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Concerto for Horn (Strauss)

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Franz Strauss

Franz Strauss (arr. Tim Laughlin)


This work bears the designation Opus 8.


General Info

Year: 1865 / 2007 / 2017
Duration: c. 14:00
Difficulty: IV (see Ratings for explanation)
Original Medium: Horn and orchestra
Publisher: Tim Laughlin
Cost: Score and Parts (print) - $64.95; (digital) - $64.95   |   Score Only (print) - $15.00


Movements

1. Allegro moderato – 5:30
2. Andante – 3:15
3. Allegro moderato – 4:25


Instrumentation

Full Score
Solo Horn
C Piccolo
Flute I-II
Oboe I-II
Bassoon I-II
Contrabassoon
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Soprano Saxophone
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II
Trombone I-II-III
Euphonium
Tuba
String Bass
Timpani


Errata

None discovered thus far.


Program Notes

Although often eclipsed by the horn concerti of his son, the Franz Strauss Horn Concerto remains one of the best-loved and most accessible works in the horn repertoire. The original orchestral accompaniment, currently out of print, has been here rearranged for wind ensemble. The work explores the soloist's lyrical expression and technical leaps and runs in its through-composed three movements.

- Program Note by publisher


Fran Strauss's aesthetic views and legendary musical skills (especially his uniquely rich, beautiful tone) immensely influenced his concerto. Unlike his son's concertos, which showcase amazing feats of technique on the instrument, Franz's 1865 contribution to the genre challenges the player's sense of musicality, tone, intonation, and melodic phrasing.

The first movement opens like a traditional concerto, with the orchestra establishing the key and thematic material for the work. It is a rather stern military march, but in a surprising turn of events, the entrance of the solo horn also brings a lyrical new theme. The thematic material is not shared as much in this concerto as other concerto forms. As a result, the importance of the solo horn is always held primary.

The end of the first movement dovetails with the beginning of the second; there is not a traditional pause between movements. After a short orchestral interlude, the melodically driven Andante begins. This movement highlights the kind of lyrical, balanced playing for which Strauss the horn player was known. The final movement is signaled by a timpani roll and is the most technically demanding movement of the work. Some of the leaps and runs no doubt inspired his son, who became rather notorious among horn players for writing very challenging horn parts in his own work—certainly a trait passed from father to son.

- Program Note by Anthony Suter for Redlands Symphony concert program, 9 March 2013


Commissioned and premiered by Scott Pappal, Scott Sheehan, and the Holidaysburg Area Senior High Symphonic Wind Ensemble, Holidaysburg, Pennsylvania.

- Program Note from score


Commercial Discography

None discovered thus far.


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • Ouachita Baptist University (Arkadelphia, Ark.) Wind Ensemble (Craig V. Hamilton, conductor; Holli Barger, horn) – 9 March 2020


Works for Winds by this Composer


Resources