University of Cincinnati

Home , Gardner Read, Jan Koetsier, Organ repertoire, Sonata da chiesa

UNIVERSITY OF CINCINNATI

DATE: 27 February 2006

I, , Kristen Michele Johns hereby submit this as part of the requirements for the degree of:

Doctor of Musical Arts in:

Performance Studies It is entitled:

Original Compositions for Horn and Organ: Performance Problems Unique to the Medium with Discussion of Selected Solutions through Analysis of Representative Works

Approved by:

Chair, Professor Randy Gardner Dr. Roberta Gary Dr. Edward Nowacki

Original Compositions for Horn and Organ: Performance Problems Unique to the Medium with Discussion of Selected Solutions through Analysis of Representative Works

A document submitted to the

Graduate School of the University of Cincinnati

in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

in the Performance Studies Division of the College-Conservatory of Music

2006

Kristen Michele Johns

B.M. The University of Michigan, 1988 M.M. University of Cincinnati, 1992

Committee Chair: Professor Randy Gardner Abstract

The repertoire for horn and organ presents certain performance issues that are significant in that they must be resolved each time a new pipe organ, performance space, or composition is encountered. These performance issues are unique to this medium and are presented and discussed in this paper. Issues include parameters associated with 1) the performance space, 2) the tuning system or temperament of the pipe organ, and 3) ensemble issues. A discussion of the selected solutions to the problems associated with specific performance conditions and a performer’s guide to this repertoire complete the paper.

I would like to express my deep gratitude to the following people for their expertise, guidance, encouragement and support throughout this entire process:

Dr. Paul Austin, Dr. Cecilia Barnbaum, Judy Bridges, Alyssa Coffey, Professor

Randy Gardner, Dr. Roberta Gary, Joseph Gill, Dr. Judith Grable, Dr. Kenneth

Kirk, Dr. Edward Nowacki, and Dr. Donovan Stokes. I would also like to extend a special thank you to my parents, Tom and Michele Johns, and to Karin Addis who were unfailingly patient and available and always believed in me. 1

Table of Contents

Table of Contents 1

Historical Context: Discussion of the Evolution of Repertoire for Horn and Organ 2

Chapter 1 Presentation of Collected Data Relevant to Performance Issues Unique to the Medium of Horn and Organ 4

Chapter 2 Analysis of Selected Works with Emphasis on Performance Problems and Their Solutions 16

Conclusion General Guidelines for Performers of the Horn and Organ Repertoire 31

Appendix Annotated Bibliography Introduction to Horn Grade Level Rating 34 Original Works for Horn and Organ 36 Published Scores of Original Works for Horn and Organ 50

Bibliography 54

Introduction

Historical Context:

Discussion of the Evolution of Repertoire for Horn and Organ

Original repertoire for horn and organ is infrequently performed and relatively unknown to horn players. There are several possible reasons for this.

First, the repertoire for this medium is relatively new, with a majority of the seventy known compositions having been composed since 1970. This is interesting to note, since the history of both instruments dates back several centuries. Also, when a horn player is considering repertoire for a recital, especially a degree recital, the standard repertoire for horn and piano or chamber music is more likely to be considered first. Finally, in some regions there are simply no players who can perform this repertoire. However, interest in this genre may be growing, as indicated by two recent trends. First, several prominent hornists (Martin Hackleman, Peter Damm, Ifor James, Sören Hermansson, Paul

Austin, Steven Gross, Ralph Lockwood, Jens Juul, Winnfried Pummer) have recorded selections from this repertoire. Second, three commissions of works for horn and organ have recently been completed: Grand Rapids horn and organ duo Paul Austin and Greg Crowell commissioned James Woodman’s Chamber

Sonata II in 1996 and Robert Shechtman’s Ancestral Songs in 1999, and organist Joan Lippincott commissioned Daniel Pinkham’s Salutation of Gabriel in

2000.

Research for this paper has been drawn from three sources: performance, interviews, and analysis of scores. The author has gained performance experience as a member of the Prism Duo, a horn and organ duo formed with Dr.

Michele Johns, organ faculty, The University of Michigan. Venues where this ensemble has performed include: University of Cincinnati College-Conservatory of Music (CCM) (2001); Bruton Parish Church, Colonial Williamsburg, Virginia,

(2000); Las Cruces, New Mexico, Community Concert Association, Concert

Series (1997); Dublin Cathedral Concert Series, Dublin, Ireland, (1995);

Salisbury Cathedral Concert Series, Salisbury, England, (1995); Augustinian

Church, 700th Anniversary, Drogheda, Ireland, (1995); The University of

Michigan 34th Annual Conference on Organ Music, First Congregational Church,

Ann Arbor, Michigan, (1994).

Further research was drawn from interviews with composers and

performers. Results of the interviews showed similar experiences to the authors'

in performing this repertoire. Composers for this medium who were interviewed

include Dr. Randall Faust, Western Illinois University; Professor Daniel Pinkham,

New England Conservatory; Kerry Turner, American Horn Quartet; and Dr. Craig

Phillips, Director of Music, All Saints’ Episcopal Church, Beverly Hills, California.

Performers interviewed included Professor Randy Gardner, hornist, University of

Cincinnati College-Conservatory of Music; Professor Sören Hermansson, The

University of Michigan; Dr. Paul Austin, Grand Rapids Symphony; Dr. Greg

Crowell, Grand Valley State University; and Dr. Randall Faust. Finally, analysis

4 was conducted on twenty-eight scores of original compositions for horn and organ collected from various sources, including the Library of Congress.

Chapter 1

Presentation of Collected Data Relevant to Performance Issues Unique to

the Medium of Horn and Organ

are unique to the medium and will be presented and discussed in this paper.

Issues include parameters associated with 1) the performance space, 2) the tuning system or temperament of the pipe organ, and 3) ensemble issues.

In the performance of a work for horn and organ, the performance space can pose challenges to the ensemble owing to the size of the space, its acoustical design, the ambient temperature, whether the space is a church or concert hall, and the placement of the console and pipes relative to the horn player. Dublin Cathedral in Ireland, for example, is very large. Its live acoustics and several seconds of reverberation cause sounds to melt together. A horn player adjusts to this condition in several ways. To produce clarity in articulation, more separation between notes and omission of printed slurs can be helpful.

Clarity can also be gained by sustaining notes for less than full value. A clear, almost explosive, attack with more front to the note than usual may also be necessary. Often the ensemble sound will be clearer to the audience in a live acoustic if the horn bell is facing the audience. The possible disadvantage of this is that the horn sound will not come back to the player in a manner that allows

proper reaction to ensemble issues such as timing. Therefore, the player may

need to respond to ensemble timing by visual cues between the two players.

The placement of the console and pipes relative to the horn player can

vary, especially in a church, creating difficulties in ensemble precision and timing.

In Salisbury Cathedral in England, for example, there is no possibility of a

sightline between the performers. The console is located at the top of a spiral

staircase above the altar with no space for a soloist. This is an extreme example,

but in many churches the console is out of sight, in a space too small to allow for

another musician. It is also not unusual to find the console placed so that the

organist faces away from the congregation, further reducing ensemble

communication. The distance between the organ pipes and the horn player can

vary as well. In many churches, for example Bruton Parish Church in Colonial

Williamsburg, Virginia, the pipes are located in both the front and back of the

church. In this case, the horn player must experiment with where to stand relative

to the organ pipes to find the placement where the ensemble will sound best yet also allow the performers to hear one another. Also, only candlelight is available for an evening performance at the Bruton Parish Church. Nevertheless, even when electric lights are available, the lighting in churches can often be dim.

Having a stand light available will solve this problem.

The ambient temperature of the performance space affects ensemble intonation and choice of registration. Many older churches do not have temperature control, allowing extreme heat or cold to change the pitch level and tuning of both the horn and the organ. If the ambient temperature is warm, the

7 air density goes down which causes the pitch of the horn or the organ to rise; if it is cool the density rises, and the pitch will fall. The horn player can adjust tuning slides to make the horn longer or shorter depending on the desired pitch level, but the organ pitch cannot be corrected without a change in temperature. Thus, the horn player is faced with adjusting constantly to the pitch of the organ. This can be achieved in several ways. Opening and closing the aperture of the embouchure, or “lipping” the notes up or down, creates flexibility in pitch but can cause considerable fatigue. This fatigue can be reduced with the use of different vowels. Experimenting with low vowels (O and U) and high vowels (A, E, and I) helps in finding the resonance in the sound that blends best with the organ.

Adjusting the balance can also improve intonation. Often it is a matter of balance of chord tones, rather than the actual pitch, that causes discordance. For example, the fifth of a triad can be played at a lower dynamic than the root without compromising its function as a harmonic.

Solving problems with the performance space is often complicated by the amount and quality of rehearsal time available with a pipe organ. Depending on the activities in the church, rehearsal time may be limited because of church services; and tourists or parish members may wander through during rehearsal, creating distractions.

The performance issues relative to the tuning system, or temperament, of the pipe organ and its effect on ensemble intonation need to be considered when performing a work for horn and organ. For the purposes of this discussion, the following tuning systems will be addressed: equal temperament, just intonation,

Pythagorean tuning, mean-tone temperament, 1/5 comma modified mean-tone,

Werckmeister III temperament, and 1/5 comma well-tempered Kellner

temperament.

According to The New Harvard Dictionary of Music, temperament is “the

slight modification of an acoustically pure or just interval."1 Horn players are

accustomed to tuning in just intonation, eliminating beats (the pulsation that

results from interference between different frequencies caused by resultant tones

that conflict with each other ) to create acoustically pure intervals, especially in

the case of the octave and the fifth. This system of tuning is inherent in the horn

and stems from the natural intervals that occur in the harmonic series (see

Example 1).

Example 1. Harmonic Series

Adjusting intonation to eliminate beats is a requirement for horn players

when performing with other justly tuned instruments (winds, brasses, and

strings). A C major triad will be acoustically pure if the third of the chord, E, is 14

cents lower than equal temperament and the fifth of the chord is 2 cents higher

than equal temperament (see Example 2).

1 Don Michael Randel, ed. The New Harvard Dictionary of Music (Cambridge, MA: Belknap Press of Harvard University Press, 1986); s.v. "Temperament".

Example 2. Comparison of Tuning Systems, columns 1-42 Example 2. Comparison of Tuning Systems, columns 5-73

Pythagorean tuning is achieved by tuning eleven pure fifths, leaving the

twelfth, usually g-sharp/e-flat, very narrow (678 cents versus 702 cents for a pure

fifth). This narrow fifth is often termed a wolf because it is so howlingly false.4

Many modern pipe organs and pianos are tuned to equal temperament, and it is

not foreign to orchestral musicians to adjust to this temperament when

performing with piano or organ. However, such adjustments are much more

difficult when playing with a pipe organ tuned to a mean-tone temperament.

2 Don Michael Randel, ed. The New Harvard Dictionary of Music (Cambridge, MA: Belknap Press of Harvard University Press, 1986); s.v. "Interval".

3 Phil Sloffer, "Harpsichord Tuning and Repair," .

4 G. C. Klop, Harpsichord Tuning (Raleigh, NC: The Sunbury Press, 1974), p. 10.

Mean-tone temperament uses a scale in which the major thirds above (E)

and below (A-flat) the tonic are justly tuned. Comparison of the just intonation

and mean-tone columns in Example 2 shows the same cents, or interval

distance, for these pitches. Mean-tone temperament works well for music that

modulates no more than three sharps or two flats from of a tuning’s tonic.5 The

Silbermann replica pipe organ in the Blanche Anderson Moore (BAM) Hall at The

University of Michigan is tuned to a 1/5 comma modified mean-tone

temperament. (A comma is a small interval that results as a discrepancy in

tuning. The Pythagorean comma of 24 cents is the cumulative sharpness of 12

pure fifths: 702 cents (pure fifth) x 12 = 8424 cents; 700 cents (equal fifth) x 12 =

8400 cents; thus the comma of 24 cents. A 1/5 comma modification reduces the

pure fifth by 1/5 of a Pythagorean comma making more key centers on the

instrument sound less colorful, or out of tune). If the hymn tune O Sacred Head

Now Wounded is played on the Silbermann replica pipe organ in two different

keys, C Major and E Major, the C Major version will demonstrate the mildest, or

closest to equal temperament, tuning on the instrument, and the E Major version

will sound much more dissonant, especially the chord in m. 8 (see Example 3).

5 Don Michael Randel, ed. The New Harvard Dictionary of Music (Cambridge, MA: Belknap Press of Harvard University Press, 1986); "Mean-tone temperament".

Example 3. No. 21 from J.S. Bach's St. Matthew Passion6

6 J.S. Bach, St. Matthew Passion (London: Ernst Eulenburg,Ltd., 1961), p.71.

This C-sharp major triad is particularly pungent, as it is seven sharps removed

from the tuning’s tonic. This demonstration will show how difficult it is for the

horn to adjust to a modified mean-tone temperament.

The next temperament to be considered is a milder tuning system; the 1/5

comma well-tempered Kellner temperament as found on the Juget-Sinclair Opus

9 organ of room 5230, Mary Emery Hall (CCM), University of Cincinnati. The E

major version of O Sacred Head as played on the Juget-Sinclair organ will

demonstrate better intonation between the horn and organ, especially in m. 8.

Like the Kellner tuning, Werckmeister III tuning is milder than modified

mean-tone tuning. This system, the penultimate step toward equal temperament,

was invented by Andreas Werckmeister (1645-1706), a German theorist and

organist.7 The First Congregational Church in Ann Arbor, Michigan, has an organ built by Karl Wilhelm that uses a modified Werckmeister III tuning. Adjustments in intonation are made more easily when playing with this organ than with one tuned to mean-tone tuning.

Equal temperament is a scale in which twelve equal half steps are derived by reducing the Pythagorean fifth by two cents (see Example No. 2, p. 10). The

Henry Frieze Memorial Organ in Hill Auditorium in Ann Arbor, Michigan, is tuned to equal temperament. (This instrument was built by Farrand and Votey and was purchased by The University of Michigan Musical Society at the 1893 Columbian

7 Stanley Sadie, ed. The New Grove Dictionary of Music and Musicians (London: Macmillan Publishers, Ltd., 1980); "Werckmeister, Andreas".

Exposition in Chicago. The organ has since been rebuilt by Ernest M. Skinner and later by Aeolian-Skinner). Compared to an instrument in mean-tone temperament, the adjustments to this tuning for a horn player are minimal.

However, according to Christopher Leuba, former principal horn in the Chicago

Symphony, in his treatise A Study of Musical Intonation, performing with a keyboard instrument in equal temperament “presents the problem of deciding to what degree one should remain within the dictates of diatonic intonation or compromise with that of equal temperament.” Lueba “suggests adherence to pure diatonic intonation, (i.e. just intonation) except in cases of thirds and minor sevenths in direct conflict with unisons on the keyboard.”8

In addition to tuning system issues, ensemble issues must be resolved each time a new pipe organ, performance space, or composition is encountered.

These issues include amount of rehearsal time with the pipe organ, intonation and choice of registration, balance, dynamic range, articulation, and timing.

Intonation has been discussed above with regard to temperament and ambient temperature. However, intonation is also affected by the organist’s choice of registration, especially the use of mixture and mutation stops. For the purpose of this discussion a brief definition of mixture and mutation stops is needed.

8 Christopher Leuba, Treatise on Intonation (United States: C. Leuba, 1977), p. 25.

According to the American Guild of Organists website, “The natural

harmonic series contains pitches other than octaves and organ builders through

the centuries have made use of stops sounding these pitches to add tonal color to their instruments. There are two types of stops which sound these harmonics: mixtures and mutations. Mixtures are usually octave- and fifth-sounding ranks of principal pipes that are made to give brightness to a combination in the low and middle registers and breadth in the upper register. Mutations are single ranks of pipes tuned to sound particular non-octave pitches in the harmonic series. The two most common of these are the 2 2/3', which sounds an octave and a pure fifth above the written pitch, and the 1 3/5', which sounds two octaves and a pure major third above the written pitch.”9

For the horn player, mixture and mutation stops create difficulties with

intonation by creating resultant, or combination, tones. These tones result as the

sum and difference of the frequencies of two sounding tones. For example, if the

sixth and fifth harmonics (or any adjacent harmonics) are played on horns, a

resultant tone sounding the pitch of the fundamental, or the first harmonic, will be

heard. According to former National Aeronautic and Space Administration

(NASA) physicist Dr. Cecilia Barnbaum, "While a linear receiver would only hear

the sum of these two frequencies, our ears are non-linear receivers and will hear

the sum and the difference of the frequencies."

9 Sandra Soderlund, "A Young Person's Guide to the Pipe Organ," .

Thus, one resultant tone, the difference of these frequencies, does not exist

outside the ear. Dr. Barnbaum explains further that “An extremely complicated

computer model might show a fundamental frequency coming out of the

instrument, but it would be at an amplitude that the ear could not possibly hear.

The third note we hear is definitely what our ear makes up on its own.”10

Overtones and beats heard from resultant tones make pitch adjustment difficult for the horn player. In addition, the brightness of the sound created by the use of mixtures and mutations can create difficulties in ensemble balance. Because of the mid to low range and dark timbre of the horn, it can be difficult to hear the horn sound through the texture of mixture or mutation stops.11 Comparison

between the Günther Marks’s Jesu, meine Freude with mixtures on the

Silbermann replica instrument versus the same music played on the CCM Juget-

Sinclair organ without mixtures will show that ensemble balance is affected by the use of mixtures.

The huge dynamic range of many pipe organs and the limitless sustaining ability of the instrument can leave the horn player literally breathless. In order to produce enough sound to balance the pipe organ, and to sustain phrase length and shape, the horn player will need excellent breath control.

10 Dr. Cecilia Barnbaum, e-mail message to author, 18 January 2006.

11 Professor Randy Gardner, interview with the author, 2001.

Expressive devices used by organists are, by nature of the instrument, different from those available to a horn player. Differences must be reconciled when performing this repertoire. Ensemble is often best if the horn player blends with the sound of the organ, as if becoming another tone color or stop on the organ.

Horn players often expressively use phrase direction, note shape and length, and tone color; whereas organists, without the ability to vary the tone of a stop, may use various types of articulation, such as separating, delaying, or extending the sound (agogic accent). Crescendo and decrescendo can be achieved on the organ with the swell shades or by adding or eliminating stops. In the opening of

Faust’s Meditation, for example, the organ sound dovetails with a muted horn sound, extending the piano dynamic range of the ensemble.

Chapter 2

Analysis of Selected Works with Emphasis on Performance Problems and

Their Solutions

The compositions selected for analysis in this chapter are:

1. Camille Saint-Saëns. Andante. (1854)

2. Randall Faust. Celebration. (1977)

3. Randall Faust. Meditation. (1983)

4. Jan Koetsier. Choral-Fantasie, op. 89. (1981)

5. Günther Marks. Jesu, meine Freude, Choral Partita. (1969)

These compositions have been performed by the Prism Duo on seven

concerts with seven different pipe organs and performance spaces. These

pieces, some of the most frequently performed and recorded works in the

repertoire, were chosen for analysis based on the experience gained from such a

variety of performance situations. Issues to be addressed in these analyses

include intonation, balance, articulation, timing, compositional style, tonal

resources of the pipe organ, performance space conditions, and tuning systems

and their effect on ensemble.

1. Camille Saint-Saëns. Andante. (1854) 7'26''

Camille Saint-Saëns' composition demonstrates a conservative style with

mainly diatonic harmonic language while adopting Romantic traits within

Classical forms. These traits are found in three of his compositions for horn:

Romance in F for horn and piano, Opus 36 (1874), Romance in E for horn and

piano, Opus 67 (1885), and Concert Piece for Horn and Orchestra, Opus 94

(1887). (The Andante became part of the horn repertoire only recently when it

was newly discovered in 1980 by the British hornist Christopher Larkin.)

Saint-Saëns won first prize in organ studies at the Paris Conservatory in

1851 and later held several positions as church organist in Paris. While a student

at the Conservatory, he would have encountered the professor of valve-horn,

Jean Pierre Meifred (1791-1867). Meifred was the first player in France to study

valve horn, and in 1833 he was invited to teach the instrument at the

Conservatory with the goal of training low horn players. He was a member of the

Paris Opera Orchestra from 1820 to 1850 and co-founder, with his teacher

Dauprat, of The Society of Conservatory Concerts. At the Society’s first concert

in 1828, Meifred played a valve-horn composition of his own, giving the Paris

audience its first hearing of this instrument.12

Since it is difficult to master both the extreme high and low ranges of the

horn, nineteenth-century horn players specialized as either first horn (cor alto) or second horn (cor basse) (see Example 4).

cor basse cor alto

Example 4. Typical playing ranges13

12 Camille Saint-Saëns, Andante for Horn and Organ (London: London Gabrieli: Brass Edition, 1992), Introduction by Christopher Larkin.

13 Reginald Morley-Pegge, The French Horn (New York: W.W. Norton & Co. Inc, 1973), p. 160.

Second horn parts often contained solo passages more difficult than those found

in first horn parts.14 It is for a cor basse player, perhaps Meifred or one of his

students, that Saint-Saëns’ Andante was written. Saint-Saëns demonstrates

idiomatic writing for the cor basse player by his use of pedal notes in the horn

part, imitated in the organ pedal part (see Example 5).

Example 5. Saint-Saëns' Andante mm. 102-10415

This work consists of an introduction followed by a repeated binary form and

coda. The binary section (AB) exhibits the key relationship of a minor third (E-flat major–C major). A short transition is followed by the repetition of AB with the key relationship of a major third (E-flat major–G major). The coda in D-flat major presents unusually low pedal tones in the horn part. A lyric, arching, half-note melody is heard in the A section in the horn, accompanied by sustained chords over an E-flat pedal in the organ.

14 Reginald Morley-Pegge, The French Horn (New York: W.W. Norton & Co. Inc, 1973), p. 95.

15 Camille Saint-Saëns, Andante for Horn and Organ (London: London Gabrieli: Brass Edition, 1992), mm. 102-104.

This accompaniment changes in the return of the A section to an agitated

sixteenth-note figure that is more idiomatic of the piano than the organ. The B

section can be characterized by a sense of forward motion in the quarter-note

melody over a triplet figuration in the organ. The A section melodic material

returns in diminution in the coda.

In a performance of the Saint-Saëns Andante, it is necessary to address

balance, articulation, and timing. Many works in this genre exhibit a slow

expressive quality and although such a sustained quality is characteristic of the

organ, it can present breath control challenges for the horn player. These must

be considered when choosing a tempo for such a slow, sustained work. In the

Saint-Saëns Andante, the melodic line in the horn is a typical Classical symmetrical phrase in half notes that sounds best when played in one breath. If the tempo is too slow this is not possible, so great care must be taken to adhere to the andante tempo marking to allow the horn player to shape this phrase properly. It is the responsibility of the organist to set this tempo with the triplet on beat two in the first two measures of the A section. The horn player's sustaining ability will be enormously challenged in the coda, where Saint-Saëns writes thirteen measures of sustained notes in the lowest register of the horn.

As in most Classical compositions, the accompaniment of the Andante often consists of repeated rhythmic patterns, or motor rhythms. The horn player must take great care with the articulation and timing of the melody in order to coordinate with these motor rhythms. Especially in a live acoustic, but even in a dry one, the beginning of the horn sound can be unclear because of the bell

21 direction and the player's hand in the bell. Adjustment in articulation and timing is also necessary to match the immediate attack of the short notes of the organ.

The thick texture and complex figuration in the organ part can create balance problems, especially in the coda, where the horn plays the melodic material from A in diminution. This section is marked con forza and is accompanied by a triplet figure and a pedal in the organ. It is easy for the organ to overbalance here, so the horn player must play with a full fortissimo to compensate. Clarity in the phrasing and assistance with breath control can be achieved by omitting printed slurs and playing with heavy accents.

2. Randall Faust. Celebration. (1977) 2'08''

Dr. Randall Faust is currently Professor of Music, Horn, and Theory at

Western Illinois University. The compositions of Dr. Faust are heard throughout the United States. Most recently his Quartet for Horns, commissioned by

University of Cincinnati College-Conservatory of Music Horn Professor Randy

Gardner in memory of Philip Farkas, has been recorded by Professor Gardner,

Michael Hatfield, Douglas Hill and David Krehbiel on Summit Records. Faust's

Celebration was written in 1974 for the Easter service at the Calvary Church of the Brethren in Winchester, VA. The registrations given by Dr. Faust were established during subsequent performances with organist Barbara Goodnight of

St. John’s Episcopal Church of Hagerstown, MD.16 The use of counterpoint, quartal harmony, and clusters creates dramatic color contrasts in this short fanfare.

16 Dr. Randall Faust, interview with the author, 2001.

Performance issues which require attention in this work include balance and articulation. A forte or fortissimo dynamic from the horn player is required throughout the work. Sustaining this dynamic can be challenging because of the powerful dynamic capability of the organ. Exaggeration in all articulation, especially the repeated sixteenth-note figures, is crucial in order to match the organ sound in the thick chordal texture. The idiomatic horn writing of the glissando-like figures in mm. 25 and 36 allows the horn player to reach full volume easily if they are phrased with forward motion over the bar line (see

Example 6).

Example 6. Faust's Celebration, mm. 25 and 36.17

The compositional style of alternating solo horn and organ passages minimizes balance problems and allows the horn timbre to be heard alone. The fortissimo dynamic and fermata on the last note require coordination of balance and fermata length.

17 Randall Faust, Celebration (United States: R. Faust, 1977), mm. 25, 36.

3. Randall Faust. Meditation. (1983) 5'00''

Meditation was commissioned by organist Jim Kellock for the Easter service at St. Columba’s Episcopal Church in Washington, DC, and for the dedication of their new organ, built by the Flentrop Orgelbouw of Zaandam, the

Netherlands. Mr. Kellock’s commission was for a piece to precede Faust’s

Celebration (1977). These two compositions work well together in either order, although it should be noted that the last chord in Meditation is the same as the first chord of Celebration.

In Meditation, "Victimae paschali laudes", the eleventh-century sequence hymn for Easter (see Example 7), is passed back and forth creating a reflective and contemplative mood.

Example 7. "Victimae paschali laudes" 18

18 Ascr. to Wipo of Burgundy, "Victimae paschali laudes" Worship 3d Edition, trans. Peter Scagnelli, (Chicago: GIA Publications, Inc., 1986) no. 837.

Example 7. "Victimae paschali laudes" (continued)

As in Celebration, quartal harmony and tone clusters are used here. The

overall character of this ABA work is a free rhythmicality with subtle timbres and

tonalities.

Performance issues which require attention in this work include balance,

articulation, timing, and intonation. For example, the horn begins on a muted

concert f'' which dovetails with a unison with the organ. A seamless effect can be

created by experimenting with different mutes, fingerings, and organ stops in

order to match tone color and pitch between the horn and organ. This sixth

harmonic on the b-flat side of the horn is inherently sharp, and the player can

achieve more flexibility with pitch as well as with the piano dynamic by using the

f-horn. The middle section, which takes on a contrasting lively, almost march-like,

character, is marked marcato for both players. The hornist can match the organ marcato by adding a sharp front and more length to the note.

4. Jan Koetsier. Choral-Fantasie, op. 89. on "Gib dich zufrieden und sei stille", (1981)10'00''

Of the seventy original works for horn and organ examined by the author, well over half are intended for performance during church service. This is sensible since most performers will have access to a pipe organ in a church rather than a concert hall. Like Faust’s Meditation, the remaining two works to be

examined in this chapter employ pre-existing material of a religious nature.

Dutch composer and conductor Jan Koetsier studied at the Hochschule für

Musik Berlin before returning to the Netherlands to conduct the Royal

Concertgebouw Orchestra during World War II. Since 1950 he has made his

home in Germany, conducting the Bavarian Radio Orchestra and serving as

professor of conducting at the Hochschule für Musik München. He has written

many compositions for horn, and other brasses, including brass quintets, horn

quartets, and the Concertino, Sonatine, and Scherzo Brillante for horn and piano.

His Choral Fantasy op. 89, based on the hymn tune "Gib dich zufrieden und sei

stille," (Example 8), was composed for horn player Michael Höltzel, Professor of

Music at the Nordwestdeutsche Musikakademie Detmold.

Example 8. "Gib dich zufrieden und sei stille"19

19 Brigitte Willberg, and Hans Peter Willberg, ed. "Gib dich zufrieden und sei stille," Evangelisches Gesangbuch, (Berlin: Evangelische Haupt-Bibelgesellschaft,1993), No. 371.

Koetsier's Choral Fantasy is a five-part arch form (ABCBA) with the center

section consisting of the only complete statement of the hymn melody,

alternating in the horn and organ pedal parts against an undulating triplet

accompaniment. This section is surrounded by two Allegro B sections which are

characterized by running sixteenth notes and a lively dotted rhythm in imitation,

accompanied by short horn fanfares. In the opening and closing Adagio sections, the incipit of the hymn tune, a four-note descending motive, is heard with the resolving fifth note added at the end of the composition.

Performance issues requiring attention in this work include balance, articulation, timing, and intonation. The opening Adagio A section consists of four whole notes with fermatas which must match the pitch, tone color, and dynamic of the unison organ entrance on beat four of each measure. To achieve this effect, experimentation will be necessary for each organ encountered. In each B section, the tempo should not be too fast or else the articulation of the sixteenth notes in the organ will lose clarity. A slower tempo, however, will challenge the breath control of the horn player in sustaining the forte dynamic. In the center

Andante sostenuto, the horn player must be sure to bring the hymn tune out of the texture, in spite of the piano dynamic indication, so as to match the organ statement of the hymn.

5. Günther Marks. Jesu, meine Freude, Choral Partita. (1969) 7'04''

Günther Marks wrote his Choral Partita for Kurt Janetsky, hornist in the

Leipzig Radio Symphony Orchestra from 1946-1971. Janetsky authored or co- authored three important texts on the horn: Cultural History of the Horn, The

Horn, and Pictorial History of the Horn. Choral Partita is in C Dorian and consists

of six short variations on the hymn tune "Jesu, meine Freude" (see Example 9).

Example 9. "Jesu, meine Freude"20

20 J.S. Bach, Orgelbüchlein, Robert Clark and John David Peterson, eds., (St. Louis: Concordia Publishing House, 1984) p. 54.

The complete hymn appears in the horn part in variation one, and at the end of the entire work the horn plays just the incipit. In variations two, three, and four the hymn is in the organ part, and the horn plays variations of increasing rhythmic complexity. The texture thins dramatically in the fifth variation, followed in variation six by a powerful fortissimo statement of the hymn in the organ pedal.

In addition to "Jesu, meine Freude," Marks uses the incipit of the melody of J. S.

Bach's chorale "In dir ist Freude" (see Example 10) in movement six.

Example 10. "In dir ist Freude"21

21 J.S. Bach, Orgelbüchlein, Robert Clark and John David Peterson, eds., (St. Louis: Concordia Publishing House, 1984) p. 66.

This familiar melody is derived from G. G. Gastoldi's balletto "L'innamorato"

(1591), and also appeared in the Weimar Gesangbuch (1713) of Christian Witt

(see Example 11). Thomas Morley used this melody as the basis for his madrigal

"Sing We And Chant It."

Example 11. G. G. Gastoldi's balletto "L'innamorato"22

Performance issues which require attention in this work include balance, articulation, and tone color. To add variety to the tone color in the repeated first section of each variation, the horn player can experiment with octave displacement (variation one), a muted sound (variations two and five), and playing only the repeats (variations three and six). The mid to low register of the horn part will challenge the hornist's ability to project out of the texture to balance properly. Clarity of articulation in variations two, three, and four will facilitate blending with the organ's accompaniment to the hymn tune.

22 Peter Williams, The Organ Music of J.S. Bach, volume 2, (Cambridge, England: Cambridge University Press, 1980), p.45.

Conclusion

General Guidelines for Performers of the Horn and Organ Repertoire

Three areas of general guidelines for performing with a pipe organ will be reviewed here. They are intonation and tuning systems, the importance of a daily routine in preparation for the performance, and a concise overview of performance space issues.

Performance of music for horn and organ requires that the horn player remember that the organ, like the piano, harpsichord, and harp, is a fixed-pitch instrument. Its pitch cannot be tempered during performance. The horn, on the other hand, like other valved brass instruments and the woodwinds, is able to temper the pitch during performance by adjusting the tuning slides while resting.

This, however, does not enable the horn player to temper pitch continuously. The only instruments capable of continuously tempering the pitch are the trombone, the members of the violin family, and the human voice. Therefore, it is important to adapt to the particular tuning system of each pipe organ encountered. The normal tuning process used with the piano, tuning concert f'', is a good starting point. The use of an electronic tuner can assist in calibrating the pitch level and in checking the intervals within the chromatic scale if the organ is not tuned to equal temperament. One method is to use the tuner while playing unison pitches with the organ on each note of a chromatic scale to find any pitch discrepancies and then adjust the horn slides accordingly. Octaves, perfect fifths, perfect fourths, and major and minor thirds and sixths should be tuned with the organ. During rehearsal and performance, the hornist should adjust continuously to the pitch

and tone color of the organ by experimenting with balance and vowel sounds for

tone color.

As with any type of performance, it is important to tailor the warm-up and

daily routine to address and overcome the technical challenges of the music.

When choosing a program, it is important that the horn player consider the endurance required. It can be helpful for the organist to intersperse one or two solo works in the program to allow the horn player to rest. Other issues that need special attention when performing works for horn and organ are breath control, forte and fortissimo dynamics, and clear tonguing and attacks at all dynamic levels. If these technical issues are addressed in the daily routine, the horn player will have the stamina necessary to balance the limitless sustaining ability, powerful dynamic range, and articulation of the pipe organ.

Approaching the rehearsal time available in the performance space with a knowledge of performance issues and how to solve them can make all the difference in the performance. These issues can include the size of the space, ambient temperature, relative location of the pipes and console, and lighting.

The hornist should experiment with where to stand relative to the console and organ pipes to find the placement where the ensemble will sound best yet allow the performers to hear one another. In a live acoustic, the ensemble sound will

often be clearer to the audience if the horn bell is facing the audience. A

disadvantage of this is that the horn sound will not come back to the player in a

manner that allows proper reaction to ensemble issues such as timing. If the

space is large and there are several seconds of reverberation, the player must be

34 prepared to adjust articulation accordingly by omitting printed slurs, shortening note values, and playing with a strong front to the note. If the temperature is cool, the horn must be kept warm during rests to prevent the pitch from lowering. It should also be kept in mind that if the rehearsal is during the day and the performance is in the evening, the temperature may be different for the performance than it was for the rehearsal. This will affect the horn as well as the organ, and adjustment will need to be made quickly.

It has been the goal of this paper to provide information on the repertoire for horn and organ and insight into potential performance problems that must be resolved each time a new pipe organ, performance space, or composition is encountered. I hope that this information will be helpful to horn players and educators, and that a heightened awareness of the potential of the medium will encourage composers to continue writing for it.

Appendix

Annotated Bibliography

Introduction

A considerable number of original works have been written for the medium

of horn and organ. This bibliography will provide a guide to the character and difficulty of a representative sampling of these compositions. To date, the author has identified seventy original compositions for horn and organ. Of these, twenty- eight representative works will be annotated here.

The octave designation system used here is the one preferred by The

New Harvard Dictionary of Music, edited by Don Randel (see Example 12).

CC C c c' c'' c''' c''''

Example 12. Octave Designation

Grade Levels for Horn Player

Easy to Intermediate

These works may be considered appropriate for elementary and middle school

level students.

Range: written (horn pitch in F) from small c to f'' (concert pitch of Great F to b-

flat').

Note values: do not exceed sixteenth notes. There may be easy meter changes.

Intervals: no skips greater than an octave.

Key signature: does not exceed three sharps or flats.

Tempo: to quarter note = 112.

Dynamics: do not exceed forte.

Intermediate to Difficult

These works may be considered appropriate for high school to college level horn

students.

Range: written (horn in F) from Great G to b-flat'' (concert pitch Great C to e-

flat'').

Note values: do not exceed thirty-second notes. There may be multiple meters.

Intervals: no skips greater than two octaves.

Key signature: does not exceed five sharps or flats.

Tempo: to quarter note =132.

Dynamics: no limits.

Technical demands may include multiple tonguing, lip trills, flutter-tonguing and

stopped horn.

Difficult to Virtuosic

These works are generally for advanced college level to professional level

players. There is no limit on range, tempo, key signature, rhythm and meter, and

technical demands in these works.

Original Works for Horn and Organ

Aladov, Nikolaj. Sinfonia Pastorale. United States: Philharmusica Corporation, 1975.

Nikolaj Aladov (1890-1972) was born and studied in St. Petersburg and taught at the White Russian Conservatory in Minsk. The Sinfonia Pastorale is a short, single-movement work in c minor representative of Aladov’s works in its folk-like melodies. The accompaniment is marked for either organ or piano, and there is no pedal part. The keyboard part is not difficult, but would require some editing to include pedal.

Horn part grade level: easy to intermediate. The horn part consists largely of running eighth notes slurred in a singing manner. Marked Andante Cantabile, the work presents no outstanding technical challenges.

Arnatt, Ronald. Variations on Divinum Mysterium. Boston: Galaxy Music Corporation, 1992.

Born in 1930 and educated in England, Ronald Arnatt later immigrated to the United States and has since held many professorial and music director positions. He is currently organist and director of music at St. John’s Church in

Beverly Farms, MA. Variations on Divinum Mysterium is a simple straightforward theme and variations based on the 11th-century chant. There are no excessive registration or ensemble issues.

Horn part grade level: intermediate to difficult. There are many meter

changes, reflecting the contour of the chant melody. There is one measure of

stopped horn, and the variations present some rhythmic challenges for the horn

player.

Callahan, Charles. Meditation on Adoro te Devote, Op. 74. St. Louis: Morningstar Music Publishers, 1992.

American composer and organist Charles Callahan (b. 1951) was

educated at the Curtis Institute of Music and Catholic University and is currently

Director of Music at the Church of the Holy Family in New York City. This very

simple, chant-based work was written in memory of the parents of organist Kevin

Parizo. It is in ABA form with a key change in the B section.

Horn part grade level: easy to intermediate. A consistent 4/4 meter throughout with straight quarter notes and a range in horn pitch from small a to c'' make this work accessible to elementary level horn students.

Campbell, Bruce. Air for Horn and Organ. Delaware Water Gap, PA: Shawnee Press, 1984.

Bruce Campbell (b. 1948) teaches music theory at Michigan State

University and remains an active performer on the organ. The Air for Horn and

Organ is in F major, in ABA form, and has an independent pedal part. This work presents no excessive rhythmic or ensemble problems.

Horn part grade level: intermediate to difficult. The tranquillo tempo marking (quarter note = 54), wide range (horn pitch small c to a'') and sustained quality of the work may present an endurance challenge to young players.

Ducommun, Samuel. Sonata da Chiesa. Bulle, Switzerland: Editions BIM, 1990.

Written in 1953 by Swiss composer and organist Samuel Ducommun

(1914-1987), the Sonata da Chiesa was premiered in 1969 by hornist Joszef

Molnar (nicknamed “the Rubenstein of the Alphorn”). This four-movement piece, lasting almost thirteen minutes, includes variations on a chorale and uses many contrapuntal techniques. Difficulties include a significant pedal part and many complicated rhythms.

Horn part grade level: intermediate to difficult. The mid to low range of the horn part poses balance problems. It also creates clarity challenges, especially in the many sixteenth-note tongued passages.

Faust, Randall. Celebration. United States: Randall Faust, 1977.

Randall Faust teaches horn at Western Illinois University and is active as a composer and performer. Written in 1974, Celebration is a challenging piece, with complex rhythms and difficult registration changes. The organ part has a significant pedal part.

Horn part grade level: intermediate to difficult. (See Chapter 2 for a detailed discussion of this work.)

Faust, Randall. Meditation. United States: Randall Faust, 1983.

Faust’s Meditation was commissioned by organist Jim Kellock. It poses significant ensemble and registration challenges.

Horn part grade level: intermediate to difficult. (See Chapter 2 for a detailed discussion of this work.)

Glaser, Werner Wolf. Dialog for Horn and Organ. Sweden: Manuscript, 1977.

Werner Wolf Glaser (b. 1913) studied with Paul Hindemith before fleeing

Germany in 1933. This piece was written for hornist Albert Linder. It has an independent pedal part and presents rhythmic and ensemble challenges.

Horn part grade level: difficult to virtuosic. The extended range (written small e to b''), compound intervals, and multiple meters with some non-metered sections make this work difficult for the horn player.

Heilmann, Harald. Poem, op. 162. Germany: edition mf, 1993.

Harald Heilmann (b. 1924) studied in Leipzig and Berlin before moving to

West Germany in 1952. His Poem, op. 162 has a minimal pedal part, is very accessible rhythmically, and presents few ensemble difficulties.

Horn part grade level: easy to intermediate. Excluding one passage with a single compound interval leap, this work would be accessible for an advanced high school player. Rhythms are simple and melodies stay within a range of two octaves.

Hermanson, Åke. La Strada op. 22. Stockholm: Edition Wilhelm Hansen, 1982.

This six-minute piece by Åke Hermanson (b. 1923) is dedicated to

Swedish hornist Ib Lanzky-Otto and organist Erik Lundkvist. It has an independent pedal part and presents rhythmic and ensemble challenges.

Horn part grade level: difficult to virtuosic. The use of the extreme high register with many sustained written high c's (c''') puts this work in the virtuosic category.

Hlouschek, Theodor. Quattro intonazioni per corno e (grande) organo. Leipzig: Friedrich Hoffmeister Musikverlag, 1995.

Theodor Hlouschek (b. 1923) includes musical directions in both Italian and German in this difficult, four-movement piece based on chants from the

Mass. Difficulties include extensive improvisatory passages, complicated rhythms, and registrational challenges.

Horn part grade level: difficult to virtuosic. The horn part includes many virtuosic solo passages with complex rhythmic patterns, non-metered passages, multiple meters, and some stopped horn. Many potential balance issues are avoided, however, through writing for horn and organ in alternation.

Károlyi, Pál. Triphtongus:3a:Conclusio. Budapest: Editio Musica, 1979.

This atonal work by Pál Károlyi (b. 1934) is part of a cyclic unit but can be performed alone. It was written for Hungarians Ferenc Tarjáni and Werner Jacob.

Extended 20th-century techniques make this an extremely difficult work for the

organist.

Horn part grade level: difficult to virtuosic. Extended techniques include

stopped horn, pitch bending, glissandos, and flutter tonguing. Several minutes of

sustained long tones in a wide range (Great G-c''') and some three octave skips

pose challenges to the player.

Koetsier, Jan. Choral-Fantasie für Horn und Orgel über “Gib dich zufrieden und sei stille” Op. 89. Amsterdam: Donemus, 1982.

Jan Koetsier (b. 1911) is a Dutch composer and conductor. This ten-

minute Choral-Fantasie was written in 1981 for German hornist Michael Höltzel.

It has a significant pedal part and contrapuntal writing for manuals. There are

registration challenges because of frequent color changes.

Horn part grade level: intermediate to difficult. (See Chapter 2 for a

detailed discussion of this work.)

Körling, August. Pastorale. Sweden: Wessmans Musikförlag, 1988.

August Körling (1842-1919) was a Swedish composer and organist. The

Pastorale was written in 1899. This edition includes a piano part that can easily

be adapted to organ.

Horn part grade level: intermediate to difficult. This slow, lyric work calls for a beautiful sustained sound from the horn player. The wide range of small c to a'' puts it in the intermediate category, but otherwise the work does not present any undue challenges for an advanced high school or college student.

Krenek, Ernst. Opus 239 für Horn und Orgel. Vienna: Universal Edition, 1989.

Ernest Krenek (1900-1991) studied in Vienna before being forced to leave by the Nazis in 1938. He is known as an author as well as a composer. This four- and-a-half minute atonal work was written in 1988 and dedicated to hornist

Jeffrey von der Schmidt and organist Martin Haselböck, who gave the first performance on June 17, 1989, in Lübeck Cathedral. This is a challenging work with a significant organ part with many registration challenges.

Horn part grade level: Extended techniques of stopped horn and flutter tonguing simultaneously, glissandos, wide leaps in a range of small d to b-flat'', and a considerable amount of fast tonguing in complex rhythm patterns make this work very difficult for the horn player.

Lindberg, Oskar. Gammal Fäbodpsalm. Manuscript, 1990.

Oskar Lindberg (1887-1955), graduated from the Stockholm

Conservatory, where he later taught organ and conducting. Lindberg originally wrote this piece for organ in 1936 and later revised it for horn and organ.

It is a paraphrase of an old Swedish psalm. In g minor, it is about four minutes long, and although it has an independent organ part, it is very accessible for both instruments.

Horn part grade level: easy to intermediate. The melody exhibits mostly conjunct motion within the range of a ninth (f' to g''), making it accessible for a young player.

Litaize, Gaston. Triptyque. Mainz: Schott, 1994.

French composer and organist Gaston Litaize (1909-1991) enjoyed a performance career despite being blind from infancy. This fifteen-minute three- movement work was premiered on Feb. 7, 1988, in Leverkusen-Opladen, by hornist Andrew Joy and organist Christoph Schoener. Although the pedal part is minimal, the work is difficult and presents complex rhythms and ensemble challenges.

Horn part grade level: difficult to virtuosic. Extended passages for stopped horn, the flexibility required to execute disjunct intervals in phrases that often cover over two octaves, and the range demands (written in old notation sounding an octave above written pitch) of Contra GG to c''', make this work accessible to only the very advanced player. Study of the Neuling Studies for Low Horn is recommended before performing this work.

Marks, Günther. Jesu, meine Freude. Neuhausen-Stuttgart: Hänssler-Verlag, 1970.

Günther Marks (1897-1978) dedicated this six-movement work to hornist

Kurt Janetzky. It is a chorale-based set of variations and includes a significant pedal part. The last variation presents the chorale In dir ist Freude.

Horn part grade level: intermediate to difficult. (See Chapter 2 for a detailed discussion of this work.)

Phillips, Craig. Serenade. New York: Oxford University Press, 2004.

Phillips (b. 1961) is music associate at All Saints' Episcopal Church in

Beverly Hills, CA. He wrote this piece for organist John Deaver. It has an independent pedal part and presents minimal registration changes.

Horn part grade level: intermediate to difficult. Range: small g to g-flat''.

This short, atmospheric work is accessible for an advanced high school student.

Melodic intervals within an octave, short fanfares, and some fortissimo sostenuto to balance the organ characterize the horn part.

Pinkham, Daniel. The Salutation of Gabriel. Boston: ECS Publishing, 2001.

American composer and organist Daniel Pinkham (b. 1923) is on the faculty at the New England Conservatory of Music, Boston, MA.

This seven-minute piece was commissioned by organist Joan Lippincott in honor of Karen McFarlane and was premiered on September 8, 2000, at the Peabody

Conservatory by Lippincott and hornist Larry Williams. The piece is in three movements and offers some rhythmic challenges. The pedal part is minimal.

Horn part grade level: intermediate to difficult. Range: written small f-sharp to b''. This horn part moves mostly in eighth note and dotted eighth-sixteenth rhythms with melodic intervals within an octave, except for a single two octave glissando to b''. A college level player with a good high range and command of the forte dynamic could address the challenges presented in this work.

Read, Gardner. De Profundis. Paris: Editions Musicales Alphonse Leduc, 1958.

American composer Gardner Read (b. 1913) wrote this ten-minute, chant- based work in 1958. While it presents no ensemble issues, it does include registration challenges and a significant pedal part.

Horn part grade level: intermediate to difficult. Range: small b to a''. The main challenge for the horn player in this work is a sustained sound at all dynamic levels to balance the organ. The music moves through the conjunct chant melody in straight quarter notes throughout the full horn range.

Reichel, Bernard. Sonata da Chiesa. Paris: Gérard Billaudot, 1972.

Bernard Reichel (1901-1992) was a French composer and organist. This is a four-movement composition lasting approximately eight minutes. The keyboard part is designated for organ but has a minimal pedal part and could be played on piano.

Horn part grade level: intermediate to difficult. Range: written small g to g''.

The work presents no outstanding challenges but demands a solid forte dynamic from the horn player in the outer movements. The middle movements present contrasting textures within the ensemble that allow the horn player to use piano and mezzo forte dynamics to blend into the ensemble texture like another stop on the organ.

Rosell, Lars-Erik. Bridges. Stockholm: Edition Reimers AB, 1980.

Lars-Erik Rosell (b. 1944) is a Swedish organist and composer on the faculty at the College of Music and the Royal University in Stockholm. Although this work has a minimal pedal part, it is nevertheless very difficult and poses rhythmic and ensemble challenges.

Horn part grade level: difficult to virtuosic. Range: written small f-sharp to c'''. The frequent tempo changes, wide leaps, stopped horn in articulated passages, complex rhythmic patterns for the ensemble, extended use of the high range, and use of lip trills in the low range make this work extremely difficult for the horn player.

Saint-Saëns, Camille. Andante. London: London Gabrieli Brass Edition, 1992.

Organist and composer Camille Saint-Saëns (1835-1921) composed his

Andante around 1854, most likely for hornist Jean Pierre Meifred or one of his students. Saint-Saëns adds a pedal part only toward the end of the piece, but it may easily be omitted for performance with piano. The manual parts are pianistic and difficult, and there are challenging registration changes because of frequent color changes. This edition is edited by British hornist Christopher Larkin.

Horn part grade level: intermediate to difficult. (See Chapter 2 for a detailed discussion of this work.)

Schechtman, Robert. Ancestral Songs. Manuscript, 1998.

Robert Schechtman (b. 1939) is Composer-in-Residence at Grand Valley

State University (GVSU). The 12-tone Ancestral Songs was written in memory of

Tom Horner and Bruce Early for hornist Paul Austin and organist Gregory

Crowell. The work was commissioned by GVSU President Arend D. Lubbers. It was premiered in Grand Rapids, MI, on September 12, 1999. It is rhythmically complex and presents difficult registration changes and ensemble challenges.

Horn part grade level: difficult to virtuosic. Range: written small f-sharp to

a-sharp''. Written in four continuous, mainly non-metered, movements with

extensive performance notes by the composer, this work is virtuosic for both

players. The horn part contains two cadenzas and many other free passages.

For ensemble precision it may be necessary for the horn player to perform from

the score.

Schmalz, Peter. Processional and Recessional. Oshkosh, WI: Phoebus Publications, 1988.

Although it has a pedal part, the keyboard writing in Peter Schmalz’s

Processional and Recessional is rather pianistic. In spite of a few registration

challenges, the part is very accessible.

Horn part grade level: intermediate to difficult. Range: written small a to a''.

With a two octave range, intervals no larger than an octave, no tempo changes,

and rhythmic figures in quarter, eighth and sixteenth notes, this work is

accessible to an advanced high school or college level horn player.

Schweizer, Rolf. Sonata da chiesa Nr. 2. Magdeburg: Edition Walhall, 1994.

German conductor and organist Rolf Schweizer (b. 1936) wrote this piece for organist Klaus Uwe Ludwig. There are three movements, including a rhapsody on “BACH.” This is a difficult piece with registration challenges, rhythmic difficulties, and a significant pedal part.

Horn part grade level: difficult to virtuosic. Range: written Great B-flat to b- flat''. This virtuosic work includes extended articulated chromatic passages in fast tempo, difficult intervallic movement, meter changes, complex rhythms, and flutter tonguing and stopped horn.

Turner, Kerry. ‘Twas a Dark and Stormy Night: Fantasy for Horn and Organ. The Netherlands: Phoenix Music Publications, 1993.

Kerry Turner (b. 1960) is an active composer and performer in the

American Horn Quartet. This piece was written in 1987 and can be performed with either organ or piano. It is technically challenging for both horn and the organ.

Horn part grade level: difficult to virtuosic. Range: written Great B to c- sharp'''. This difficult work presents challenges for the horn player including two octave glissandos, stopped horn, melodic material employing a wide range, and technically demanding tonguing passages.

Published Scores of Original Works for Horn and Organ

Aladow, Nikolaj. Sinfonia Pastorale. United States: Philharmusica Corp.

Albright, William. Romance. New York: C.F. Peters, 1987.

Alfven, Hugo. Notturno Elegiaco. Sweden: Gehrmans Musikförlag, 1898.

Arnatt, Ronald. Variations on Divinum Mysterium. Boston: Galaxy Music Corp., 1992.

Badings, Henk. Canzona. Amsterdam: Donemus, 1967.

Biggs, John. Invocation for Horn and Organ. Santa Barbara, CA: Consort Press, 1978.

Brown, Rayner. Sonata for Horn and Organ. United States: R. Brown, 1989.

Callahan, Charles. A Lenten Meditation. St. Louis: Morning Star Music Publishers, 1991.

Callahan, Charles. Meditation on Adoro to Devote. St. Louis: Morning Star Music Publishers, 1992.

Campbell, Bruce. Air for Horn and Organ. Delaware Water Gap, PA: Shawnee Press, 1984.

Cesare, Giovanni Martino. La Hieronyma. Munich: M. Hieber, 1977.

Cosia, Silva. Recitativo and Fugue. Germany: Barenreiter Verlag, 1963.

Daetwyler, Jean. Serenade au clair de lune. Zumikon, Switzerland: Editions M. Reift, 1991.

Ducommun, Samuel. Sonata da chiesa. Switzerland: Editions BIM, 1990.

Faust, Randall. Fantasy on Von Himmel Hoch. United States: R. Faust, 2001.

Faust, Randall. Meditation on Victimae paschali laudes. United States: R. Faust, 1983.

Faust, Randall. Celebration. United States: R. Faust, 1977.

Gárdonyi, Zsolt. Rhapsodie. Frankfurt: Zimmermann, 1982.

Gerlach, Günther. Introduction and Choral. Offenbach (Main): Edition mf, 1996.

Geyst, K. Meditation. United States: Philharmusica Corp.

Glauser, Max. Trilogie. Switzerland: Editions M. Reift, 1991.

Godel, Didier. Sonata da chiesa. Switzerland: Editions M. Reift, 1992.

Graap, Lothar. Sonne der Gerechtigkeit. Berlin: Merseburger, 1995.

Grant, Parks. Essay for Horn and Organ, op. 25. New York: Composers Facsimile Edition,1952.

Grant, Parks. Poem for Horn and Organ, op. 15. New York: Composers Facsimile Edition,1945.

Heilmann, Harald. Poem, op. 162. Germany, Edition mf, 1993.

Heilmann, Harald. Fantasia. Berlin: Astoria Verlag, 1994.

Hidas, Frigyes. Domine, dona nobis pacem. Crans-Montana, Switzerland: M. Reift, 1994.

Hlouschek, Theodor. Quattro intonazioni, Ad te clamavi, Gloria tibi (Domine), Requiem aeternam, Alleluja. Hofheim: F. Hofmeister, 1995.

Hutchison, Warner. Chorale Fantasy on an Advent Tune. New York: Seesaw Music Corp.,1973.

Isoz, Etienne. Three Bagatelles. {S.1.}: Edition mf, 1992.

Jacob, Werner. Suscipe verbum. Bad Schwalbach: Edition Gravis, 1997.

Kanefzky, F. Alte Meister. France: Editions Combre.

Károlyi, Pál. Triphtongus:3a:Conclusio. Budapest: Editio Musica, 1979.

Koetsier, Jan. Partita. Neuhausen-Stuttgart: Hänssler-Verlag, 1981.

Koetsier, Jan. Choral-Fantasie über “Gib dich zufrieden und sei stille”, op. 89. Amsterdam: Donemus, 1982.

Körling, August. Pastorale. Sweden: Wessmans Musikförlag, 1988.

Krenek, Ernst. Opus 239. Vienna: Universal Edition, 1989.

Krol, Bernhard. Missa Muta op. 55. Germany: Bote & Bock K.G.

Lau, Robert. Ave, ave, the angel sang. Boston: ECS Publishing, 1996.

Litaize, Gaston. Triptyque. Mainz; New York: Schott, 1994.

Lo, Adrian H. Variations on Wondrous Love. Minneapolis: Augsburg Fortress, 1995.

Marks, Günther. Jesu, meine Freude, Choral Partita for Horn and Organ. Neuhausen-Stuttgart: Hänssler-Verlag, 1970.

Mortimer, John. Fantasia. Switzerland: M. Reift, 1991.

Müller, Bernhard Eduard. Gebet, op. 65a. Minneapolis: McCoy’s Horn Library, 1989.

Müller, Bernhard Eduard. Adagio Religioso. Italy: Zanibon.

Pfluger, Hans. G. Concerto. Germany: Bote & Bock K. G, 1983.

Ravanello, Oreste. Meditazione, op. 117/2. Italy: Zanibon.

Read, Gardner. Invocation. North Easton, Massachusetts: R. King Music Co., 1978.

Read, Gardner. De Profundis. Paris: Editions Musicales Alphonse Leduc, 1958.

Reichel, Berhard. Sonata da chiesa. Paris: Editions Billaudot, 1992.

Ruiter, Wim de. Adagio. Amsterdam: Donemus, 1977.

Saint-Saëns, Camille. Andante for Horn and Organ. London: London Gabrieli Brass Edition, 1992.

Scheck, Helmut. Kleine Partita Wer nur den lieben Gott Lässt Walten. Germany: Anton Boehm & Sohn.

Schechtman, Robert. Ancestral Songs for Horn and Organ. Grand Rapids, MI: Schechtman, 2000.

Schmalz, Peter. Processional and Recessional for Horn and Organ. Oshkosh, WI: Phoebus Publications, 1988.

Schweizer, Rolf. Sonata da chiesa. Magdeburg: Edition Walhall, 1994.

Sensmeier, Randall K. Eight chorale preludes. Chicago: GIA Publications, 1991.

Smolanoff, Michael. Essay. United States: Power Music Co., Ltd., 1968.

Stoldt, Frank. Pastorale on Come down, O love divine. St. Louis: Morning Star Music Publishers, 1988.

Sydeman, William. Concert Piece. New York: Okra Music Corp., 1967.

Sylvan, Sixten. Largo op. 10. Stockholm: Svensk Musik, 1989.

Turner, Kerry. ‘Twas a Dark and Stormy Night, Fantasy for Horn and Organ. Netherlands: Pheonix Music Publications, 1993.

Tuthill, Burnet. Prelude for Horn and Organ. Bryn Mawr, PA: Theodore Presser Co., 1972.

Vasks. Musique Du Soir Cor en Fa et Orgue. France: Alphonse Leduc et Cie, 1988.

Wagener, Heinz. Sonata da chiesa, op. 19. Offenbach (Main): Edition mf, 1995.

Weiner, Stanley. Bremen Suite, op. 162. Köln: W.G. Haas, 1994.

Weiner, Stanley. Fantasie. Köln: Haas, 1994.

Whettham, Graham. Idyll. Gloucestershire, England: Meriden Music, 1993.

Woodman, James. Chamber Sonata II for Horn and Organ. Nacagdoches, TX: International Horn Society Manuscript Press, 1996.

Bibliography

Anderson, E. Ruth. Contemporary American Composers: A Biographical Dictionary. Boston: G. K. Hall, 1976.

Anderson, Paul G. Brass Solo and Study Material Music Guide. Evanston, Illinois: Instrumentalist Co., 1976.

Bach, J.S.. Orgelbüchlein, Robert Clark and John David Peterson, eds.. St. Louis: Concordia Publishing House, 1984.

Bach, J.S.. St. Matthew Passion. London: Ernst Eulenburg,Ltd., 1961.

Baines, Anthony. Brass Instruments. Their History and Development. New York: Dover Publications, Inc., 1976, 1993.

Barnbaum,Cecilia. e-mail message to author, 18 January 2006.

Barbour, J. Murray. Tuning and Temperament: A Historical Survey. Dover Publications, Inc., 1951, 2004.

Benade, H. Arthur. Horns, Strings and Harmony. New York: Dover Publications, Inc., 1960, 1992.

Benton, Rita, ed. Directory of Music Research Libraries. Kassel: Barenreiter, 1983-.

Brüchle, Bernhard, and Kurt Janetzky. The Horn. London: B.T. Batsford, Ltd. 1988.

Brüchle, Bernhard. Horn Bibliographie. 3 vols. Wilhelmshaven: Heinrichshofen, 1970-1983.

Brüchle, Bernhard. Musik-Bibliographien Für Alle Instrumente, trans. Colleen Gruban. München: Bernhard-Brüchle Edition, 1976.

Bull, Storm. Index to Biographies of Contemporary Composers. 2 vols. New York: Scarecrow Press, 1974.

Burgundy, Ascr. to Wipo of. Victimae paschali laudes, Worship 3d Edition, trans. Peter Scagnelli. Chicago: GIA Publications, Inc., 1986.

Cansler, Philip T. Twentieth-Century Music for Trumpet and Organ, An Annotated Bibliography. Nashville, TN: The Brass Press, 1984.

Carse, Adam. Musical Wind Instruments. New York: Dover Publication Inc., 1939, 2002.

Chesebro, Gayle M. Kompelien. “An Annotated List of Original Works for Horn Alone and for Horn and One Other Non-Keyboard Instrument.” D.Mus. Dissertation, Indiana University, 1977.

Coar, Birchard. A Critical Study of the Nineteenth Century Horn Virtuosi in France. DeKalb, Ill,: n.p. 1952.

Cobbett, Walter Willson, comp. and ed., with Colin Mason, ed. Cobbett’s Cyclopedic Survey of Chamber Music. 2d ed. 3 vols. London: Oxford University Press, 1963. First published in 1929-30.

Cummings, David, ed. International Who’s Who in Music. 13th ed. Cambridge, England: Melrose Press Ltd., 1992.

Dauprat, Louis-Francois. Methode de cor alto et cor basse. Paris, 1824.

Hawkins, Frank, Richard Merewether and Reginald and Morley-Pegge. “Horn.” The New Grove Dictionary of Music and Musicians. Edited by Stanley Sadie. Vol. 8, pp. 697-712. London: Macmillan Publishers Limited, 1980.

Horn and Organ Recital: Sören Hermansson, horn and Per-OveLarsson, organ. Digital disc. Stockholm, Sweden: Opus 3, 19501,1995.

Isacoff, Stuart. Temperament: The Idea That Solved Music's Greatest Riddle. New York: Alfred A. Knopf, 2001.

King, Robert. Brass Players Guide 2005-06. North Easton, Massachusetts, 2005.

Klop, G.C.. Harpsichord Tuning. Raleigh, NC: The Sunbury Press, 1974.

Konzert in der Wies. Winfried Pummer, horn, and Anton Guggemos, organ. Digital disc. Heidelberg, Germany: Christophorus, 1992.

Laudatio: Musik für Horn und Orgel aus der Kathedrale zu Dresden. Peter Damm, horn and Hansjurgen, organ. Digital disc. Dusseldorf: Motette, 7082, 1995.

Leuba, Christopher. Treatise on Intonation. United States: C. Leuba, 1977.

Mason, Marilyn and Erven Thoma. Michigan’s ‘Klingendes Wunder’. Ann Arbor: The University of Michigan School of Music, 1986.

Meditations: Horn and Organ. Ifor James, horn and Stefan Johannes Bleicher, organ. Digital disc. Germany: EBS Records, 6040, 1994.

Morley-Pegge, Reginald. The French Horn. New York: W.W. Norton & Co. Inc, 1973.

Music for Horn and Organ. Steven Gross, horn, and Robert Simpson, organ. Digital tape. Atlanta, Georgia: ACA, 1987.

Nordic Music for Horn and Organ. Jens Juul, horn, and Christian Blomqvist, organ. Digital disc. Denmark: Classico, 1997.

Owen, Barbara and Peter Williams. The New Grove Musical Instruments Series, The Organ. New York and London: W.W. Norton & Company, 1988.

Pinkow, David James. “A Selected and Annotated Bibliography of Music for Horn and Piano and Analyses of Representative Works.” D.M.A. Dissertation, University of Maryland, 1983.

Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge, MA: Belknap Press of Harvard University Press, 1986, 2003.

Ryan, Francis J., Jr. “The Performer’s Guide to Analysis: A Method for the Study of Music.” Ph.D. dissertation, Florida State University, 1978.

Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. London: Macmillan Publishers, Ltd., 1980, 2000.

Sloffer, Phil. "Harpsichord Tuning and Repair." .

Slonimsky, Nicolas, ed. Baker’s Biographical Dictionary of Musicians. 8th ed. New York: Schirmer Books, 1900, 1992.

Soderlund, Sandra. "A Young Person's Guide to the Pipe Organ." .

Spelman, Leslie. Organ Plus. 4th ed. New York: American Guild of Organists, 1995.

Twentieth Century Works for Horn and Organ. Ralph Lockwood, horn, and Melanie Ninnemann, organ. Sound recording. Tempe, Arizona: Crystal Records, 1985.

Wilkins, Wayne, comp. and ed. The Index of French Horn Music. Magnolia, Arkansas: Music Register, 1978.

Wilkes, James O. Pipe Organs of Ann Arbor. 4th ed. Ann Arbor: James Wilkes, 1995.

Willberg, Brigitte and Hans Peter Willberg, eds. Gib dich zufrieden und sei stille, Evangelisches Gesangbuch. Berlin: Evangelische Haupt- Bibelgesellschaft,1993.

Williams, Peter. The Organ Music of J.S. Bach, volume 2. Cambridge, England: Cambridge University Press, 1980.