Haydn J. - Concerto For Horn And Orchestra D Major Hob. Viid:3

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

Full Score-The Horn Concerto was written in 1971 and was the first of the ten concertos Gregson has composed to date. It is dedicated to the English horn player Ifor James who died in 2004 and was originally written for brass band. However in 2013 Gregson was asked by Paul Klein Principal Horn of the Ulster Orchestra and BBC Northern Ireland to undertake an orchestral version for him.  Gregson decided to score the concerto for a late Haydn sized orchestra with the addition of a percussionist to add some colour to the texture. The concerto takes as its starting point the Mozartian model namely a sonata form opening movement a song-like slow movement and a jaunty rondo finale. The opening movement opens with a strident motif built on rising fourths announced by the soloist and answered by the orchestra. This pattern of ‘question/answer’ continues until a climactic moment breaks the tension and is followed by a lyrical second subject announced by the soloist over undulating rhythmic patterns on strings. The music is developed and recapitulated from these ideas with the lyrical idea returning via solo clarinet with horn answering in canon. The movement ends with the strident fourths this time in inversion. The slow movement is in tertiary form and opens with an expansive melody from the soloist over a repetitive harmonic and melodic pattern. This is expanded and developed building all the while in intensity until it is interrupted by cadenza-like passages on the horn and muted brass. After a brief climax the music subsides into a moment of emotional serenity before the opening melody returns this time on solo oboe with the horn interweaving its own answering melodic lines. The rondo finale is more light-hearted in mood with a catchy 6/8 tune at its heart. It is twice interrupted first by an idea built on long held chromatic notes from the soloist against a highly rhythmic backdrop (wind brass and snare drum) then by a slower more thoughtful melodic idea. However

Incarnant le classicisme viennois tout comme Mozart et Beethoven, le compositeur autrichien Franz Joseph Haydn, a eu une carrière musicale couvrant tout la période baroque en allant jusqu'au début du romantisme. A travers cette partition Concerto for Piano (Harpsichord) and Orchestra F major Hob. XVIII:3 écrite et composée pour Tuba, Euphonium et Saxhorn et plus précisément pour Basse Partie Séparée vous retrouverez tout le talent de ce compositeur. Ce sont les éditions Henle qui ont eu le privilège d'imprimer cette oeuvre. / Basse Partie Séparée / Chanson En Séparée

to the Concerto for Trumpet and Orchestra Eb major by Joseph Haydn. Par PENDERECKI KRZYSZTOF. In the late classical period composers began to want to determine every note in the cadenzas of solo concertos, rather than leaving this as a matter for the soloist’s virtuoso inspiration. Penderecki’s cadenzas for Haydn’s celebrated trumpet concerto are written in this tradition, but the creative will of the modern composer makes them far wider in scope. Penderecki’s stylistic methods leave the soloist every opportunity to display their virtuoso skills. The original notes of Haydn’s concerto movements remain present as an underlying framework. Having the horn parts worked into the cadenzas produces a highly structured form that shows the trumpet concerto of the Classical period reflected in the light of modern composition techniques./ Répertoire / Trompette