Dissertation Final

An Annotated Bibliography of Original Works for Flute, Horn, and Piano

Ian Paul Hewetson, BM, MM

A Dissertation

Horn Performance

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

DOCTOR OF MUSICAL ARTS

Approved

Christopher M. Smith Co-Chairperson of the Committee

Lisa Rogers Co-Chairperson of the Committee

James T. Decker

Mark Sheridan Dean of the Graduate School

ACKNOWLEDGEMENTS

I would like to thank those who have helped me reach the conclusion of this project. First, I would like to thank my horn professor Christopher M. Smith for his guidance throughout this project. I would also like to thank my committee Dr. Lisa

Rogers and Professor James T. Decker for their advice and for taking the time to attend my recitals and review this document.

Additionally, I would like to express my deepest gratitude to my previous horn professors at Capital University and the University of Illinois at Urbana-Champaign, each of whom played a critical role in the completion of my Doctoral degree. I am grateful to my professor at Capital University, Kimberly M. McCann, for believing in my abilities and pushing me to reach my potential, especially when I was unsure of myself. I would also like to thank Bernhard Scully at the University of Illinois for helping me develop my musicianship and encouraging me to pursue my doctorate.

Finally, I want to thank my wife, Kay Hewetson, for her unbelievable patience, encouragement, and support. Additionally, I would also like to thank her for her performance on my chamber recital of works for ﬂute, horn, and piano, a recital from which this ﬁnal document stemmed. Without her, this would not have been possible.

ii Texas Tech University, Ian Paul Hewetson, May 2019

TABLE OF CONTENTS

Acknowledgments...... ii

Abstract...... vii

I. Introduction...... 1

Justiﬁcation for the Study...... 1

Limitations of the Study...... 2

Review of Relevant Sources...... 2

Methodology...... 3

II. Music for Flute, Horn, and Piano...... 4

Abendlied, Op. 306...... 4

An Evening Serenade for Flute and Horn...... 5

Auburn Echos: Fantasie on a Theme by William Wood for Flute, Horn, and Piano...... 6

Bagatelle...... 7

Ballade, Pastorale, and Dance...... 9

Changing Light...... 12

Concerto in F major for Recorder, Horn, and Basso Continuo...... 15

Doppler Effect for Flute, Horn in F, and Piano...... 17

Diptihs ﬂauta, mežragam un klavierem ...... 19

Duex Nocturnes Op. 32 for Horn, Flute, and Piano ...... 21

Esquisse for Horn, Flute, and Piano ...... 23

Fictional Migrations for Flute/Piccolo, Horn, and Piano ...... 24

Hochzeits - Ständchen (Wedding Serenade) ...... 26

iii Texas Tech University, Ian Paul Hewetson, May 2019

Lanterns ...... 27

La Primavera Lille Trio for Fløjte, Horn, og Piano ...... 30

Nocturne Op. 31 ...... 32

Passages for Flute, Horn, and Piano ...... 33

Rondo Finale ...... 35

Scènes de la Forêt for Flûte, Cor en fa, et Piano ...... 36

Serenade für Flöte, Horn, und Klavier, Op. 15 ...... 38

Sérénade voor Fluit, Hoorn, en Piano ...... 39

Serendipity for Flute, Horn, and Piano...... 40

Souvenir du Rigi, Op. 34...... 42

Summer Night for Flute, Horn, and Strings ...... 43

Trio for Piano, Flute, and Horn (Kauder) ...... 45

Trio for Flute, Horn, and Piano (Walters) ...... 47

Trio for Flute, Horn, and Piano (Moylan) ...... 48

Vignettes for Flute, Horn, and Piano ...... 50

War Stories: Three Movements for Flute/Piccolo, Horn in F, and Piano...... 52

Water Music for Flute, Horn, and Piano ...... 54

III. Conclusions ...... 56

Conclusion ...... 56

Implications for Future Research ...... 57

Bibliography ...... 58

Discography ...... 63

iv Texas Tech University, Ian Paul Hewetson, May 2019

Appendices A: List of Works for Flute, Horn, and Piano Alphabetical by Composer ...... 65

Appendices B: List of Works for Flute, Horn, and Piano Alphabetical by Title ...... 67

v Texas Tech University, Ian Paul Hewetson, May 2019

ABSTRACT

The music for ﬂute, horn, and piano is relatively new; however, its origins can be traced back to the Baroque era with a trio by Georg Philipp Telemann written for recorder, horn, and basso continuo. Since this time, the genre has slowly grown to a remarkable size for a relatively unknown chamber group. It is the goal of this document to explore the works written for this instrumentation, provide a resource for others looking for new chamber music to perform, help this genre continue to grow through new commissions, and encourage others to explore more unknown genres of music.

This document is divided into three major sections. The ﬁrst section contains the justiﬁcation for this study, the limitations which were set, a review of the relevant sources utilized in the completion of this project, and the methodology used.

The second section is an annotated bibliography of the 30 original works written for flute, horn, and piano which were found as of December 2018. In this section, this author investigates characteristics of each work that would allow the readers to decide if the work would be suitable for their ensembles. Aspects investigated include: the date of composition, if known; the birth and death dates of the composer, if known; the name of the publisher and year of publication; the current cost to purchase the work; the dedication of the work, if known; the duration of the work, estimated if no recordings exist; the list of definitive recordings of the work, definitive describing a recording made by the commissioning artists or a recording done by record label, and the range required of both the flute and horn performers. In addition to these aspects, a brief biographical sketch of each composer is included to give the reader context for each composition.

Following each biographical sketch is a brief description of each work’s contents. vi Texas Tech University, Ian Paul Hewetson, May 2019

The third section contains final conclusions and implications for further research on the topic of works for flute, horn, and piano. Punctuating this document are two appendices. A chart of all the works found by this author that feature flute and horn, including arrangements, transcriptions, and works containing other accompanying ensembles is found in each appendix. The first chart contains these works organized alphabetically by the composer’s last name, and the second chart is the same information organized alphabetically by the title of the composition.

vii Texas Tech University, Ian Paul Hewetson, May 2019

CHAPTER 1

INTRODUCTION

Justiﬁcation for the Study

Just as in life, chamber music by its very nature brings out issues such as hierarchy, balances, choices, and sometimes one must encourage a shy personality to speak up or ask another to follow instead of lead. A 17-year-old student and a 90-year-old veteran can play together. People from different socio-economic, and political views can put that aside for a common purpose. Musicians of all levels can work as a team.1

It is the belief of this author that educating young musicians about chamber music is critical to their development. Teaching the skills necessary to be an effective chamber musician helps to mold students into effective critical listeners and efﬁcient communicators, while opening their eyes to the subtle nuances other instruments can create. Chamber music allows the students to develop these skills in an intimate setting, allowing for more effective feedback from mentors. In turn, these newly developed skills can then be applied in large ensemble settings and, in the case of future music educators, their own rehearsals.

The genre of ﬂute, horn, and piano is comprised of a myriad of works in various styles and of vastly differing difﬁculties, all of which have merit in the education of developing musicians. It is for these reasons this author feels they should be known by those in the professional world. The intent of this document is to provide easier access of these works to teachers looking for new chamber music for their students as well as professionals who might be looking for new pieces to include in a concert series. This in

1Paul Colletti, Why I Play Chamber Music: 19 String Players Talk About their Passion for Playing in Small Ensembles, February 5, 2015, http://stringsmagazine.com/why-i-play- chamber-music/. 1 Texas Tech University, Ian Paul Hewetson, May 2019 turn will help educate students beyond the scope of typical, established chamber ensembles like the woodwind or brass quintet, hopefully encouraging these students to continue to explore new and exciting opportunities in chamber music. Ultimately, this author hopes this will promote this young but versatile ensemble to become an established and sought-after chamber group.

Limitations of the Study

The scope of this study is limited to original compositions written specifically for the instrumentation of flute, horn, and piano. This list does include pieces which have been reworked by the composer to fit this requirement. While there are many arrangements and transcriptions which exist for this instrumentation, these works have not been included. Any additional works involving flute and horn located during this study have been included in appendix A and B. This study also only includes works which are published and readily accessible to be obtained by the general public through retailers or library-sharing sources. The various recordings referenced in this document are those found either on professionally-produced compact disc recordings or of live performances of the commissioning artists.

Review of Relevant Sources

The task of locating works for ﬂute, horn, and piano for this project was no small feat. This endeavor is ongoing and will likely continue as these pieces gain more esteem.

Each composition in this study was uncovered through the use of various sources including video and audio recordings like YouTube and Soundcloud, as well as various sheet music retailer websites including Sheet Music Plus, Groth Music, Eble Music, Flute

World, The FlutePage, McCoy’s Horn Library, and Thompson Edition. The WorldCat 2 Texas Tech University, Ian Paul Hewetson, May 2019 search engine was also a critical element to this search. Most of these pieces were obtained through the Interlibrary Loan Service at Texas Tech University.

Methodology

Once all of the pieces were acquired, they were evaluated using a consistant method to ensure the same information was gathered for each work. The aspects gathered include title, composer, composer birth and death dates, date the composition was written and/or published, what or for whom the work was written, publisher, cost, movement titles, length, range for flute and horn, extended and advanced techniques required for performance, commercial or definitive recordings, and a general description of the work to help the reader evaluate difficulty.

The ranges for this study use the octave designation seen in ﬁgure 1-1. The ranges for each piece are based on the written pitch of each instrument rather than sounding pitch for transposing instruments.

Figure 1-1. Octave Designation System.2

Certain works in this study had no available recordings; for these compositions, an estimation of its length has been provided based on the number of measures and tempo indications provided in the score. Estimated timings are noted in each individual entry.

The works in the pages to follow are organized alphabetically by title of the work.

2Sarah Schouten. “An Annotated Guide and Interactive Database for Solo Horn Repertoire.” D.M. treatise, Florida State University, 2012. Figure 4: Octave Designation System. 3 Texas Tech University, Ian Paul Hewetson, May 2019

CHAPTER 2

MUSIC FOR FLUTE, HORN, AND PIANO

Abendlied, Op. 306 - (1880)

Wilhelm Albrecht Otto Popp: (1828-1902)

Publisher: Edition Kossack, 2006

Cost: $20.00

Dedication: [None]

Duration: 4:30 estimated

Recordings: [None] Written Range: Flute: “e4” to “b-ﬂat6” Horn:[Title] ”g3” to “g5” [Title]

[Composer] [Composer] b˙ Horn in F ˙ Flute 4 4 ∑ ∑ & 4 ˙ &∑ 4 ∑ ˙

Composer Wilhelm Popp was court pianist and solo ﬂute for the Hoforchester of Fl. Hn. Coburg& until 1866. After ∑his time as pianist and& ﬂutist, he became∑ ∑well known as a ∑ ∑ ∑

pedagogue and solo ﬂute virtuoso. Popp was a proliﬁc composer with over 600 works to

his name and over 100 more under the Hn.pseudonym Henry Alberti. In addition to these Fl. ∑ ∑ ∑ ∑ ∑ ∑ works,& he also wrote books on music history and& ﬂute methods.3 The referenced edition

of this work comes in a set of three works for ﬂute, horn, and piano, revised and edited by

Fl.William Melton. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

3William Melton, Trios for Horn, Flute, and Piano. Edition Ebenos, 2006. 4 Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

This work is in a single movement and begins in 3/4 time with an Allegro

introduction before transitioning into a 9/8 time, Andantino Cantabile section for the

majority of the work. In the ﬁnal three bars of the piece, there is a return to 3/4 time. The

ﬂute part is primarily characterized by eighth-note triplet ﬁgures with incorporated grace

notes. The majority of the ﬂute writing resides above the treble clef staff, and is

sometimes indicated to be played one octave higher than written. In addition to the grace

notes throughout, the ﬂute is also asked to perform trills and a brief cadenza. The horn

part is rhythmically straightforward, rarely having values quicker than the eighth note.

Most of the writing takes place in the staff with a few instances of notes above and below,

as well as some grace notes. In addition to this, there are infrequent rests for the horn

player, which creates a potential endurance challenge.

An Evening Serenade for Flute and Horn - Dates Unavailable

Herbert O. Sontag: Dates Unavailable

Publisher: McCoy’s Horn Library

Cost: $8.00 PDF; $16.00 hard copy

Dedication: [None]

Duration: 2:00 estimated

Recordings: [None] Written Range: Flute: “e4” to “a6” Horn: “d4”[Title] to “g-sharp5” [Title]

[Composer] [Composer] ˙ Horn in F #˙ Flute 4 4 & 4 ∑ ∑ & 4 ˙ ∑ ˙ ∑

5 Fl. Hn. ∑ ∑ ∑ & ∑ & ∑ ∑

Fl. Hn. ∑ ∑ ∑ & ∑ & ∑ ∑

Fl. Hn. ∑ ∑ ∑ & ∑ & ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

An Evening Serenade by Herbert Sontag is a brief single-movement work

beginning in 9/8 time, with a tempo marking of Andante Moderato. The ﬂute writing is

fairly virtuosic, containing frequent sixteenth notes with varied articulations and trills

throughout. The horn part overall is conservative in terms of rhythms and range. The horn

rarely sees any values quicker than the eighth note, and has a range which is limited to

less than two octaves. The peak note in the horn occurs one time in the work, and there is

an alternate part notated in the score for performers who might be unable to perform the

passage as written.

Auburn Echos: Fantasie on a Theme by William Wood for Flute, Horn, and Piano

(1997)

Randall E. Faust: (b. 1947)

Publisher: Faust Music

Cost: $15.00

Dedication: Joseph Stephenson

Duration: 6:30 estimated

Recordings: [None] [Title] [Title] Written Range: Flute: “c4” to “g6” Horn: “f3” to “g5” [Composer] [Composer] ˙ Flute 4 Horn in F 4 ˙ & 4 ∑& 4 ∑ ∑ ∑ ˙ ˙ Randall Faust was born in 1947 in Vermillion, South Dakota. His musical studies

Fl.brought him to the Interlochen Center forHn. the Arts, Eastern Michigan University, & ∑ & ∑ ∑ ∑ ∑ ∑ Minnesota State University, and the University of Iowa. His primary horn mentors 6

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019 include Marvin Howe, John Berg, and Michael Hatﬁeld, while his primary composition instructors have been Rolf Scheurer, Warren Benson, and Peter Todd Lewis. Dr. Faust has been on faculty at Auburn University, Shenandoah University, Western Illinois

University, and the Interlochen Center for the Arts. Much of his music has been recorded on Albany Records, MST Classics, and Crystal Records by various hornists including

Randy Gardner, Douglas Hill, Andrew Pelletier, and David Grifﬁn. Dr. Faust was president for the International Horn Society from 1987-1990 and has served in several other roles for the organization.4

Auburn Echos is a set of musical variations based on the Auburn University Alma

Mater written by William Wood in 1924. This work is a single-movement in 4/4 time.

The tempo is relaxed and consistant throughout. The ﬂute part has more intricate rhythms than the horn part, which features very simple rhythms, the most complex being the dotted-eighth sixteenth note. The ﬂute writing contains frequent sixteenth-note runs as well as sixteenth-note passages with disjunct motion. Overall, the horn part is conservatively written with the notes in the middle to low register and only a few notes approaching the top of the staff.

Bagatelle - (2015)

Christine Donkin: (b. 1976)

Publisher: Canadian Music Center, 2015

Cost: Must contact publisher for parts.

Dedication: Trio Champêtre

4“Randall Faust,” The International Horn Society, accessed December 14, 2018, https:// www.hornsociety.org/26-people/honorary/303-randall-faust. 7 Texas Tech University, Ian Paul Hewetson, May 2019

Duration: 5:00

Recordings: Compact disc 1 original [TriO] Works. This author was unable to

locate more details on this compact disc recording, the only available recording located is

a YouTube video of the tracks.5

Written Range: Flute: “c-sharp4” to “g-sharp6”[Title] Horn: “a3” to “f5” [Title]

[Composer] [Composer] #˙ Flute 4 Horn in F 4 ˙ & 4 ∑& 4 ∑ ∑ ∑ #˙ ˙

Christine Donkin is a highly versatile composer who writes music which appeals Fl. ∑ Hn. ∑ ∑ ∑ ∑ ∑ to a wide& range of audiences. Her music has been performed& in a variety of venues

including Carnegie Hall and the Moscow Conservatory, as well as various performances

Fl.with community orchestras and church choirs.Hn. She is often asked to work with students & ∑ & ∑ ∑ ∑ ∑ ∑ and teachers as a guest artist, speaker, clinician, and adjudicator. In addition to this, many

of her pedagogical compositions appear in the Royal Conservatory of Music’s graded

Fl.repertoire and studies books.6 Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Bagatelle is a single-movement work commissioned by the ensemble Trio

Champêtre, and later recorded by the group [TriO]. The piece begins slowly and Fl. Hn. expressively& in 6/8 time. Both∑ the ﬂute and horn have& frequent∑ eighth-note∑ passages ∑ ∑ ∑ while the ﬂute part utilizes sixteenth-notes runs as well. The piece has various meter

Fl. 5Christine Donkin, [TriO] Christine Donkin:Hn. Bagatelle, posted July 1, 2018, accessed December& 17, 2018, https://www.youtube.com/watch?v=UN3cxTlCITs.∑ & ∑ ∑ ∑ ∑ ∑ 6Christine Donkin, “Bio,” accessed December 17. 2018, http://www.christinedonkin.com/ about/. 8 Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

changes which explore both 9/8 and 3/4 time. In approximately measure 17, the horn has

sixteenth-note runs and melodic material that mixes both duple and triple rhythms. The

work is overall conservative in terms of technical difﬁculty but challenges the

performer’s understanding of 6/8 time.

Ballade, Pastorale, and Dance - (1992-1993)

Eric Ewazen: (b. 1954)

Publisher: Southern Music Company

Cost: $39.95

Dedication: David Wakeﬁeld and Bärli Nugent

Duration: 21:40

Recordings: Eric Ewazen. Music for the Soloists of the American Brass Quintet

and Friends; Bruce Bonnell, Vieri Bottazzini, and Peter Green. Souvenirs: Chamber

Music for Horn, Flute and Piano. Written Range: Flute: “c-sharp4” to “c7” Horn:[Title] “b2" to “b5” [Title]

[Composer] [Composer] ˙ ˙ Flute 4 Horn in F 4 & 4 ∑& 4 ∑ ∑ ∑ #˙ ˙

Fl. Hn. &Dr. Eric Ewazen has∑ enjoyed a proliﬁc career& as a composer.∑ His∑ primary ∑ ∑ ∑ composition mentors include Samuel Adler, Milton Babbitt, Warren Benson, and Joseph

Schwantner at the Eastman School of Music, Tanglewood, and the Juilliard School. Fl. Hn. Ewazen& joined the faculty∑ at Juilliard in 1980 and &has remained∑ there ∑since. He has ∑ ∑ ∑ 9

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019 received numerous prizes and awards for his music, which has been performed all over the world. Soloists who have performed his music hold positions with such orchestras as the New York Philharmonic, Chicago Symphony, Cleveland Orchestra, and Vienna

Philharmonic. Dr. Ewazen has contributed many pieces to various combinations of chamber ensembles, many of which have quickly become staples in the ensembles' repertoire. This work for ﬂute, horn, and piano is no exception.7

Ballade, Pastorale, and Dance is a monumental three-movement work for flute, horn, and piano. This work was commissioned by David Wakefield and Bärli Nugent and was premiered at Aspen in 1993. In the score there is wonderful insight into this growing body of music. The combination of flute, horn, and piano “produces a chamber music ensemble with wonderful possibilities in terms of contrasting colors and textures, resulting in a kaleidoscopic world of alternating moods and dynamics.”8 This author agrees that this is an accurate description of the works included in these pages.

The first movement, “Ballade,” is approximately eight minutes in length. This movement “begins ominously and mysteriously, but it quickly turns frantic and wild with spinning flute flourishes, percussive horn gestures and dramatic piano chords.”9 The movement begins in 4/4 time with a slow introduction marked at fifty-four beats per minute. Both the flute and horn have triplet gestures, sixteenth-note triplet motives, as well as offbeat entrances which can be challenging to count. This movement transitions

7Eric Ewazen, Ballade, Pastorale and Dance for Flute, Horn in F and Piano, Southern Music Company, 2002.

8Ibid.

9Ibid. 10 Texas Tech University, Ian Paul Hewetson, May 2019 to a more rapid tempo of one hundred four beats per minute at rehearsal 37. This section is more aggressive and is characterized by offbeat entrances in the horn and rapid ﬂute passages throughout. Both instruments have rapidly articulated motives which ascend into the upper registers. The movement concludes as it began with a short return to the original tempo, before ﬁnally wrapping up with a short punctuation at the fast tempo.

The second movement, “Pastorale,” is approximately eight minutes in length.

This movement was “composed during the winter holidays, [and] has a gentle and impressionistic feel. Long, beautiful melodies and personal songs are sung by both the horn and flute.”10 This movement begins in 3/4 time and is marked Andante con Moto with a tempo marking of fifty-eight beats per minute. This movement is characterized by its long flowing melodies and challenging subdivisions in the flute and horn. The movement also explores other time signatures including 2/4, 4/4, and 5/4.

The ﬁnal movement, “Dance,” is just under six minutes in length and brings the piece to an exhilarating conclusion with its lively dance rhythms.11 This movement is very fast and begins in 3/4 time. The Allegro Vivace melody has frequent eighth-note and sixteenth-note passages throughout. Both instruments also see rapid syncopated passages and increased use of accidentals. Overall, the extremely varied styles, length, strenuous range demands, and challenging rhythmic structure make this entire work particularly difﬁcult.

10Eric Ewazen, Ballade, Pastorale and Dance for Flute, Horn in F and Piano, Southern Music Company, 2002.

11Ibid. 11 Texas Tech University, Ian Paul Hewetson, May 2019

Changing Light - (2013)

Chris Rozé: Dates Unavailable

Publisher: Possibly self published, music is available through the International

Horn Society website.

Cost: $8.00

Dedication: Kristy Morrell

Duration: 12:10

Recordings: Julie Thornton and Michael Thornton. Passages: Music for Flute and

Horn.

Written Range: Flute: “c4” to “d7” Horn:[Title] “g-ﬂat2” to "c6” [Title] [Composer] ˙ [Composer] ˙ Flute 4 Horn in F 4 & 4 &∑ 4 ∑ ∑ ∑ ˙ b˙ Composer Chris Rozé received degrees from the Manhattan School of Music, the Fl. Hn. ∑ & ∑ ∑ ∑ ∑ ∑ Juilliard& School, and the University of Southern California. During his time at these

institutions, he studied composition with Charles Wuorinen, Ursula Mamlok, Vincent

Fl. Persichetti, and Stephen Hartke. In additionHn. to these studies, he also received a stipend to & ∑ & ∑ ∑ ∑ ∑ ∑ study with Leonard Stein at the Schoenberg Institute, and was mentored by Allen Forte at

Yale and Lewis Lockwood at Harvard. His music has been performed by various groups Fl. Hn. across& the United States∑ and has won top prizes& in various∑ competitions.∑ Dr. Rozé ∑ ∑ ∑ currently teaches theory and composition at the University of Southern California

Fl. Hn. 12 & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

Thornton School of Music and works as a composer and arranger of music for ﬁlm trailers and television commercials.12

Chris Rozé’s Changing Light is a three-movement work written for flute/alto flute, horn, and piano. Some of the advanced techniques required of the flute and horn in this work include flutter tonguing, grace notes, trills, and glissandi, as well as stopped notes, muted tones, and frequent bass clef reading in the horn.

The ﬁrst movement, titled “Black as pitch,” is marked Grave with the tempo at

ﬁfty-four beats per minute. Throughout this entire work, the composer is very speciﬁc, indicating metronome marks, style suggestions, balance concepts, and dynamic events.

One example of this from the score is as follows: “begin a slow relentless build to

‘Dimmest Shore’; observe tempo marks, no rubato! Stay quiet through m. 54.”13 This movement begins in 4/4 time, but also utilizes many other time signatures including 2/4,

3/4, 4/4, and 5/4. The slow tempo begins with eighth-note rhythms in the horn, with frequent entrances on offbeats. The flute player begins on the alto flute, which creates a very somber texture. As the tempo begins to accelerate, an increase in the rhythmic speed is also noted. Both the flute and horn parts have been notated without a key signature, resulting in an abundance of accidentals in the parts. The horn player has notes in the extreme low register which are called for at a fairly loud dynamic with an aggressive style.

12Chris Rozé, Chris Rozé Music, accessed December 18, 2018, https:// www.chrisrozemusic.com/about.html.

13Chris Rozé. Changing Light, 2015. 13 Texas Tech University, Ian Paul Hewetson, May 2019

Movement two, “Dimmest Shore,” begins seamlessly where the first movement left off, arriving at one hundred beats per minute. The flute player transitions frequently from alto flute throughout this work. There continues to be very specific markings in the score in terms of dynamic and tempo. Another trend also continued from the first movement is the use of intricate rhythms, offbeat entrances, and frequent use of ties. At the end of the second movement, there is a soliloquy which can be performed by either the flute or the horn. This passage contains some of the most intricate writing in the work for both the flute and the horn and utilizes various subdivisions, including quarter notes, sixteenth notes, thirty-second notes and sixteenth-note triplet gestures.

The ﬁnal movement, “Solar Plume,” emerges from the second movement immediately. This movement sees simpler rhythms but faster tempos, and begins in 2/4 time, changing to 3/4 time approximately halfway through. The ﬂute writing contains frequent sixteenth notes and some of the highest notes in the work in terms of register.

The ﬂute player also has the task of performing 11 notes in one beat for six continuous measures beginning in measure 311. The horn writing also sees some of the highest notes in the work in an extended passage at measure 310. This section is marked with an optional lower part; however, this optional part still requires the performer to sustain “b-

flat5” and “a-flat5” for several measures at a time. This work has a myriad of colors and textures due to its use of extreme registers and the alto flute. The intricate rhythms, quick entrances after rests and ties, and extreme ranges in both the flute and horn make this work challenging.

14 Texas Tech University, Ian Paul Hewetson, May 2019

Concerto in F major for Recorder, Horn, and Basso Continuo - Dates Unavailable

Georg Phillipe Telemann: (1681-1767)

Publisher: Amedeus Verlag, 2001; IMSLP

Cost: $16.95

Dedication: [None]

Duration: 7:30

Recordings: Georg Philipp Telemann. Telemann: Wind Concertos, Volume 3;

Bruce Bonnell, Vieri Bottazzini, and Peter Green. Souvenirs: Chamber Music for Horn,

Flute and Piano. Written Range: Flute: “a4” to “f6” Horn: “c4”[Title] to “a5" [Title]

[Composer] [Composer] ˙ ˙ Flute Horn in F 4 4 &∑ 4 ∑ ∑ ∑ & 4 ˙ ˙

Georg Phillip Telemann began singing lessons at the age of 10, studied Fl. Hn. ∑ ∑ ∑ keyboarding& for two weeks,∑ and taught himself recorder& and∑ violin. Telemann learned ∑ composition through studying the works of other composers and was inspired to write his own arias, motets, and instrumental pieces.Hn. His mother began to fear this interest in music Fl. ∑ ∑ ∑ ∑ ∑ ∑ so she forbade& any more involvement with music& and conﬁscated his musical instruments. Telemann continued to study music secretly and was later sent to a new schoolFl. in Zellerfeld with the hope that a Hn.new environment would encourage a different & ∑ & ∑ ∑ ∑ ∑ ∑ and more lucrative career. It was in this new environment that he was introduced to the concept of music and mathematics. In 1701, he entered the Lepzig University with the 15 Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019 intent to study law; however, his musical prowess was discovered by his roommate when he found a musical setting of a psalm in Telemann’s luggage. This music was soon performed and, before long, Telemann was commissioned to write music for the two main churches in Leipzig. It was this event that likely sealed his career in music. Georg

Philipp Telemann was the most proliﬁc composer of his time and was considered to be

Germany’s leading composer of the 18th century. He was at the forefront of musical innovation for the duration of his career and served as a crucial link between the late-

Baroque and early-Classical styles. In addition, he also contributed to the ﬁelds of music publishing, music education, and music theory.14

Telemann’s work for recorder, horn, and basso continuo serves as one of the earliest works in the genre, as the recorder is the early predecessor to the flute, and the basso continue and the piano serve a similar role in an ensemble. It was also common for the recorder and the transverse flute to be used interchangeably as the two coexisted at the end of the 17th century.15 This work contains three brief movements. The first movement, “Allegro Moderato”, is approximately two minutes and thirty seconds in length and is in 4/4 time. This movement is characterized by the eighth note followed by two sixteenth notes rhythm. Both the flute and horn have restrictive ranges, though the horn has more melodic material near the top of the staff and more disjunct arpeggiated material in the more comfortable mid range.

14Oxford Music Online: Grove Music Online, “Telemann, Georg Philipp,” accessed December 18, 2018, http://www.oxfordmusiconline.com.lib-e2.lib.ttu.edu/grovemusic/view/ 10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000027635

15Nancy Toff, “The Flute Book: A Complete Guide for Students and Performers, Third Edition,” (Oxford University Press, 2012), 184. 16 Texas Tech University, Ian Paul Hewetson, May 2019

The second movement, "Loure,” is roughly two minutes and twenty seconds in

length and there is no horn part written in this 6/8 time movement. This movement has a

“dance-like” feel and is characterized by the dotted-eight sixteenth note followed by an

eighth note rhythm. This movement is in two sections, each of which is repeated.

The ﬁnal movement, “Tempo de Minuet,” is in 3/4 time and lasts approximately

two minutes and ﬁfty seconds. The horn part is primarily half notes and quarter notes

with a few eighth notes, while the ﬂute writing has more frequent eighth notes. The horn

range also expands to its peak note of “a5” in this movement. This work is

straightforward and could serve as a basic introduction into the Baroque style and

chamber music.

Doppler Effect for Flute, Horn in F and Piano - (Revised 2011)

Adrienne Albert: (b. 1941)

Publisher: Kenter Canyon Music

Cost: $25.00

Dedication: The Zinkali Trio

Duration: 6:00

Recordings: YouTube video of commissioning artists.

Written Range: Flute: “d4” to “c7” Horn: “c3”[Title] to “g5” [Title]

[Composer] [Composer] ˙ Flute Horn in F 4 ˙ 4 ∑& 4 ∑ ∑ ∑ & 4 ˙ ˙

Fl. Hn. & ∑ 17 & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

Adrienne Albert is an award-winning composer whose music has been performed all over the world in countries including the United States, Europe, Thailand, Australia,

South America, and Croatia. She has collaborated with Igor Stravinsky, Leonard

Bernstein, and Philip Glass. Albert ﬁrst began as a mezzo-soprano soloist before composing her own music in the 1990s. Since she began her composing career, she has received numerous commissions, grants, and awards. She has also won various composition competitions and has been composer-in-residence at various universities including California State University Bakersﬁeld, California State University Fresno New

Music Festival, and California State Sacramento.16

Adrienne Albert’s Doppler Effect is a single-movement work originally written for ﬂute, viola, and harp in 1998. The composer has reworked this immensely popular piece 16 times for various trio combinations including ﬂute, horn and piano, which was completed for the Zinkali Trio in 2011. According to the score, Adrienne Albert’s

Doppler Effect is “named after the Austrian mathematician who observed the increase in the pitch of sound as the source and observer get closer, and the decrease in pitch when the source passes by.”17 The idea came to the composer while abroad in Rome as she heard the “cacophony of sounds as sirens passed by through the chaotic streets….The melodic lines allude to vibrancy, joy, and sensuality of the people in contrast to the craziness around them.”18 Some advanced techniques are needed by the performers for

16Adrienne Albert, Doppler Effect for Flute, Horn in F, and Piano. Kenter Canyon Music, 1998.

17Ibid.

18Ibid. 18 Texas Tech University, Ian Paul Hewetson, May 2019 this work including lip trills and glissandi in the horn, as well as ﬂutter tonguing in both instruments. This work begins in 4/4 time while brieﬂy transitioning in and out of 6/4 time. The tempo remains consistant throughout the movement, is marked “Con Moto, a

Roman Holiday,” and has a metronome marking of one hundred twenty beats per minute.

The rhythms of both the ﬂute and horn parts are straight forward, and feature repetitive melodic material. There are some rapid sixteenth-note passages in both instruments as well as thirty-second note runs in the ﬂute and a quintuplet run in the horn. There are frequent syncopated sections as well as a section featuring the horn in the middle of the work which is to be performed freely.

Overall, the work is straightforward but not simple. The style is minimalistic in feel and results in almost constant playing by both instruments. The endurance challenges, instances of extreme range, and rapid note runs make this work challenging, yet accessible, and it could serve as an introduction into minimalist music.

Diptihs ﬂauta, mežragam un klavierem - (2002)

Romulds Kalsons: (b. 1936)

Publisher: Musica Baltica, 2003

Cost: 10.43 Euro, $11.90 USD

Dedication: [None]

Duration: 10:00 estimated

Recordings: [None]

Written Range: Flute: “c4” to “d7” Horn: “a2” - “a5”

19 Texas Tech[Title] University, Ian Paul Hewetson, May 2019 [Title] ˙ [Composer] [Composer] Flute 4 Horn in F ˙ & 4 ∑ 4 ∑ ∑ ∑ ˙ & 4 ˙ Romualds Kalsons studied choral conducting at the Jāzeps Medlinš College of Fl. Hn. Music& and later enrolled ∑in composition courses& at the Latvian∑ State∑ Conservatory from ∑ ∑ ∑

which he graduated in 1960. Kalsons worked as a sound engineer for 16 years at Latvian

Fl.Radio and Television before teaching composition at the Latvian State Conservatory. In ∑ Hn. ∑ ∑ ∑ ∑ ∑ 1990,& he became head of the composition department& at the conservatory and remained in

this position until 2001. He has also served as conductor for the Latvian National

Fl.Symphony Orchestra for nearly 20 yearsHn. and presents chamber recitals as a pianist with & ∑ & ∑ ∑ ∑ ∑ ∑ his wife, a vocalist. His compositions express images that are expressive and

psychologically conﬂicting and encompass a wide range of musical styles. Over the span

Fl.of his career he has written works in theHn. Neoclassic style as well as the Neoromantic & ∑ & ∑ ∑ ∑ ∑ ∑ style, and has experimented with new music techniques including aleatoric music.19

Diptihs is a two-movement work which requires the use of various advanced Fl. Hn. techniques& from the performers.∑ These techniques& include ∑grace notes,∑ trills, and ﬂutter ∑ ∑ ∑ tonging, additionally, the horn also has muted passages and bass clef reading. The ﬁrst

movement is in 4/4 time with the tempo of seventy-six beats per minute. This is marked Fl. Hn. Animato,& poco Rubato and∑ features a lively ﬂute& part with ∑frequent∑ thirty-second note ∑ ∑ ∑ runs and sixteenth-note triplet passages. The ﬂute part is written consistently above the

Fl. Hn. &19“Kalsons, Romualds∑ (1936),” Musica Baltica, accessed∑ December∑ 18, 2018, https:// ∑ ∑ ∑ www.musicabaltica.com/en/composers-and-authors/kalsons-romualds/.& 20 Texas Tech University, Ian Paul Hewetson, May 2019

staff and has rapid articulations throughout. At rehearsal marker two the tempo slows and

the use of other time signatures including 3/2 and 4/4 are present. The movement

concludes softly and slowly. In the horn, the rhythms are generally slower, but does have

sixteenth-note rhythms throughout. Overall, the range is conservative, employing just

under two octaves of the horn’s range, until the use of bass clef.

The second movement is in 2/2 time and is marked at eighty-four to eighty-eight

beats per minute to the half note. The ﬂute writing features frequent offbeat eighth-note

entrances and rapid sixteenth-note runs. The horn has a similar rhythmic construction

compared to the ﬂute in this movement. The range for the ﬂute approaches the extremes,

while the horn range is conservative. Rhythmically, the work is difﬁcult due to both speed

and intricate rhythms.

Duex Nocturnes Op. 32 for Horn, Flute, and Piano - Dates Unavailable

Charles Koechlin: (1867-1950)

Publisher: Gerard Billaudot Editeur, 1989

Cost: $15.95

Dedication: [None]

Duration: 4:45

Recordings: Charles Koechlin. Chamber Music With Flute: The Music of a

Magician; Kathryn Thomas and Richard Shaw. Fauré and His Circle. [Title] Written Range: Flute: “c4” to “b6” Horn: “f-sharp3”[Title] to “a-sharp5” [Composer] [Composer] ˙ Horn in F #˙ Flute 4 4 ∑ ∑ & 4 &∑ 4 ∑ ˙ 21 #˙

Hn. Fl. ∑ ∑ ∑ & ∑ & ∑ ∑

Hn. Fl. ∑ ∑ ∑ & ∑ & ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

Charles Koechlin was born in Paris, France and was a composer and teacher who had a large impact on many generations of musicians, including his own. He studied composition with Jules Massenet, Gabriel Fauré, and André Gédalge. In his compositions, he frequently experimented with polytonality and atonality. His music often favored the use of medieval modes; furthermore, he has completed writings on the subject of modal polyphony, harmony, and orchestration, as well as an essay on polytonal and atonal music. He composed in a variety of genres including songs, chamber music, piano pieces, and symphonic music.20

Duex Nocturnes Op. 32 is a two-movement work, lasting approximately four minutes and forty-five seconds. The first movement titled, “Venise," is two minutes and forty-five seconds long and is in a slow tempo marked Andante con Moto. The work displays frequent chromaticism, with a flute part written with four flats and a horn part notated without a key signature. This first movement is written in 6/4 and 9/4 time with simple rhythms in both the flute and horn. There are no notes faster than the eighth-note.

This ﬁrst movement features a fairly restricted range in both parts.

The second movement, “Dans Lā forêt,” is also a slow movement, approximately two minutes in length. This movement explores several more time signatures including

4/4, 3/4, 2/4, 3/8, and 6/8 and is notated with ﬁve sharps in the ﬂute. Both the horn and

ﬂute parts reach their peak notes in this movement and also see an increased use of chromatic tones. The horn player has muted passages as well in this movement. In the

20Encyclopedia Britannica, “Charles Koechlin French Composer,” accessed December 18, 2018, https://www.britannica.com/biography/Charles-Koechlin. 22 Texas Tech University, Ian Paul Hewetson, May 2019

score, this work is given a rating of elementary difﬁculty, but elements in terms of

texture, key, and range could challenge young performers.

Esquisse for Horn, Flute, and Piano (or Harp) - (1940)

Georges Barboteu: (1924-2006)

Publisher: Choudens Editeur De Musique

Cost: $18.17

Dedication: To my father affectionately

Duration: 3:50

Recordings: Bruce Bonnell, Vieri Bottazzini, and Peter Green. Souvenirs:

Chamber Music for Horn, Flute and Piano. [Title] [Title] Written Range: Flute: “d4” to “g6” Horn: “e-ﬂat4” to “g5” [Composer] [Composer] ˙ Horn in F ˙ Flute 4 ∑ 4 ∑ ∑ ∑ & 4 ˙ & 4 b˙

Georges Barboteu began studying horn with his father at age nine, and, by the age Fl. Hn. of 14,& was performing professionally∑ next to& him. He auditioned∑ ∑ for the Paris ∑ ∑ ∑ Conservatoire, but, when World War II began, he returned home. Not long after his

return, he began to perform with his father in the orchestra of Radio Algiers and took Fl. Hn. over& the position of solo∑ horn three years later.& It was also∑ around∑ this time that he began ∑ ∑ ∑ studying harmony and counterpoint and writing his ﬁrst compositions. Barboteu served as

Professor of Horn at the Paris Conservatoire from 1969-1989, was a member of the Fl. Hn. International& Horn Society∑ Advisory Council& from 1976-1979,∑ and∑ was a featured artist at ∑ ∑ ∑

many symposiums. As a composer, he has contributed many etudes and other 23 Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019 compositions for horn which have become staples in the repertoire and have served as examination pieces for students at the Paris Conservatoire.21

Esquisse is a single-movement work in 12/8 time. The work opens with an intricate ﬂute cadenza, and the horn follows with a simple melody which integrates duple and triple time, while the ﬂute plays bird-like calls above. The horn’s rhythm is straightforward, rarely exceeding the eighth note, but the use of stopped horn is required.

The flute has several other cadenza-like moments as well as intricate rhythmical demands. Overall, the work is very limited in terms of range for the horn, and the flute part does not exceed “g6;” however, there is frequent use of flute trills and grace notes throughout. The horn parts simple rhythm and reduced range make it accessible, but the

ﬂute part has some more intricate rhythmical challenges.

Fictional Migrations for Flute/Piccolo, Horn, and Piano - (2017)

Lisa Bielawa: (b. 1968)

Publisher: Ganesa Music

Cost: $45.00

Dedication: Seattle Chamber Music Society Commissioning Club

Duration: 14:00

Recordings: [None]

Written Range: Flute: “c-sharp4” to “c7” Horn: “f2” to “d-ﬂat6”

21“Georges Barboteu (1924-2006),” International Horn Society, accessed December 18, 2018, https://www.hornsociety.org/home/ihs-news/26-people/honorary/42-georges- barboteu-1924-2006. 24 Texas Tech[Title] University, Ian Paul Hewetson, May 2019 [Title]

[Composer] [Composer] ˙ b˙ Flute 4 Horn in F 4 & 4 &∑ 4 ∑ ∑ ∑ #˙ ˙ Lisa Bielawa was born into a musical family learning from an early age to play Fl. Hn. ∑ ∑ ∑ piano& and violin as well ∑as learning to sing and compose& music.∑ She received a Bachelors ∑

Degree from Yale University in Literature and moved to New York after graduation to

become a part of the musical life there. SheHn. is a co-founder of the MATA Festival, which Fl. ∑ ∑ ∑ ∑ ∑ ∑ celebrates& the work of young composers. She is &the winner of various awards and

competitions, and her music is frequently performed throughout the United States and

Fl.abroad.22 Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Her work, Fictional Migrations, is a six-movement composition in which each

movement is named after a ﬁctional bird created by the composer. These movements are Fl. Hn. titled &“Birds from Neighboring∑ Universes,” “Birds& that Live∑ 100 Years,”∑ “Three-Winged ∑ ∑ ∑ Birds Flying in Circles," “Birds that Fly While Sleeping,” “Birds that Fly Through

Walls,” and “Birds the Size of Zeppelins.” The work draws inspiration from Oliver Fl. Hn. Messiaen’s& research into∑ bird calls, and the implementation& ∑ of the bird∑ calls into musical ∑ ∑ ∑ compositions. Once the composer invented these birds, she then created bird calls to

accompany them.23 This work demands much from its performers; in addition to the Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

22“About Lisa Bielawa,” Lisa Bielawa, accessed December 18, 2018, http:// www.lisabielawa.net/bio/.

Fl. 23Lisa Bielawa, “Fictional MigrationsHn. (2017) for ﬂute/piccolo, horn, piano [LECTURE- DEMO],”& accessed December∑ 18, 2018, https://soundcloud.com/lisabielawa/intro-to-ﬁctional-& ∑ ∑ ∑ ∑ ∑ migrations-seattle-chamber-music-society-2017. 25 Texas Tech University, Ian Paul Hewetson, May 2019

challenging range demands for both instruments, the piece also calls for trills, pitch

bends, tremolos, ﬂutter tonging, stopped horn, bass-clef horn reading, and rapid meter

changes. Some other interesting aspects of this piece are the use of aleatoric sections of

music and composing for the horn using the natural harmonic series, or the series of notes

that can be created on a single length of open tube.24 The rhythms in this work are

complex and provide quite a challenge. This combined with the range demands and

extended techniques make for a strenuous work to learn and perform.

Hochzeits - Ständchen (Wedding Serenade) - (1890)

Henri Kling: (1842-1918)

Publisher: Edition Ebenos

Cost: 15.50 Euros, $18.07 USD

Dedication: [None]

Duration: 3:40 estimated

Recordings: [None]

Written Range: Flute: “f4” to “a6” Horn: “a3”[Title] to “f5” [Title]

[Composer] [Composer] ˙ Flute 4 Horn in F 4 ˙ & 4 ˙ &∑ 4 ∑ ∑ ∑ ˙

Fl. Henri Kling began horn at a young age, studying with Jacob Dorn. At age 19, he ∑ Hn. ∑ ∑ ∑ ∑ ∑ won solo& horn with the orchestra in Geneva and& soon joined the faculty at the

24John Ericson, “Horn 101: The Harmonic Series,” Horn Matters | A French Horn and Fl. Brass Site and Resource, 11∑ July 2008, hornmatters.com/2008/07/horn-101-the-harmonic-series/.Hn. ∑ ∑ & 26 & ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

Conservatoire. Shortly thereafter, performing and teaching were not enough musical fulﬁllment, and he began to write and publish his own horn method books, etudes, arrangements, and editions of horn literature, including the Mozart Horn Concerti and

Weber’s Concertino. In addition, he also published many similar materials for other instruments.25

This work is in 3/4 time and is marked Andante con Moto. The horn writing is characterized by triplet ﬁgures, and the ﬂute has similar ideas with a greater number of sixteenth-note gestures. There is a shared cadenza at the end of the piece, allowing the performers to showcase their musicality. Overall, the work is straightforward and has very accessible ranges for both instruments. This combined with simple rhythms, relaxed tempos, and overall length, makes for an accessible piece written in the Romantic style.

Lanterns - (2011)

Lydia Lowery Busler: Dates Unavailable

Publisher: The Westleaf Edition

Cost: $30.00

Dedication: The Zinkali Trio

Duration: 20:00 estimated

Recordings: [None]

Written Range: Flute: “b-ﬂat3” to “d7” Horn: “a2” to “b-ﬂat5”

25Henri Kling, Hochzeits - Ständchen (Wedding Serenade), William Melton, Germany: Edition Ebenos, 2006. 27 Texas Tech University, Ian Paul Hewetson, May 2019 [Title] [Title] ˙ [Composer] [Composer] b˙ Flute 4 Horn in F 4 & 4 &∑ 4 ∑ ∑ ∑ b˙ ˙

Fl. Hn. &Lydia Lowery Busler∑ is a hornist and composer& who∑ began∑ her performing career ∑ ∑ ∑ at age 16 with the Boston Symphony Orchestra. She began her composing career around

the same time by writing music for high school dance troupes. Since then, she has Fl. Hn. performed& with various other∑ ensembles including& the New∑ York City∑ Ballet, the ∑ ∑ ∑ Brooklyn Philharmonic, and the Manhattan Chamber Orchestra. She also enjoys

collaborative relationships with several artists, including hornist Jeffrey Agrell. She has Fl. Hn. been commissioned& by various∑ groups to compose& in a variety∑ of styles∑ and genres ∑ ∑ ∑

including opera, vocal/instrumental folk music, tuba quartet, and solo horn with piano.26

Fl. The work, Lanterns, is a multi-movement work of extremely varying styles. Each ∑ Hn. ∑ ∑ ∑ ∑ ∑ movement& depicts a different type of lantern and,& within each lantern, are often various

subcategories. The movements are entitled "Seasons of a Street Lamp,” “Paul Revere,”

Fl.“Rantan (Japanese Lantern),” and “Magic.”Hn. The advanced techniques required of the & ∑ & ∑ ∑ ∑ ∑ ∑ performers include ﬂutter tonguing and grace notes in both the ﬂute and horn parts and

glissandi, stopped notes, bass clef reading, and percussive gestures on the outside of the Fl. bell of the horn. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. 26“About Lydia,” Lydia Lowery Busler,Hn. acceded December 19, 2018, http:// www.lydialowerybusler.com/about-lydia.html.& ∑ & ∑ ∑ ∑ ∑ ∑ 28 Texas Tech University, Ian Paul Hewetson, May 2019

The ﬁrst movement, “Seasons of a Street Lamp,” represents all four seasons of a year, each with its own style, tempo, and time signature. The movement begins with

“Winter” in a slow 12/8 time but includes fast intricate rhythms. Following this is

“Spring,” a simple 3/4 time movement with a faster tempo and a ﬂowing melody with clear accompaniment gestures. “Summer” follows in 2/2 time and is faster and louder still. This features a more disjunct melody and the addition of ﬂutter tonguing. Finally,

“Fall” is in a slower 2/4 time, with frequent sixteenth notes, containing both runs and arpeggiated ﬁgures.

Movement two, “Paul Revere,” is in 12/8 time with a tempo marked at sixty-two beats per minute to the dotted quarter. This movement is characterized by long strings of sixteenth notes and rapid arpeggiated passages. The horn is also asked to rapidly change from open to stopped notes.

“Rantan (Japanese Lantern)” is also divided into various sections, each representing a different Japanese lantern. The first section is titled “Yuki mi-gata”and is in a slow 4/4 containing long slow rhythms with some alternation between duple and triple eighth-notes. The next section “Oki-gata” is in a faster 3/8 time with more intricate rhythms and frequent offbeat entrances. “Kekomi-gata” is in a slower 2/4 time and is very simple featuring primarily half and quarter-notes. The final section, “Tachi-gata,” changes to 4/4 time and keeps the same tempo as the previous section, while employing much more challenging rhythms that include sixteenth-note triplet figures.

The ﬁnal movement is titled “Magic” and begins in a slow 4/4 time marked at seventy-two beats per minute. This section features intricate subdivisions including quintuplet and sextuplet rhythms. The horn player is asked to perform percussive sounds 29 Texas Tech University, Ian Paul Hewetson, May 2019

on the outside of the instrument. Both the ﬂute and horn parts require rapid articulations,

scales, and have extended sixteenth-note passages throughout. This work features a wide

variety of styles, tempi, time signatures, and various other aspects, which would be an

appropriate challenge for many different levels of performers. There are sections that

would be suitable for young chamber groups as well as sections which would push the

limits of much more experienced ensembles.

La Primavera Lille Trio for Fløjte, Horn, og Piano - (1944)

Knud Jeppesen: (1892-1974)

Publisher: Edition Wilhelm Hansen

Cost: Unable to locate, possibly out of print.

Dedication: [None]

Duration: 16:00

Recordings: Per Øien, Ingegärd Øien, Geir Henning Braaten. Scandanavian

Moods for Flute, Horn and Piano. [Title] [Title] Written Range: Flute: “d4” to “b6” Horn: “a3” to “a5” [Composer] [Composer] ˙ ˙ Flute 4 Horn in F 4 & 4 &∑4 ∑ ∑ ∑ ˙ ˙ Knud Jeppesen was a Danish musicologist and composer known for his research

Fl. into the music of the 16th and 17thHn. century. This research resulted in a doctoral thesis on & ∑ & ∑ ∑ ∑ ∑ ∑ the subject, which later became an inﬂuential text. He was a student of Carl Nielsen and

Fl. Hn. ∑ & ∑ ∑ ∑ ∑ ∑ & 30

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

Thomas Laub and studied musicology at the University of Copenhagen. In 1916, he graduated as an organist at the Royal Danish Conservatory of Music.27

This work is a three-movement piece beginning in 4/4 time with a tempo marked

Allegro Animato. Throughout the movement, the meter changes frequently to 3/2, 2/4,

5/4, and 6/4. The flute writing features frequent sixteenth-note runs and rapid disjunct motion. Offbeat entrances and accidentals also add to the difficulty of the part. The horn part regularly approaches the peak note of the piece and remains near the top of the staff for the duration. The horn also has sixteenth-note runs, though they are less frequent when compared to the flute.

The second movement is titled, “Piove,”is marked Tranquillo non Troppo, and is in 6/8 time. The movement is overrun with the dotted-eighth, sixteenth, eighth-note rhythm. In the middle of the movement, there is an increased frequency of sixteenth-note runs, disjunct motion, and rapid articulation. The last third of the movement changes styles once again to match the more tranquil opening.

The final movement is marked Allegro Giocoso and is in 2/4 and 3/8 time. This movement features frequent accidentals, rapid sixteenth-note passages, including scales and arpeggiated figures, thirty-second note runs, and trills. The horn has rapid offbeat entrances as well. There are various key changes throughout the work, but the key signatures do not exceed three sharps or flats.

27“Knud Jeppesen,” Music Sales Classical, accessed December 19, 2018, http:// www.musicsalesclassical.com/composer/short-bio/Knud-Jeppesen. 31 Texas Tech University, Ian Paul Hewetson, May 2019

Nocturne Op. 31 - (1900)

Rudolf Tillmetz: (1847-1915)

Publisher: Kistner and Siegel

Cost: $10.50-$13.80

Dedication: To my friend and colleague Bruno Hoyer.

Duration: 6:45

Recordings: [None]

Written Range: Flute: “c4” to “b-ﬂat6” Horn:[Title] “f3” to “b-ﬂat5” [Title]

[Composer] [Composer] b˙ b˙ Flute 4 Horn in F 4 & 4 &∑ 4 ∑ ∑ ∑ ˙ ˙

Rudolf Tillmetz was widely regarded as one of the leading ﬂute virtuosos of his Fl. ∑ Hn. ∑ ∑ ∑ ∑ ∑ generation.& He began his studies with Theobald& Böhm before his concert career initiated

at the age of eleven. As an orchestral ﬂutist, he performed premieres of several Wagner

Fl.operas and played along side hornistHn. Franz Strauss, with whom he later started a revered & ∑ & ∑ ∑ ∑ ∑ ∑ chamber concert series. Tillmetz also served as Instructor of Flute at the Royal School of

Music and composed over 59 works including an instructional method for flute. Fl. Hn. Influenced& by many of ∑his Munich horn virtuoso& colleagues,∑ he∑ composed Nocturne and ∑ ∑ ∑ it was regarded as one of the composer’s greatest works by influential academic Hugo

Riemann.28 Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

28Rudolf Tillmetz, Nocturne, Op. 31, William Melton, Germany: Edition Ebenos, 2006. 32 Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

Nocturne is a single-movement work in 6/8 time, marked at a tempo Moderato

Assai. The horn part is notated in E-ﬂat, meaning the modern performer must transpose

the music down a whole step for the music to sound in the proper key. The ﬂute part

features frequent grace notes, trills, and a brief cadenza-like section; it is extremely

virtuosic, featuring frequent runs of varying speeds, including eighths, sixteenths,

sixteenth-note triplets, and thirty-second notes. The horn writing is characterized

primarily by eighth notes with frequent leaps of an octave. The horn later receives some

sixteenth-note descending arpeggios and offbeat entrances. In the sections with the rapid

descents, there are optional simpliﬁed parts.

Passages for Flute, Horn, and Piano - (2016)

Paul Basler: (b. 1963)

Publisher: Music appears to be self published. Sheet music is available through

composer James Nagius’s website.

Cost: $15.00

Dedication: Zachary A. Cooper and Jennifer B. Cooper

Duration: 5:30

Recordings: Julie Thornton and Michael Thornton. Passages: Music for Flute and

Horn; Jennifer B. Cooper and Zachary A. Cooper, YouTube.

Written Range: Flute: “c4” to “b-ﬂat6” Horn:[Title] “g3” to “a5” [Title]

[Composer] [Composer] b˙ ˙ Flute 4 Horn in F 4 & 4 ∑& 4 ∑ ∑ ∑ ˙ ˙

33 Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

Paul Basler is currently Associate Professor of Music at the University of Florida, where he teaches horn and undergraduate composition. He obtained his Bachelors degree from Florida State University and his Master of Music, Master of Art, and Doctor of

Musical Arts degrees from the State University of New York Stony Brook. Basler’s music has been performed all over the world, including Carnegie Hall, Tanglewood, the

National Theaters of the Dominican Republic, the Sydney Opera House, and in Shanghai.

Dr. Basler was one of the youngest persons to have been awarded a Senior Fulbright

Lectureship.29

Passages by Paul Basler was commissioned by Jennifer and Zachary Cooper and was funded in part by the Mier Rimon Commissioning Assistance Fund of the

International Horn Society. This work was premiered by the commissioning artists at the

Northwest Horn Symposium at Central Washington University in April of 2016 with the composer performing on piano. This work “deals with the aftermath of the end of a long- term relationship.”30 As a result, there are several dramatic and rapid changes of mood throughout this work.

This piece is in a single movement and begins in 4/4 time with a tempo of fifty-six beats per minute. Other time signatures used in this piece include 3/4, 5/8, 6/8, and 9/8, and the composer makes use of both duple and triple meter figures. At times, the flute and horn perform in unison rhythm, while at other times their rhythms complement one another, requiring a solid sense of musical independence. In the middle of the work, the

29“Paul Basler.” GIA Publications - Artist - Paul Basler, Accessed October 18, 2018. www.giamusic.com/store/artists/paul-basler.

30James Naigus, “The Music of Paul Basler,” accessed December 19, 2018, http:// jamesnaigus.com/compositions_basler.html. 34 Texas Tech University, Ian Paul Hewetson, May 2019

tempo increases and changes to 5/8 time, where there is an increased use of accidentals.

The horn part has a few sixteenth-note scalar passages and a limited use of thirty-second

notes used as musical ornaments.

Rondo Finale - (2010)

John Frith: Dates Unavailable

Publisher: Emerson Edition

Cost: $17.99

Dedication: For Anne, Fraenzi, and Jakob

Duration: 3:05

Recordings: [None]

Written Range: Flute: “c4” -to “c7” Horn: “e3”[Title] to “c6” [Title]

[Composer] [Composer] ˙ ˙ Flute 4 Horn in F 4 & 4 &∑ 4 ∑ ∑ ∑ ˙ ˙

Fl. John Frith studied compositionHn. at Dartington College of Arts with Richard Hall. ∑ & ∑ ∑ ∑ ∑ ∑ He later& attended the Guildhall School of Music, where he studied horn with Anthony

Halstead and composition with Edmund Rubbra. While at the Guildhall School, he won

Fl.composition prizes in both 1970 and 1971.Hn. He worked for Worcestershire Youth Music as & ∑ & ∑ ∑ ∑ ∑ ∑ a brass teacher and composer in primary schools around the county until his retirement in

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

2007. He has written works for wind, brass, strings, and voice and has published many pieces, some of which have been broadcasted by the BBC.31

Rondo Finale is a short piece that begins in 3/4 time with the quarter note at eighty-two beats per minute. The bulk of the work is in 3/4 time; however, there are other time signatures present including 3/8, 2/4, and 4/4. There are frequent syncopated passages throughout the work, and the flute part is rich with sixteenth and thirty-second notes as well as triplets and sixteenth-note triplets. A large portion of the flute writing has the flute well above the staff. The horn writing is simpler in terms of rhythm; however, there are still sixteenth and thirty-second notes present. The horn player is also asked to perform stopped notes, to frequently produce “c6,” and to spend a large portion of the time near the top of the staff. Overall the writing is simple, but not easy.

Scènes de la Forêt for Flûte, Cor en fa, et Piano - (1928)

Mélanie Bonis: (1858-1937)

Publisher: Editions Kossack, 2001

Cost: $31.80

Dedication: [None]

Duration: 13:40

Recordings: [None]

Written Range: Flute: “c-sharp4” to “a6” Horn: “a-ﬂat3” to “a5”

31“John Frith.” Home Page - Warwick Music, Accessed December 19, 2018, www.warwickmusic.com/Main-Catalogue/Composers/D---F/John-Frith. 36 Texas Tech[Title] University, Ian Paul Hewetson, May 2019[Title]

[Composer] [Composer] ˙ ˙ Flute 4 Horn in F 4 & 4 &∑ 4 ∑ ∑ ∑ #˙ b˙

Fl. Mélanie Bonis was a French Hn.composer who often operated under the pseudonym & ∑ & ∑ ∑ ∑ ∑ ∑ Mel Bonis. She was born into a middle class family and began piano lessons very young.

She was admitted into the Paris Conservatoire in 1876, where she began to study

Fl. harmony with Ernst Guiraud and organHn. with César Franck. Around 1894, she began to & ∑ & ∑ ∑ ∑ ∑ ∑ compose regularly, writing over 300 works. She wrote in a variety of genres including

chamber music, solo piano, choral music, organ music, and orchestral music.32 Fl. Hn. & Scènes de la Forêt∑ is a four-movement& work. The∑ ﬁrst movement∑ titled ∑ ∑ ∑ “Nocturne" is three minutes and forty seconds in length, and is in 4/4 time with a tempo

at eighty beats per minute. The flute writing features frequent sixteenth-note runs, Fl. Hn. arpeggios,& and trills. The∑ horn writing is simple,& consisting∑ of primarily∑ dotted-half notes ∑ ∑ ∑ and quarter notes; however, the key signature contains five flats which increase the

difﬁculty. Fl. Hn. ∑ ∑ ∑ & The second movement,∑ “A l’aube,” is& in 12/8 time,∑ has a tempo at one hundred ∑

and eight beats per minute to the dotted-quarter-note, and is three minutes and ten

Fl. seconds in length. The style of this movementHn. is similar to the first with added rhythmic ∑ & ∑ ∑ ∑ ∑ ∑ complexity.& This movement calls for rapid finger work and articulation in the flute.

Fl. Hn. 32Oxford Music ∑Online, “Bonis, Mèlanie (Hélène) [Mel-Bonis],”∑ ∑ Judy Tsou, accessed ∑ ∑ ∑ December& 19, 2018, http://www.oxfordmusiconline.com.lib-e2.lib.ttu.edu/grovemusic/view/& 10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000045497. 37 Texas Tech University, Ian Paul Hewetson, May 2019

Similar to the ﬁrst movement, the horn writing is simpler than that of the ﬂute; however,

this movement sees more use of the eighth note.

“Invocation” is in 3/4 time with a tempo of sixty-six beats per minute. The length

of this movement is two minutes and ﬁfty seconds, and it is simpler rhythmically for both

the ﬂute and horn. There is some use of the eighth-note triplet, but the rhythms stay

longer than the sixteenth note overall.

The ﬁnal movement, “Pour Artémis,” is in 3/8 time with a tempo of seventy-two

beats per minute and an overall length of four minutes and seven seconds. This

movement has lively horn call rhythms and contains the highest notes for the horn. The

ﬂute writing contains long stretches of sixteenth-note runs as well. This movement also

contains the lowest pitches for the horn and the stopped horn technique.

Serenade für Flöte, Horn, und Klavier, Op. 15 - Dates Unavailable

Bernhard Eduard Müller: (1824-1883)

Publisher: Amadeus Verlag, 1994

Cost: $16.00-$27.50

Dedication: [None]

Duration: 5:20

Recordings: Bruce Bonnell, Vieri Bottazzini, and Peter Green. Souvenirs:

Chamber Music for Horn, Flute and Piano.

Written Range: Flute: “c-sharp4” to “b6” Horn:[Title] “g3” - “g5” [Title] [Composer] [Composer] ˙ Horn in F ˙ Flute 4 4 ∑ ∑ & 4 &∑ 4 ∑ #˙ 38 ˙

Hn. Fl. ∑ ∑ ∑ & ∑ & ∑ ∑

Hn. Fl. ∑ ∑ ∑ & ∑ & ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

Serenade für Flöte, Horn, und Klavier is a single-movement work that begins in

3/4 time. The ﬂute writing is more ﬂorid when compared to the lines in the horn, often

feeling like an elaborate ornamentation of the melody. The ﬂute writing contains rapid

scale and arpeggio patterns, frequent use of trills, grace notes, and several brief cadenza-

like moments. The horn writing is much more straightforward with rare use of sixteenth

notes outside the context of the dotted-eighth sixteenth note. The horn also has a limited

use of grace notes and the part is notated primarily in E-horn, meaning the player must

transpose the music down a half step in order to sound in the appropriate key. The music

concludes in the key of “F”, alleviating any transposition needs.

Sérénade voor Fluit, Hoorn, en Piano - (1970)

Hendrik Andriessen: (1892-1981)

Publisher: Donemus Amsterdam, 1983

Cost: Possibly out of print.

Dedication: [None]

Duration: 3:00

Recordings: [None] [Title] [Title] Written Range: Flute: “f-sharp4” to “f6” Horn: “e4” to “g5” [Composer] [Composer] ˙ Flute 4 Horn in F 4 ˙ & 4 #˙ &∑ 4 ˙ ∑ ∑ ∑

Hendrik Andriessen was a composer, organist, and teacher. He studied

Fl.composition at the Amsterdam ConservatoryHn. and became organist in Haarlem after his & ∑ & ∑ ∑ ∑ ∑ ∑ father in 1913. After leaving his job as a journalist with the local Haarlem newspaper, he 39

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019 began to teach composition and analysis at the Amsterdam Conservatory as well as improvisation and Gregorian Chant at the Roman Catholic School for Church Music.

Andriessen wrote in many genres including stage works, masses, sacred choral works and other vocal pieces, orchestral works, and chamber pieces. His career had a large impact on Dutch musical culture, and he has left his mark on many younger composers.33

This brief work begins in 4/4 time and is marked Andante Tranquillo. This piece is very conservative in terms of range and rhythms; the most complex rhythm in the work is the dotted-eighth sixteenth note, though there are a few instances where the ﬂute and horn have strings of sixteenth notes. There is also an infrequent use of triplet ﬁgures. This work would serve as an introductory piece into chamber music.

Serendipity for Flute, Horn, and Piano - (2013)

Jennifer Linn: Dates Unavailable

Publisher: Hal Leonard

Cost: $12.99

Dedication: Music Teachers National Association to feature and promote collaborative music.

Duration: 5:30

Recordings: Jennifer Linn. Serendipity by Jennifer Linn WORLD PREMIERE,

YouTube.

Written Range: Flute: “d4” to “f6” Horn: “d4” to “a5”

33Oxford Music Online, “Andriessen Family,” Jos Wouters, Ronald Vermeulen and Elmer Schönberger, accessed December 19, 2018, http://www.oxfordmusiconline.com.lib-e2.lib.ttu.edu/ grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000047613? result=1&rskey=VUKOim#omo-9781561592630-e-0000047613-div1-0000047613.2. 40 Texas Tech[Title] University, Ian Paul Hewetson, May 2019[Title]

[Composer] [Composer] ˙ ˙ Flute 4 Horn in F ∑4 ∑ ∑ ∑ & 4 ˙ & 4 ˙

Jennifer Linn is a pianist, teacher, composer, arranger, and clinician and is

Fl.currently the manager for EducationalHn. Piano for the Hal Leonard Corporation. She has & ∑ & ∑ ∑ ∑ ∑ ∑ been teaching for over twenty-ﬁve years and maintains an independent private studio, as

well as having taught group piano at the university level. Ms. Linn attended the Fl. Hn. University& of Missouri - ∑Kansas City, where she& obtained both∑ her∑ Bachelors and Masters ∑ ∑ ∑ degrees. She has presented clinics, masterclasses, and Hal Leonard showcases across the

United States and Canada, including at the Music Teachers National Conference in Fl. Hn. Anaheim,& California, where∑ her work Serendipity& was premiered.∑ ∑34 ∑ ∑ ∑ This work is a single-movement piece described by the composer as intended for

the intermediate middle school to high school level student. The piece begins in 3/4 time Fl. ∑ Hn. ∑ ∑ ∑ ∑ ∑ and has& a very accessible tempo of eighty-eight& to one hundred beats per minute. The

work begins in the key of concert F, and changes a few times throughout the work. The

Fl.time signature also shifts into 4/4, 6/8,Hn. and 9/8, and contains conservative ranges in the & ∑ & ∑ ∑ ∑ ∑ ∑ ﬂute and horn, remaining just under two octaves. The rhythms are also very limited,

using the eighth note as the most complex rhythmic value. The horn part is written

Fl.without a key signature and requires theHn. player to perform with the mute, while the ﬂute & ∑ & ∑ ∑ ∑ ∑ ∑ part requires trills and grace notes.

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ 34Jeniffer Lin, Serendipity for Flute, Horn, and Piano, Milwaukee: Hal Leonard, 2013. 41 Texas Tech University, Ian Paul Hewetson, May 2019

Souvenir du Rigi, Op. 34 - (1876)

Franz Doppler: (1821-1883)

Publisher: B. Shott’s Söhne; IMSLP

Cost: $20.95-$21.96

Dedication: Dr. B. Grunhut

Duration: 7:30

Recordings: Bruce Bonnell, Vieri Bottazzini, and Peter Green. Souvenirs:

Chamber Music for Horn, Flute and Piano; Julie Thornton and Michael Thornton.

Passages: Music for Flute and Horn; Per Øien, Ingegärd Øien, Geir Henning Braaten.

Scandinavian Moods for Flute, Horn and Piano. Written Range: Flute: “c4” to “b-ﬂat6” Horn:[Title] “c3" to “g5” [Title]

[Composer] [Composer] b˙ Flute 4 Horn in F ˙ & 4 ∑ 4 ∑ ∑ ∑ ˙ & 4 ˙ Franz Doppler was a ﬂute virtuoso, composer, and conductor. His ﬁrst music Fl. ∑ Hn. ∑ ∑ teacher& was his father, Joseph Doppler, and Franz& made his musical∑ début in Vienna when ∑ ∑

he was 13. In 1847, Doppler’s ﬁrst opera was produced, soon followed by four other

Fl.operas, all of which experienced considerableHn. success. Most of his ballet music was also & ∑ ∑ ∑ ∑ ∑ ∑ widely popular. He began teaching ﬂute at the& Vienna Conservatory in 1865.35

35 Fl. Oxford Music Online, “(Albert)Hn. Franz [Ferenc] Doppler,” Zoltán Gárdonyi, accessed December 19, 2018, http://www.oxfordmusiconline.com.lib-e2.lib.ttu.edu/grovemusic/view/∑ ∑ ∑ ∑ ∑ ∑ 10.1093/gmo/9781561592630.001.0001/omo-9781561592630-& & e-0000008024#omo-9781561592630-e-0000008024-div1-0000008024.1. 42

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

Souvenir du Rigi is a single-movement work for ﬂute, horn, and piano with

optional hand bells. This work is one of the most widely commercialized pieces in this

genre, having been recorded on three separate albums. The work begins at a slow tempo

with a ﬂute cadenza containing frequent trills and scalar runs. The ﬂute part is populated

with this type of writing and also has frequent grace notes and rapid, wide interval slurs.

The horn writing as a whole is much more straight forward and is full of long, ﬂowing

melodies. When the two instruments play together, the ﬂute’s primary role is to ornament

the melody. The horn part in this work is very accessible; however, the ﬂute part would

require a large amount of preparation and a very ﬁne player to perform well.

Summer Night for Flute, Horn, and Strings - (1985)

Katherine Hoover: (1937-2018)

Publisher: Theodor Presser Company

Cost: $8.00

Dedication: [None]

Duration: 8:00

Recordings: Carolann Martin. Journeys: Orchestral Works by American Women.

Katherine Hoover, ﬂute, Peter Kane.

Written Range: Flute: “d4” to “c7” Horn: [Title]“d3” to “d-ﬂat6” [Title]

[Composer] ˙ [Composer] b˙ Flute 4 Horn in F ∑4 ∑ ∑ ∑ & 4 ˙ & 4 ˙

Fl. Hn. & ∑ &43 ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

Katherine Hoover was born in West Virginia but spent the bulk of her career in

New York, where she remained very active as a conductor, composer, and ﬂutist. She attended the Eastman School of Music, where she received a Bachelors degree in Music

Theory and a Performers Certiﬁcate in Flute Performance. She later received her Masters degree from the Manhattan School of Music, where she later taught. Her primary ﬂute mentors were Joseph Mariano and William Kincaid. For her musical compositions,

Hoover has received numerous endowments and awards, including the National

Endowment Composer’s Fellowship, winning the National Flute Association’s Newly

Published Music Competition, and receiving commissions from the New Jersey Chamber

Music Society, Arizona Friends of Music, and the National Flute Association. Her music has been published through Theodor Presser, Carl Fischer, and Papagena Press, and has been recorded on various record labels including Summit, Centaur, and Boston.36

Summer Night is a single-movement show piece for flute and horn, originally written with string accompaniment. The composer later reworked the accompaniment for piano to ensure an idiomatic translation from strings to keyboard. The work begins slowly in 4/4 time with a soliloquy in the horn that is meant to be played freely. This is then answered by the flute and followed with a rendition of these parts performed together. This section is full of intricate rhythmical ideas, small subdivisions, and ties, making the counting a challenge, especially when the flute and horn perform together. At the conclusion of this portion, there is a seamless transition to an Allegro section in 3/8 time in which the flute and horn pass rapid, rhythmical ideas back and forth. The writing

36“About Katherine,” Katherine Hoover, accessed December 20, 2018, http:// katherinehoover.com/KatherineHoover/about_Katherine.html. 44 Texas Tech University, Ian Paul Hewetson, May 2019

in this section is characterized primarily by eighth notes, with the occasional sixteenth

note, especially in the ﬂute. The parts make use of frequent chromaticism, numerous

grace notes, trills, and require ﬂutter tonguing of both performers. The end of the work

returns briefly to the opening style, before concluding with a final flourish in the second,

Allegro style. Overall, the challenging rhythmical demands, rapid passagework in both

instruments, as well as the dexterity and the extreme upper register in the horn make this

a challenging work to perform.

Trio for Piano, Flute, and Horn - (1951)

Hugo Kauder: (1888-1972)

Publisher: SeeSaw Music Corporation

Cost: $18.00

Dedication: Willem Valkenier

Duration: 8:15 estimated

Recordings: [None]

Written Range: Flute: “f4” to “b-ﬂat6” Horn:[Title] “g3 to “c6” [Title]

[Composer] [Composer] b˙ ˙ Flute 4 Horn in F 4 & 4 ˙ &∑4 ∑ ∑ ∑ ˙

Hugo Kauder was born in what is now the Czech Republic. He began studying Hn. Fl. ∑ ∑ ∑ ∑ ∑ ∑ violin& at a young age, but his teacher later dismissed& him when he taught Hugo all he

knew. These music lessons were his only formal musical training. In 1905, he began to

Fl. study engineering in Vienna, but oftenHn. skipped classes in favor of studying musical & ∑ &45 ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019 scores. Around 1911, he began to develop a musical career, performing violin in the

Weiner Tonkuenstler Orchestra under several well-known conductors, including Richard

Strauss. It was in this orchestra that his lifelong friendship with horn player Willem

Valkeniar began, inspiring his many horn-related compositions. Kauder made his way to

New York in 1940, where he remained for the rest of his life. He spent his time teaching, writing, publishing, and fostering musical relationships both new and old.37

Hugo Kauger’s Trio for Piano, Flute, and Horn is a unique composition, as it is written, like much of his music, entirely without bar lines. The work is in three brief movements. The ﬁrst movement begins Lento with a metronome marking of sixty beats per minute and lasts approximately three minutes and ﬁfteen seconds. This movement has a challenging key signature but simple rhythms, only getting as complex as the dotted- eighth sixteenth note. There is a mixture of both duple and triple eighth notes throughout as well.

The second movement is marked Vivace and is the shortest movement lasting an estimated one minute and fifteen seconds. The tempo is marked at one hundred fifty-six beats per minute and has frequent triplet figures that are passed back and forth between the flute and the horn. There continues to be a consistant use of independent rhythms in both instruments.

The ﬁnal movement begins Sostenuto at sixty beats per minute. The texture of this movement begins very simply with broad lyrical lines found in both instruments. The

37“About Hugo Kauder” Hugo Kauder Society, accessed December 20, 2018, http:// www.hugokauder.org/about/about-hugo-kauder/. 46 Texas Tech University, Ian Paul Hewetson, May 2019

movement then transitions to and concludes in the Vivace tempo and style found in the

second movement.

The use of challenging keys, upwards of ﬁve ﬂats, lack of bar lines, and extremely

independent parts make this work a potential challenge for performers. The horn writing,

however, is fairly conservative for the bulk of the work, written over only two octaves

until the ﬁnal note which expands the range to “c6.”

Trio for Flute, Horn, and Piano - Dates Unavailable

Ransom Aaron Walters: Dates Unavailable

Publisher: Seemingly self-published, music is available through the composer’s

website.

Cost: $40.00 PDF; $70.00 hard copy

Dedication: Alexander and Elizabeth Shuhan

Duration: 9:00

Recordings: Aaron Walters. Trio for Flute, Horn and Piano, Liz Shuhan and Alex

Shuhan, YouTube.

Written Range: Flute: “d4” to “b6” Horn: [Title]“c3” to “g-sharp5” [Title]

[Composer] [Composer] ˙ Flute Horn in F #˙ 4 ∑4 ∑ ∑ ∑ & 4 ˙ & 4 ˙ Composer Ransom Aaron Walters attended Ithaca College where he received a Fl. Hn. duel °ree in Percussion∑ Performance and Music& Composition.∑ ∑ He later attended ∑ ∑ ∑

Belmont University, where he earned his Master of Music degree in commercial music 47 Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019 with a specialization in composition and arranging. His composition instructors include

Mark Volker, Ellen Goebel, Dana Wilson, Jorge Grossmann, and Sally Lamb McCune. In addition to composition and performance, Mr. Walters also does regular recording session work, often recording, mixing, and editing full albums.38

Trio for Flute, Horn, and Piano was written for and commissioned by Alexander and Elizabeth Shuhan, who are two thirds of the Shuhan-Luk Trio, a trio who frequently performs and arranges works for flute, horn, and piano. The work begins in 4/4 time at a brisk tempo of one hundred sixty beats per minute. The rhythms begin simply before transitioning into more rapid passagework and some disjunct melodies. There is also frequent use of the flutter tongue in both the flute and horn. The work changes time signatures to include 3/2, 2/4, 7/8, and 5/8. The two movements are meant to be played back to back with a five to seven second Fermata separating the two movements.

The second movement is in 4/4 time and begins signiﬁcantly slower than the ﬁrst.

The horn part is notated with 5 sharps in the key signature and features much more intricate rhythms than the ﬁrst movement, containing frequent sixteenth notes and thirty- second notes. These small subdivisions are often tied, adding to the intricate nature of this movement. The ﬂute also has extended passages of triplet and sixteenth-note triplet passages as well as an extended thirty-second note passage of arpeggios.

Trio for Flute, Horn, and Piano - (1981)

William Moylan: Dates Unavailable

Publisher: SeeSaw Music

38“Curriculum Vitae” R. Aaron Walters, accessed December 20, 2018, http:// www.aaronwaltersmusic.com/curriculum-vitae.html. 48 Texas Tech University, Ian Paul Hewetson, May 2019

Cost: $30.00

Dedication: To David Wakeﬁeld and Bärli Nugent.

Duration: 17:00

Recordings: Ernst Levy and William Moylan. Levy: Sonata for Viola and Piano

and Moylan: Trio for Flute Horn, and Piano.

Written Range: Flute: “c-sharp4” to “c7” [Title]Horn: “a2” to “b-ﬂat5” [Title]

[Composer] [Composer] ˙ b˙ Flute 4 Horn in F 4 & 4 &∑ 4 ∑ ∑ ∑ #˙ ˙ Dr. William D. Moylan is Professor of Music at the University of Massachusetts Fl. Hn. Lowell,& where he works∑ extensively in the areas& of Music∑ Theory∑ and Music Technology. ∑ ∑ ∑

He has been the coordinator of the Sound Recording Technology Program since his

Fl. arrival in 1983 and has also served asHn. the chairperson for the department of music from ∑ & ∑ ∑ ∑ ∑ ∑ 1998-2006.& Through his guidance, the recording program has grown to one of the

strongest in the nation. Dr. Moylan has published various books on the topic of audio

Fl. engineering, and has published over 40Hn. compositions, encompassing many different & ∑ & ∑ ∑ ∑ ∑ ∑ styles and media including electronic music, orchestral works, choral works, and chamber

pieces. He received a Bachelor of Music in composition from the Peabody Conservatory, Fl. Hn. Master& of Music in composition∑ from the University& of Toronto,∑ ∑ and his Doctor of Arts ∑ ∑ ∑ degree in music theory and composition from Ball State University.39

Fl. Hn. & 39“Faculty.” UmlSRT∑ , 27 July 2016, Accessed& January∑ 8, 2019,∑ www.umlsrt.com/faculty/. ∑ ∑ ∑ 49

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

William Moylan’s Trio for Flute, Horn, and Piano contains brief performance

instructions in the score regarding two techniques. One technique required by both

performers asks them to articulate very short notes as rapidly as possible. The second is a

cue for the horn performer to slowly change from stopped horn to open horn while

sustaining the pitch.

This work is a single-movement and begins very slowly marked with the quarter

note at ﬁfty-six beats per minute. The tempos ﬂuctuate frequently throughout the work

and are marked with speciﬁc metronome markings. Both the ﬂute and the horn utilize

large ranges and have challenging rhythmical subdivisions throughout the work. The

length, range requirements, and technical and rhythmical demands makes this work one

of the more challenging pieces in this study.

Vignettes for Flute, Horn, and Piano - (1989)

Steven Winteregg: Dates Unavailable

Publisher: Pastiche Music, 1989

Cost: $30.00

Dedication: The Richard Chenoweth Family

Duration: 17:00

Recordings: Steven Winteregg. Flights of Imagination: Chamber Music of Steven

Winteregg. [Title] Written Range: Flute: “c5” to “f6” Horn: “g3”[Title] to “g5” [Composer] [Composer] ˙ Horn in F ˙ Flute 4 4 & 4 ˙ &∑ 4 ∑ ∑ ∑ ˙ 50

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

Steven Winteregg received his Bachelor of Music Education degree from the

University of Cincinnati College-Conservatory of Music in 1974. He later attended

Wright State University and Ohio State University for his Master of Music and Doctor of

Musical Arts degrees, respectively. He is currently chair of the Department of Music at

Cedarville University and has also served on faculty at Whittenberg University and as principal tuba with the Dayton Philharmonic. Dr. Winteregg’s music has received numerous awards, including prizes from the International Horn Society and the

International Trumpet Guild. He has composed four full-length ballets, and his music has been performed in the United States, Africa, and Asia and by orchestras including the

Czech Radio Symphony, Delaware Symphony, and Columbus Symphony.40

Vignettes for Flute, Horn, and Piano is a short, three-movement work in which each movement is written in a different style and strives to depict the character of each of

Richard Chenoweth’s children. The ﬁrst movement, “Erica,” begins in 3/4 time and changes to various other meters throughout the movement including 4/4, 2/4, 6/8, and 5/8 time. There are speciﬁc tempo markings referred to throughout the movement and fairly simple rhythms overall. There is occasional mixing of duple and triple rhythms and the use of the dotted-eighth sixteenth note rhythm.

The second movement, “Andrea,” begins in a slow 4/4 time marked sixty-six beats per minute. There is the use of grace notes and note subdivisions down to the sixteenth note. The melodies are more smooth and they employ the use of duple and triple eighth notes and syncopated rhythms.

40Liz Mandunca, “Steven Winteregg,” Manduca Music Publications, accessed December 20, 2018, https://manducamusic.com/steven-winteregg/. 51 Texas Tech University, Ian Paul Hewetson, May 2019

The ﬁnal movement, “Christopher,” begins in 3/4 time and changes frequently to

other time signatures including 2/4 and 4/4. There is also a change to a jazz swing style in

the middle of the work. In addition to this, there is the use of grace notes and muted horn.

The work is notated with accidentals instead of a key signature and is conservative in

terms of range and rhythm for both instruments.

War Stories: Three Movements for Flute/Piccolo, Horn in F, and Piano - (2015)

Adrienne Albert: (b. 1941)

Publisher: Kenter Canyon Music

Cost: $45.00

Dedication: Zinkali Trio

Duration: 17:40

Recordings: Adrienne Albert. War Stories 1. “Uncivil Wars” by Adrienne Albert;

Adrienne Albert. War Stories 2. “The Good War”; Adrienne Albert. War Stories MVT 3.

Homecoming. Written Range: Flute: “e-ﬂat4” to “c7” Horn:[Title] “d2” to “b5” [Title]

[Composer] [Composer] ˙ ˙ Flute 4 Horn in F 4 ∑ ∑ & 4 b˙ ∑& 4 ∑ ˙ Fl. Hn. ∑ ∑ ∑ &War Stories is a ∑three-movement work and& is demanding.∑ The advanced ∑

techniques required of the performers include grace notes, trills, and ﬂutter tonguing in

Fl.the ﬂute and glissandi, muted passages, Hn.hand stopping, and bass clef∑ reading in the horn. ∑ ∑ & ∑ 52 & ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019

The premiere performance took place in 2015 at the New Jersey Flute Society

Convention at Montclair State University by the commissioning group, the Zinkali Trio.

The first movement, "Uncivil Wars,” is seven minutes in length and begins in a moderate 4/4 time with a metronome marking of eighty beats per minute. The flute player begins on the piccolo and changes to the flute in measure 13. The movement begins straightforward with simple rhythms, but the tempo gradually increases to a peak of around one hundred forty beats per minute with various meter changes to 5/4 and 6/4.

The horn part has a notated glissando, or slide from one pitch to another, muted passages, sections of isolated large leaps, and the use of the lowest note “d2” just before the end of the movement.

“The Good War” is five minutes and twenty seconds in length, begins in 4/4 time and has a tempo marked at one hundred four beats per minute. The flute player frequently switches back an forth from flute to piccolo, and the writing has the flute player above the treble clef staff for the bulk of the movement. The flute writing also has rapid shifts from duple to triple rhythms and contains rapid disjunct motion as well as rapid scalar passages. The horn writing has rapid descents and glissandi into the low register, frequent shifts into the bass clef, and use of the hand mute.

The ﬁnal movement titled, “Homeward Bound,” is ﬁve minutes and twenty seconds in length, and begins in 4/4 time at ninety-six beats per minute. This movement is characterized by the use of syncopated rhythms and frequent offbeat, sixteenth-note entrances. The horn writing is simple with nothing faster than an eighth note; however, there is an increased use of syncopated rhythms as the movement continues. The end of this movement arrives on the singular high “b5” in the horn part. Overall, this work poses 53 Texas Tech University, Ian Paul Hewetson, May 2019

many challenges for the performers, and, due to the length, range demands, and

rhythmical challenges, would likely challenge a mature ensemble.

Water Music for Flute, Horn, and Piano - (2010)

Gary Schocker: Dates Unavailable

Publisher: Falls House Press

Cost: $19.99

Dedication: Maria and Ryan Ramey

Duration: 6:50 estimated

Recordings: [None]

Written Range: Flute: “c4” to “c7” Horn: “a3”[Title] to “d6” [Title]

[Composer] [Composer] ˙ ˙ Flute 4 Horn in F 4 & 4 &∑ 4 ∑ ∑ ∑ ˙ ˙

Hailed as one of the greatest ﬂutists of his generation, Gary Schocker is also a Fl. ∑ Hn. ∑ ∑ ∑ ∑ ∑ pianist,& harpist, composer, and teacher. He began& his musical journey on piano, making

his recital debut at age three. He began ﬂute at age 10 and made his professional debut on

Fl.the ﬂute by age 15. Schocker attendedHn. the Juilliard School and, while there, won & ∑ & ∑ ∑ ∑ ∑ ∑ numerous competitions including the National Flute Association’s Young Artist

Competition, the New York Flute Club’s Sound Artists Competition, and the Young

Fl.Concert Artists Competition. SchockerHn. has recorded eight albums, and his music has been & ∑ & ∑ ∑ ∑ ∑ ∑ recorded by many artists around the world. As a composer, he has written music for

nearly every orchestral instrument and has been commissioned to compose music for Fl. Hn. 54 & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑

Fl. Hn. & ∑ & ∑ ∑ ∑ ∑ ∑ Texas Tech University, Ian Paul Hewetson, May 2019 various competitions. Currently, he teaches ﬂute at New York University and privately out of his homes in New York and Pennsylvania.41

Water Music’s ﬁrst movement is titled “Waves” and begins in 4/4 time with a tempo of eighty-eight beats per minute. This movement contains simple rhythms, frequent use of accidentals, and a conservative range in the horn.

The second movement titled, “Sun,” has an increased tempo to one hundred twenty-six beats per minute and frequent alternation between 3/4 to 5/8 time. The horn writing frequently visits “a5,” has a disjunct melody, and offbeat entrances. The ﬂute writing is much more active, having frequent sixteenth-note scalar gestures.

41“About Gary,” Gary Schocker Flutist, Composer, Teacher, accessed December 20, 2018, http://www.garyschocker.com/about.html. 55 Texas Tech University, Ian Paul Hewetson, May 2019

CHAPTER 3

CONCLUSIONS

Conclusion

Through this project, it has become clear to this author that the genre of ﬂute, horn, and piano is a new and developing chamber ensemble. While it has its roots in the

Baroque era and contains a fairly substantial grouping of works from the Romantic era, the bulk of the works in this genre come from the last century. It is the hope of this author that the awareness of this developing ensemble will continue to rise as these obscure works gain new light both through this project and through increased performance. There are various ensembles working to perpetuate this genre and its music through performance, commissions, and recordings; this author hopes to see this trend continue.

Additionally, this author also hopes to see the education of chamber music through this ensemble take place in high school solo and ensemble events, and with greater frequency in university-level chamber music courses.

In this study, various aspects of 30 different original works for flute, horn, and piano were examined. These various aspects include the date of composition, the birth and death dates of the composer, the name of the publisher and year of publication, the current cost to purchase the work, any dedication given, duration of the work, definitive recordings of the work, and the range required of both the flute and horn performers. It is the intent of this information to help the reader gain an understanding of each of these works and to allow them to decide if a particular work is appropriate for them to purchase, practice, and ultimately perform. This author hopes by consolidating this

56 Texas Tech University, Ian Paul Hewetson, May 2019 information this process becomes easier and, in turn, results in greater exposure of these works.

Implications for Further Research

This author believes that while there are a myriad of professional recordings of many of these works, there are still a substantial number of pieces which have not yet been recorded. Furthermore, recordings of all these works explored in this project should become a priority to established ensembles according to the author.

Another trend which can be noted is the overabundance of shorter pieces for this instrumentation. Of the pieces included in this project, only four approach the twenty- minute mark in performance length and only six break the ten-minute mark. The remainder of these works are brief pieces, each less than ten minutes in length. It is the belief of this author that this ensemble has already proven its success and deserves to have more works of substantial length written for and added to the repertoire.

57 Texas Tech University, Ian Paul Hewetson, May 2019

BIBLIOGRAPHY

Albert, Adrienne. Doppler Effect For Flute, Horn in F and Piano. Kenter Canyon Music. 1998. Revised 2011.

Albert, Adrienne. “Music Catalogue.” Contemporary American Composer - Adrienne Albert, 2013. Accessed October 18, 2018. www.adriennealbert.com/index.html.

Albert, Adrienne. War Stories Three Movements for Flute/Piccolo, Horn in F, Piano. Kenter Canyon Music, 2012-2014.

Anderson, Martin. "Andriessen, Hendrik (Franciscus)." In The Oxford Companion to Music. Oxford University Press, http://www.oxfordreference.com.lib- e2.lib.ttu.edu/view/10.1093/acref/9780199579037.001.0001/ acref-9780199579037-e-277.

Andriessen, Hendrik. Sérénade voor ﬂuit, hoorn en piano. Amsterdam: Donemus, 1983.

Basler, Paul. Passages for ﬂute, horn and piano. 2016.

Bielawa, Lisa. “About Lisa Bielawa.” Lisa Bielawa, 2018, Accessed October 25, 2018., www.lisabielawa.net/bio/.

Bielawa, Lisa. “Fictional Migrations (2017) for Flute/Piccolo, Horn, Piano [EXCERPT].” SoundCloud, 2017. Accessed October 25, 2018. soundcloud.com/ lisabielawa/ﬁctional-migrations-2017excerpt.

Bielawa, Lisa. Fictional Migrations for ﬂute/piccolo, horn and piano. Ganesa Music, 2017.

Busler-Blais, Lydia. Lanterns. The Westleaf Edition, 2011.

Busler, Lydia Lowery. “Lydia Lowery Busler Hornist Composer and Improvisationalist.” Lydia Lowery Busler Hornist Composer and Improvisationalist. Accessed December 10, 2018. www.lydialowerybusler.com/.

Cedarville University. “Steven Winteregg.” Accessed December 12, 2018. Cedarville University. www.cedarville.edu/Academic-Schools-and-Departments/Music-and- Worship/Faculty-Staff/Music/Winteregg-Steven.aspx.

“Chris Rozé ‘Changing Light’ Added to OMS.” IHS Online. Accessed December 13, 2018. www.hornsociety.org/home/ihs-news/771-chris-roze-changing-light-added- to-oms.

58 Texas Tech University, Ian Paul Hewetson, May 2019

Colletti, Paul. Why I Play Chamber Music: 19 String Players Talk About their Passion for Playing in Small Ensembles. February 5, 2015, http://stringsmagazine.com/why-i- play-chamber-music/.

Dempf, Linda, and Richard Seraphinoff. Guide to the Solo Horn Repertoire. Indiana University Press, 2016, 283.

“Diptych.” Composers and Authors: Musica Baltica. Accessed December 10, 2018. www.musicabaltica.com/en/shop/chamber-music/wind-instruments-with-piano- basso-continuo/diptych/.

Donkin, Christine. “Bio.” Christine Donkin. Accessed December 17, 2018. www.christinedonkin.com/about/.

Donkin, Christine. Bagatelle. Canadian Music Center, 2015.

Meyer, Douglass. Katherine Hoover: Summer Night. Douglas Meyer. www.douglasmeyer.info/katherine-hoover-summer-night/.

Ericson, John. “Horn 101: The Harmonic Series.” Horn Matters | A French Horn and Brass Site and Resource | John Ericson and Bruce Hembd, 11 July 2008, hornmatters.com/2008/07/horn-101-the-harmonic-series/.

Ewazen, Eric. Ballade, Pastoral and Dance for Flute, Horn and Piano. San Antonio: Southern Music Company, 2002.

“Faculty.” UmlSRT. 27 July 2016. Accessed January 8, 2019. www.umlsrt.com/faculty/.

Faust, Randall. Auburn Echos: Fantasy on a Theme by William Wood for Flute, Horn, and Piano. Illinois: Faust Music, 1997.

Frith, John. Rondo Finale for ﬂute, horn in F and piano. England: Emerson Edition Ltd., 2010.

“Flute World.” Flute World - America's #1 Flute Specialty House since 1983. Accessed October 13, 2018. www.ﬂuteworld.com/.

“Franz Doppler,” Naxos, Accessed October 12, 2018. https://www.naxos.com/person/ Franz_Doppler_22589/22589.htm.

Genzlinger, Neil. “Katherine Hoover, Flutist and Composer, Is Dead at 80.” The New York Times, The New York Times, 26 Sept. 2018. www.nytimes.com/2018/09/26/ obituaries/katherine-hoover-dead.html.

59 Texas Tech University, Ian Paul Hewetson, May 2019

“Georges Barboteu.” Georges Barboteu (1924-2006) - IHS Online. Accessed October 18, 2018. www.hornsociety.org/home/ihs-news/26-people/honorary/42-georges- barboteu-1924-2006.

Haider, Claudia. “Trio - Flute, Horn and Piano.” The Flutepage, last modiﬁed December 30. 2013. Accessed October 11, 2018. http://www.ﬂutepage.de/.

Hoover, Katherine. Summer Night for Flute, Horn, and Strings. Pennsylvania: Theodore Presser Company, 1986.

“The Hugo Kauder Society.” About Hugo Kauder, 2008. Accessed October 22, 2018. www.hugokauder.org/about/about-hugo-kauder/.

Jeppesen, Knud. La Primavera Lille Trio for ﬂøjte, horn og piano. Copenhagen: Edition Wilhelm Hansen, 1985.

“John Frith.” Home Page - Warwick Music. Accessed December 19, 2018. www.warwickmusic.com/Main-Catalogue/Composers/D---F/John-Frith.

Jones, Aldona. “Souvenir Du Rigi, Op.34” IMSLP/Petrucci Music Library: Free Public Domain Sheet Music, last modiﬁed December 30, 2009. Accessed October 12, 2018. https://imslp.org/wiki/Souvenir_du_Rigi%2C_Op. 34_(Doppler%2C_Franz).

Kalsons, Romualds. Diptihs Flautai, mežragam un klavierēm. Latvia: Musica Baltica, 2003.

Kauder, Hugo. Trio for Piano, Flute and Horn. New York: Seesaw Music Corp., 1974.

“Knud Jeppesen.” - Short Biography - Music Sales Classical. Accessed December 12, 2018. www.musicsalesclassical.com/composer/short-bio/Knud-Jeppesen.

McCoy, Marvin. “McCoy's Horn Library.” McCoy's Horn Library. Accessed October 14, 2018. www.mccoyshornlibrary.com/.

Koechlin, Charles. Duex Nocturnes, opus 32 bis, Pour Cor, Flûte Et Piano. Paris: Gérard Billaudot Éditeur, 1989.

Linn, Jennifer. Serendipity For Flute Horn and Piano. Milwaukee: Hal Leonard, 2013.

“Lydia Busler-Blais.” Westleaf Edition: Lydia Busler-Blais. Accessed December 13, 2018. westleaf.org/lydia/index.html.

Melton, William. Trios for Horn, Flute, and Piano. Germany: Edition Ebenos, 2006.

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Montagu, Jeremy, Howard Mayer Brown, Jaap Frank, and Ardal Powell. 2001 "Flute." Grove Music Online. Accessed October 18, 2018. http://// www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/ 9781561592630.001.0001/omo-9781561592630-e-0000040569.

Müller, Bernhard Eduard. Serenade, Op. 15 für Flöte, Horn und Klavier. Edited by Bernhard Pauler. Amadeus Verlag, 1994.

Naigus, James. “James Naigus.” Music of Paul Basler. Accessed October 18, 2018. jamesnaigus.com/compositions_basler.html.

Nichols, Graham. “Horn(s) and Flute/ Horn, Flute and Piano.” Hornarama - Misc. Chamber Music, 1996. Accessed October 22, 2018. www.hornarama.com/Misc- Chamber-Music(273595).htm#HornFlute.

“Nocturne Op 31.” Nocturne Op 31 from Tillmetz R. Accessed October 18, 2018. www.stretta-music.com/en/r-nocturne-op-31-nr-167411.html.

“Paul Basler.” GIA Publications - Artist - Paul Basler. Accessed October 18, 2018. www.giamusic.com/store/artists/paul-basler.

“Publications by Instrumental Ensemble/Horn.” Thompson Edition | Horn, 2006. Accessed October 22, 2018. www.thompsonedition.com/ browse_by_instrument.php?id=70&sr=0&limit=500.

“Randall Faust.” International Horn Society, Accessed December 14, 2018. www.hornsociety.org/26-people/honorary/303-randall-faust.

“Romualds.” Composers and Authors: Musica Baltica. Accessed December 10, 2018. www.musicabaltica.com/en/composers-and-authors/kalsons-romualds/.

Rozé, Chris. Changing Light for Flute, Horn and Piano. 2013/2015.

Schocker, Gary. Water Music for ﬂute, horn and piano. Falls House Press, 2010.

“Sheet Music Plus.” Sheet Music Plus. Accessed October 13, 2018. www.sheetmusicplus.com/.

Saint Säens, Camille. Classical Reprints for Flute, Horn, and Piano - Serenade. Minnesota: McCoy Horn Library, 2009.

Schouten, Sarah. “An Annotated Guide and Interactive Database for Solo Horn Repertoire.” D.M. treatise, Florida State University, 2012.

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“STEVEN WINTEREGG.” Accessed December 12, 2018. Manduca Music Publications. manducamusic.com/steven-winteregg/.

Titl, Emil Anton. Classical Reprints for Flute, Horn, and Piano - Serenade. Minnesota: McCoy Horn Library, 2009.

Toff, Nancy. The Flute Book: A Complete Guide for Students and Performers, Third Edition. Oxford University Press, 2012. 184.

Van Dreel, L. (2008). Music and book reviews: Henri Kling - Trios for Horn, Flute, and Piano: "Hochzeits-Stänchen"; Wilhelm Popp - "Abendlied," op. 306; Rudolf Tillmetz -Nocturne. The Horn Call - Journal of the International Horn Society, 38(2), 80. Retrieved from https://search.proquest.com/docview/1226592? accountid=7098.

Voigt, G. B. Classical Reprints for Flute, Horn, and Piano - Serenade. Minnesota: McCoy Horn Library. 2009.

Walters, Ransom Aaron. “About Me.” R. Aaron Walters. Accessed December 12, 2018. www.aaronwaltersmusic.com/about-me.html.

Walters, Ransom Aaron. Trio for Flute, Horn, and Piano.

“William Moylan.” UMass Lowell, Accessed January 8, 2019. www.uml.edu/fahss/ music/faculty/moylan-william.aspx.

Winteregg, Steven. Vignettes for Flute, Horn, and Piano. Maine: Manduca Music Productions, 1989.

62 Texas Tech University, Ian Paul Hewetson, May 2019

DISCOGRAPHY

Albert, Adrienne. Zinkali Trio Plays “Doppler Effect” by Adrienne Albert. Elise Carter, Susan LaFever, Laura Ravotti. Posted January 6, 2012., Accessed October 18, 2018. https://www.youtube.com/watch?v=bvn4DquQ4SU.

Albert, Adrienne. War Stories 1. “Uncivil Wars” by Adrienne Albert. Elise Carter, Susan LaFever, Laura Ravotti. Posted November 11, 2015. Accessed December 10, 2018. https://www.youtube.com/watch?v=92RWA4z0nfw.

Albert, Adrienne. War Stories 2. “The Good War” by Adrienne Albert. Elise Carter, Susan LaFever, Laura Ravotti. Posted March 14, 2016. Accessed December 10, 2018. https://www.youtube.com/watch?v=YNMSZk_zbrI.

Albert, Adrienne. War Stories MVT 3. Homecoming. Elise Carter, Susan LaFever, Laura Ravotti. Posted March 15, 2016. Accessed December 10, 2018. https:// www.youtube.com/watch?v=P_rHeSZ_ZDE.

Basler, Paul. Passages for Flute, Horn, and Piano - Paul Basler. Jennifer Brimson Cooper and Zachary A. Cooper. Posted August 18, 2017. Accessed October 18, 2018, https://www.youtube.com/watch?v=ih4uWWi2fBg.

Bonnell, Bruce, Bottazzini, Vieri, and Green, Peter. Souvenirs: Chamber Music for Horn, Flute and Piano. Released June 24, 2008. Centaur, 2944, CD.

Donkin, Christine. [TriO] Christine Donkin: Bagatelle,. Posted July 1, 2018. Accessed December 17, 2018. https://www.youtube.com/watch?v=UN3cxTlCITs.

Doppler, Franz and Doppler, Karl. The Music for Flutes and Piano, Per Øien., Robert Aitken and Geir Henning Braaten. Released January 31, 1987. BIS. CD-145/146. CD.

Ewazen, Eric. American Brass Quintet: Music for the Soloists of the American Brass Quintet and Friends. Well Tempered Productions. Released 1999. WTP 5189. CD.

Frith, John. Rondo Finale Trio for Flute, Horn & Piano, by John Frith. SoundCloud. 2010. Accessed October 25, 2018. soundcloud.com/user-551832622-962760260/ rondo-ﬁnale-trio-for-ﬂute-horn-piano-by-john-frith.

Koechlin, Charles. Chamber Music With Flute: The Music of a Magician. Tatjana Ruhland (Flute), Yaara Tal (Piano), and Joachim Bansch (Horn). Hänssler. HAEN93157. CD.

63 Texas Tech University, Ian Paul Hewetson, May 2019

Levy, Ernst and Moylan, William. Levy: Sonata for Viola and Piano and Moylan: Trio for Flute Horn, and Piano. David Wakeﬁeld, Bärli Nugent, and Duane Hulbert. Opus One. Released 1982. number 74, LP.

Linn, Jennifer. Serendipity by Jennifer Linn WORLD PREMIERE. Posted March 22, 2013. Accessed December 1, 2018. https://www.youtube.com/watch? v=ws4djKrU01w.

Martin, Carolann. Journeys: Orchestral Works by American Women. Katherine Hoover, ﬂute, Peter Kane, Horn. LE 327, CD.

Øien, Per, Øien, Ingegärd, Braaten, Geir Henning. Scandinavian Moods for Flute, Horn and Piano. Released 1980. BIS Records. LP-171. LP.

Telemann, Georg Philipp. Les Plaisirs de la Table. Ricercar Consort. Ricercar. 270. CD.

Thomas, Kathryn and Shaw, Richard. Fauré and His Circle. Richard Bayliss (horn),. Released March 16, 2009. Deux-Elles. DXL1125. CD.

Thornton, Julie and Thornton, Michael. Passages: Music for Flute and Horn. Released January 2018. Albany Records. TROY 1705. CD.

Telemann, Georg Philipp. Telemann: Wind Concertos, Volume 3. Deutschlandfunk. Released January 2008. 777268-2. CD.

Walters, Aaron. Trio for Flute, Horn and Piano. Liz Shuhan and Alex Shuhan. Posted April 17, 2014. Accessed October 12, 2018. https://www.youtube.com/watch?v=DksYfjiVsKs.

Winteregg, Steven. Flights of Imagination: Chamber Music of Steven Winteregg. Richard Chenoweth. Published 1999. Equilibrium Records. EQ 23. CD.

64 Texas Tech University, Ian Paul Hewetson, May 2019

APPENDICES A: LIST OF WORKS FOR FLUTE, HORN, AND PIANO

ALPHABETICAL BY COMPOSER

Doppler Eﬀect Albert, Adrienne $25.00

War Stories Albert, Adrienne $45.00

Sérénade voor ﬂuit, hoorn en piano Andriessen, Hendrick

Esquisse for ﬂute, horn and harp(Piano) Barboteu, Georges $17.60

Passages Basler, Paul $15.00

Conﬁtebor Tibi for Flute Horn and Piano Arr. Mike Bauer, Alois Magatagan

332 Trio for Flute, Viennese Horn and Piano Beatty, Stephen W.

Trio for Flute (Bassoon)Horn and piano, Wo0 37 Beethoven

Fictional Migrations Bielawa, Lisa $45.00

Scenes De La Foret, Op. 123 Bonis, Mel $39.75

Serenade Buchtel, Forrest L. $4.00

Voice of Love Buchtel, Forrest L. $4.00

Bagatelle for ﬂute, horn, and piano Donkin, Christine $20.99

Souvenir du Rigi, Op. 34 Doppler, Franz $20.95

Trio for Flute Horn and Piano Dovernoy, Jacques Charles

Ballade, Pastorale, and Dance Ewazen, Eric $44.95

Auburn Echos for Horn, Flute, and Piano Faust, Randell $16.50

Rondo Finale for Flute, Horn in F, and Piano Frith, John $22.95

Three Water Colors Gaubert, Philippe

Union for Flute, Horn, and Piano Giordano, Craig

Summer Night Hoover, Katherine $8.00

La primavera : lille trio for ﬂøjte, horn og piano Jeppesen, Knud

Diptych: for ﬂute, French horn, and piano Kalsons, Romualds 65 Texas Tech University, Ian Paul Hewetson, May 2019

Trio for ﬂute horn and piano Kauder, Hugo $18.00 Hochzeits - Ständchen (Wedding Song) Kling, Henri

Duex Nocturnes, Op. 32 Koechlin, Charles $15.95

Serendipity Linn, Jennifer $12.99

Lanterns Lowery Busler, Lydia $30.00

Trio for Flute, Horn, and Piano Moylan, William $30.00

Serenade for Flute, Horn, and Piano Op. 15 Müller, Bernhard. E. $21.95 Abendlied Popp, Wilhelm Albrecht Otto

Changing Light Rozé, Chris $8.00 Serenade for Flute, Horn, and Piano Saint-Seans, Camille

Water Music Schocker, Gary $19.99 An Evening Serenade for Flute, Horn, and Piano Sontag, Herbert O

Concerto a 3 in F major, TWV 42:F14 Telemann, Georg Philipp $26.50 Nocturne for Flute, Horn, and Piano, Op. 31 Tillmetz, Rudolf Serenade Titl, Anton Emil

Chamber Concerto No. 3 for Flute, Horn, Piano, Townsend, Douglas Rent only and Strings Serenade for Flute, Horn, and Piano Voigt, G. Bernhard Trio for Flute, Horn, and PIano Walters, R. Aaron Vignettes for Flute, Horn, and Piano Winteregg, Steven $15.00

66 Texas Tech University, Ian Paul Hewetson, May 2019

APPENDICES B: LIST OF WORKS FOR FLUTE, HORN, AND PIANO

ALPHABETICAL BY TITLE

332 Trio for Flute, Viennese Horn and Piano Beatty, Stephen W.

Abendlied Popp, Wilhelm Albrecht Otto

An Evening Serenade for Flute, Horn, and Piano Sontag, Herbert O

Auburn Echos for Horn, Flute, and Piano Faust, Randell $16.50

Bagatelle for ﬂute, horn, and piano Donkin, Christine $20.99

Ballade, Pastorale, and Dance Ewazen, Eric $44.95

Chamber Concerto No. 3 for Flute Horn, Piano, Townsend, Douglas Rent only and Strings

Changing Light Rozé, Chris $8.00

Concerto a 3 in F major, TWV 42:F14 Telemann, Georg Philipp $26.50

Conﬁtebor Tibi for Flute Horn and Piano Arr. Mike Bauer, Alois Magatagan

Diptych: for ﬂute, French horn and piano Kalsons, Romualds

Doppler Eﬀect Albert, Adrienne $25.00

Duex Nocturnes, Op. 32 Koechlin, Charles $15.95

Esquisse for ﬂute, horn and harp(piano) Barboteu, Georges $17.60

Fictional Migrations Bielawa, Lisa $45.00

Hochzeits - Ständchen (Wedding Song) Kling, Henri

La primavera: lille trio for ﬂøjte, horn og piano Jeppesen, Knud

Lanterns Lowery Busler, Lydia $30.00

Nocturne for Flute, Horn, and Piano, Op. 31 Tillmetz, Rudolf

Passages Basler, Paul $15.00

Rondo Finale for Flute, Horn in F, and Piano Frith, John $22.95

Scenes De La Foret, Op. 123 Bonis, Mel $39.75

Serenade Buchtel, Forrest L. $4.00

67 Texas Tech University, Ian Paul Hewetson, May 2019

Serenade Titl, Anton Emil Serenade for Flute, Horn, and Piano Saint-Seans, Camille Serenade for Flute, Horn, and Piano Voigt, G. Bernhard

Serenade for Flute, Horn, and Piano, Op. 15 Müller, Bernhard. E. $21.95 Sérénade voor ﬂuit, hoorn en piano Andriessen, Hendrick

Serendipity Linn, Jennifer $12.99

Souvenir du Rigi, Op. 34 Doppler, Franz $20.95

Summer Night Hoover, Katherine $8.00 Three Water Colors Gaubert, Philippe

Trio for Flute (Bassoon)Horn and piano, Wo0 37 Beethoven Trio for Flute, Horn, and Piano Dovernoy, Jacques Charles Trio for ﬂute, horn, and piano Kauder, Hugo $18.00

Trio for Flute, Horn, and Piano Moylan, William $30.00 Trio for Flute, Horn, and PIano Walters, R. Aaron Union for Flute, Horn, and Piano Giordano, Craig

Vignettes for Flute, Horn, and Piano Winteregg, Steven $15.00

Voice of Love Buchtel, Forrest L. $4.00 War Stories Albert, Adrienne $45.00

Water Music Schocker, Gary $19.99