition. There is however a cadenza in measure 52 for the first horn and a brief recitative section for both horns. These sections are very brief in nature and the freedom of tempo found in the recitative sections is characteristic of the Romantic era music.

Performance Practice Considerations

Both the first horn and the second horn are treated as solo instruments in the

Concertante for Two Horns in E by Franz Strauss. In the majority of the movement, the horns trade solo melodies back and forth. This adds its own challenge to the work, as the two horns must match tone and style sounding like one horn playing the melody. When the horns

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do work as a pair, they are in close intervals to one another without much dissonance. Tuning becomes the primary concern ensuring that the thirds are perfectly in tune. At times, the first horn has the third and other times the second horn has the third. Another seemingly important aspect of preparing this work is matching articulation. Franz Strauss calls for light articulate playing at times and the two horns must match style. This work is seemingly much easier to put together than the previous Double Horn Concerti mentioned, as the majority of the time the horns are soloists and the accompaniment is sparsely scored underneath the solo line.

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Concertino for Two Horns and Orchestra, Op. 45 by Friedrich Kuhlau

Brief Compositional Analysis

Concertino for Two Horns and Orchestra, Op. 45 by Friedrich Kuhlau is again not a concerto; however, it represents the works written in the Romantic era for double horn soloists. There was not a plethora of works written during this time; but in the author’s opinion, the concertino models the same principles as other Romantic musical era works for horn, including the large array of solo works for horn. Kuhlau, a Danish composer from the

Romantic era, first published this piece in 1830. This concertino is one of over 200 published works across several genres.

The concertino is comprised of many sections. The first section Adagio ma non troppo opens without the horns. When the horn enters, it is a solo played by the first horn and later joined by the second horn. Instead of joining as accompaniment to the first horn, the second horn enters with the melody supporting the latest use of the second as an equal companion to the first. At times the second horn still provides accompaniment to the first horn, but with the roles reversed at other times in the work. The second section Allegro alla

Polacca, third section Larghetto, fourth section Allegro alla Polacca and fifth section

Allegro Assai employ much more of the traditional roles of the two horns found in prior concerti especially at the beginning of each section. This traditional role is basically focused on the first and second horn working and moving together rhythmically with the second horn providing harmonic support once again. Periods of independence between the two lines dominate the texture even though Kuhlau is being influenced by the traditional use of two horns playing together.

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This concertino shows ample evidence by the use of non-harmonic tones to support the conclusion of this work being specifically written for the valve horn rather than natural horn. Again, as with the Strauss Concertante, there are no extended techniques beyond lip and valve trills. The tessitura of the two horns is much more similar than earlier concerti written although the ranges of the two horns are much more diverse. The range of the first horn is from written “C4” to “C6” and the range of the second horn is much larger expanding from written “G2” to “G5.”

Performance Practice Considerations

As with the Strauss, the Concertino for Two Horns and Orchestra Op. 45 by

Friedrich Kuhlau begins with the horns trading the melody back and forth. It starts with longer periods of melodic trading; however, then the horns trade melodic statements measure by measure as seen in measures 42 through 50. When trading the melodic lines back and forth, measure by measure, it is seemingly important to keep the flow of the melody intact and smooth. Both horns must match intonation, style, tone, and most importantly timing of the rhythm. Both horns must keep a steady tempo and not rely on the other horn player to finish before starting the next line.

Another challenge presented in the first section is the range of the second horn.

The second horn plays at times in the bass clef reaching down to a pedal “G2.” It frequently jumps between the pedal “G2” and the octave above “G3.” An example of this is found in measures 62 through 67. While the range doesn’t go particularly high the jumping of octaves does create a challenge.

The second section Allegro alla Polacca shows the more traditional roles of the horns working together in pairs playing rhythmically similar lines. The second horn 44 Texas Tech University, Lindsay Marie Smith, May 2019

provides harmonic accompaniment to the first horn. In this section, there is a brief section where the orchestra drops out and leaves the two horns playing by themselves.

This occurs between measures 41 through 53. There is no indication that this section should be in free time or treated like a cadenza and should continue moving forward, as supported by all the recordings. In this section, several recordings demonstrated the altering of the articulation markings by inserting slurs on many of the sixteenth note passages. There is no indication to do so and is up to the performer.

The third section Larghetto the horns again work in harmonic pairs. There is little orchestral movement besides the cello and basses pizzicati underneath the horns.

The author believes, unlike the other instance in the second section where the orchestra drops out, there is room for a small amount of rubato in the horn parts.

In the final section Allegro assai, the author believes the grace notes should be treated as true grace notes rather than the style of the Classical musical era. The grace notes are indicated to be on the beat rather than before the beat. This section is, in the author’s opinion, the hardest section of the piece because of the fast-moving notes in the second horn part and the precision needed for performance. The sixteenth-note runs are employed in measures 40 and 41.

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CHAPTER 6

CONCLUSION

Significant changes have taken place in the design and use of the horn, since its beginning stages of existence as an animal horn and eventual evolution into the instrument recognized today. While changes have been a continual process on the horn, many changes took place from the Baroque, Classical and Romantic musical eras through the composition of the Double Horn Concerti analyzed in this study. The author believes these changes affect the way the performer should approach each work. Each composition should be approached with the development of the instrument in mind.

One major change between the concerti, affecting how these concerti should be performed and rehearsed, is the use of non-harmonic tones and the instruments used in each era. From the Baroque musical era, there are few non-harmonic tones used by composers. In this era, there was no documented use of the hand or structural changes to the instrument to be able to adapt to notes such as the “F5.” The performers of these concerti are left to assume these notes were lipped down from the “F-sharp5” or another adaptation to the instrument was used. In modern times, there are many options to perform these works on the natural horn and to successfully play these non-harmonic tones. The performer can use a venting horn or use the hand to manipulate pitch, although there is no documentation that this is historically accurate. The Baroque concerti can also be played on the modern-day instrument with valves to make these concerti more accessible to the average horn player.

In the Classical era, the hand horn technique to manipulate pitch was commonly used and mastered by performing artists such as Giovanni Punto (Stitch). The corresponding concerti to the Classical musical era feature a wide variety of non-harmonic notes as

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evidenced in the Mozart concerto with the use of the “F3” and the “F-sharp3” in the bass clef and in the Rosetti concerto with the use of accidentals and frequent key changes. These concerti can be played on the natural horn using hand horn technique and be historically accurate. Though again, these concerti can be made more accessible to the horn player by using the modern-day instrument with valves. It is also possible to see the concerti of the earlier eras, while showing the design progress on the horn, actually foreshadowing design improvements made to the horn in our present-day use. While the valve has been shown as influential in the equalizing of part writing, the high melodic writing of the Baroque and

Classical eras became a challenge to modern players and the use of descant horn and eventual design improvements forming the triple horn came into existence. The author believes this new design of the horn has inspired present compositional techniques, especially in the extreme upper register.

The concerti of Strauss and Kuhlau highlight the changing instrument and the development of the valve with the numerous non-harmonic tones used. The melodic writing in both of the horn parts emphasizes how the use of the valve transformed the writing for the second horn and equalized the writing for both horns. Due to lack of development of the horn during the Baroque and Classical musical eras, players would specialize in one area or another. Developments of the horn (i.e. the valve) and further technical developments led to players playing the complete range of the horn and lessened the need for specialization of horn players in one area or another. This development has carried over into contemporary writing for horns, where high horns are expected to play low and low horns are expected to play high. Compared to the other musical eras, there is less delineation between cor-alto and cor-basse playing; thereby, equalizing the ranges between the two horns.

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The author believes this study is important because it illuminates six important

Double Horn Concerti and provides practical performance information for the concerti.

These concerti have had little written about them other than this document.

Implications for Further Research

Further research could be done analyzing other Double Horn Concerti from the

Baroque, Classical, Romantic, and even Twentieth and Twenty-first Century musical eras.

There are a large number of works yet to be explored. Among these works the author would like to explore more are the other Double Horn Concerti by Telemann and Rosetti, Concerto for Two Horns in E-flat by Joseph Haydn, Concerto for Two Horns in E-flat by Joseph Fiala, and Concertante for Two Horns in E, Op. 5 by Joseph Reicha. These works are also quite popular when searching for Double Horn Concerti on YouTube.

There are many possible theories explaining the decline in Double Horn Concerti throughout the Romantic era, including the invention of the valve, which allows the horn player to play all across the range, and the surge of solo horn concerti in the Romantic era.

Discovering why there was a seeming decline in the output of Double Horn Concerti in the

Romantic era through present day might be considered as research still viable for the future.

Opportunities also exist to uncover works not currently being published and/or at least provide desirable recordings of such works as the Concertante for Two Horns in E by

Franz Strauss. The author has plans to record the Concertante for Two Horns in E by Franz

Strauss in the next year.

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BIBLIOGRAPHY

Duignan, Brian. “Enlightenment.” Encyclopedia Britannica. Accessed March 25, 2019. https://www.britannica.com/event/Enlightenment-European-history.

Elson, Arthur. Orchestral Instruments and Their Use. Boston: The Page Company, 1902.

Ericson, John. “Franz Struass (1822-1905).” International Horn Society (2003). Accessed January 24, 2019. https://www.hornsociety.org/ihs-people/past-greats/28-people/past- greats/128-franz-strauss.

———. “Horn 101: The Harmonic Series.” Horn Matters (2008). http://hornmatters.com/2008/07/horn-101-the-harmonic-series/.

Falvey, Joseph T. “An Equipment Guide to Performing Baroque Horn Music.” DMA diss., University of Miami, 2011. Accessed March 11, 2019. https://scholarlyrepository.miami.edu/oa_dissertations/525.

Fitzpatrick, Horace. The Horn and Horn-Playing and the Austro-Bohemian Tradition from 1680 to 1830. London: Oxford University Press, 1970.

Humphries, John. The Early Horn A Practical Guide. Cambridge: Cambridge University Press, 2000.

Jacobson, Bernard. "Sonata Form." Encyclopedia Britannica. Accessed March 25, 2019. https://www.britannica.com/art/sonata-form.

Mozart, Leopold. Concerto in E-Flat for 2 Horns, Strings and Basso Continuo. Edited by William Blackwell and Robert Paul Block. London: Musica Rara, 1976.

Murray, Sterling. “The Double Horn Concerto: A Specialty of the Oettingen-Wallerstein Court.” The Journal of Musicology 4, no. 4 (1985): 507–534.

Seraphinoff, Richard. “Nodal Venting on the Baroque Horn: A Study in Non- Historical Performance Practice.” The Horn Call 27, no. 1 (November 1996). Accessed March 13, 2019. http://seraphinoff.com/printVersion.php?p=bf9e6fd4- be82-47b8-a5b2-fddc3354f6a0.

Tanabe, Rosie. “Concerto Grosso.” New World Encyclopedia, 2013. Accessed January 24, 2019. http://www.newworldencyclopedia.org/p/index.php?title=Concerto_Grosso&oldid=9 69989.

Telemann, Georg Philipp. Concerto for 2 Trombe Selvatiche and 2 Violins, TWV 54:Es1. Edited by Max Seiffert. Leipzig: Breitkopf and Härtel, 1927.

Tuckwell, Barry. Horn. Yehudi Menuhin music guides. New York: Schirmer Books, 1983. 49 Texas Tech University, Lindsay Marie Smith, May 2019

Wold, Milo, Gary Martin, James Miller, and Edmund Cykler. An Outline History of Western Music. Seventh. Dubuque, IA: Wm. C. Brown Publishers, 1973.

Yeh, Guan-Lin. “Concerto for Two Horns in E-Flat Major Attributed to Joseph Haydn: A New Arrangement for Wind Ensemble.” DMA diss., Arizona State University, 2011.

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APPENDIX LIST OF DOUBLE HORN CONCERTI

Composer Title Key Number Year Antonio Vivaldi Concerto for Two Horns F RV 538 Unknown (1678-1741) F RV 539 Georg Phillip Concerto for Two Horns D TWV 52:D 2 ca. 1708-14 Telemann E-flat TWV 52:Es 1 ca. 1716-21 (1681-1767) F TWV 52:F 3 ca. 1716-21 F TWV 52: F 4 ca. 1708-14

Johann David Concerto a Corni F Unknown Unknown Heinichen Concertati (1683-1729) Jahonn Christoph Concerto for Two Horns G GWV 332 1744/45 Graupner (1683-1760) Francesco Barsanti Concerti Grossi Op. 3 no. E Unknown Unknown (1690-1772) 1-5 (with timpani and strings) Leopold Mozart Concerto for Two Horns E-flat Unknown 1752 (1719-1787) Franz Xaver Pokorny Concertante E-flat Op. 5:1 ca. 1754 (1729-1794) Joseph Haydn Concerto for Two Horns E-flat Hob. VIId/2 Lost (1732-1809) E-flat Hob. VIId/6 Unknown Karl von Ordonitz Nocturno for Two Horns F Unknown Unknown (1734-1786) and Strings Michael Haydn Concerto for Two Horns E-flat Unknown Unknown (1737-1806) Joseph Fiala Concerto for Two Horns E-flat Unknown Unknown (1748-1816) Theodor, Freiherr von Concerto for Two Horns ? Unknown Unknown Schacht (1748-1823) Antonio Rosetti Concerto for Two Horns E-flat RWV 55 Unknown (1750-1792) E-flat RWV 56 E-flat RWV 57 E RWV 38 E RWV 59, lost F RWV 60 F RWV 61

Ferdinand Kauer Concerto for Two Horns ? Unknown Unknown (1751-1831) 51 Texas Tech University, Lindsay Marie Smith, May 2019

Joseph Reicha Concertante E Op. 5 ca. 1819/20 (1752-1795) Johann Braun Symphonie Concertante ? Unknown Unknown (1753-1811) Franz Anton Concerto for Two Horns E Unknown Unknown Hoffmeister (1754-1812) Jahonn Christoph Symphonie Concertante E Unknown 1788 Vogel E c. 1790 (1756-1788) Johann Georg Symphonie Concertante F Unknown Unknown Feldmayr F (1756-1831) Paul Anton Wineberger Symphonie Concertante E-flat Unknown Unknown (1758-1822) Frédéric Blasius Symphonie Concertante ? Unknown 1795 (1758-1829) Othon-Joseph Symphonie Concertante Lost Unknown ca. 1792 Vanderbroek Symphonie Concertante E-flat lost (1758-1832) unknown Jacques-Christian- Symphonie Concertante F No. 14 ca. 1801 Michel l’ainé Widerkehr (1759-1823) Bernhard Heinrich Concertino F Op. 41 Unknown Romberg (1767-1841 Heinrich Domnich Lére Symphonie ? Unknown ca. 1797- (1767-1844) Concertante 1806 Friedrich Witt Concerto for Two Horns F Unknown Unknown (1770-1844) Philip Barth Concerto for Two Horns ? Unknown Unknown (1774-1804) Johann Anton André Concerto for Two Horns ? Unknown Unknown (1775-1842) Martin-Joseph Mengal Symphonie Concertante ? Unknown Unknown (1784-1851) Friedrich Kuhlau Concertino for Two Horns F Op. 45 ca. 1821/2 (1786-1832) Johann Christoph Todt Concertino for Two Horns ? Unknown Unknown (late 18th century)

The chart of Baroque and Classical Double Horn Concerti is excerpted from Guan-Lin Yeh’s research document entitled “Concerto for Two Horns in E-flat Major Attributed to Joseph

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Haydn: A New Arrangement for Wind Ensemble.” It is not a complete list of available Double Horn Concerti; however, it provided a starting point for the author’s research.

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