Urtext. Par SCHUMANN CLARA. Schumann's horn sonatas were composed in 1936/37. Considering the slim repertoire offered horn players from this period, it is more than surprising that these two masterpieces could have slumbered for so long. Both sonatas are similar in structure, with op. 118 being one Schumann's few three-movement sonatas. The first movements of the pieces sparkle with melancholically lyrical melodies, whereas passages strongly marked rhythmically, variously shape the two outer movements. Virtuoso moments can be found, respectively, in the final movements, bringing the works to a brilliant close. The horn parts predominantly range within the full, sonorous middle register, where occasional 'outbursts” up to the notated a flat'' are also not lacking. The clever handling of the balance of sounds, the possibilities on the early valve horn as well as the inner interweaving of themes differentiating horn and piano make the sonatas an exceedingly vivid testimony to Schumann's mature compositional art. Schumann's horn sonatas are a crucial enhancement to each horn player's repertoire. / Date parution : 2019-08-22/ Répertoire / Cor et Piano

Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Cor ou Violon et Violoncelle et Piano

Par SCHUMANN ROBERT. Editeur(s) d'origine: Haverkam Piano, Ulrich/ Répertoire / 4 Cors et Orchestre

Par TIPPETT MICHAEL SIR. Like Robert Schumann who often favoured the horn, Sir Michael Tippett who died on 8 January 1998 makes full use of the instrument‘s tonal possibilities in this work. He translated the Romantic genre of horn quartet into a modern tonal language: 'All movements contain characteristic calls and triad arpeggios. Sometimes the call itself is the theme, as in the fugue. Sometimes the calls are the accompaniment to a solo, such as in the nocturne.' (Tippett) The forms of the four movements, however, are traditional. The structure of the fist movement is reminiscent of the form of a strophic song. The second movement is an allegro, the slow third a nocturne in the traditional ABA form. And fially the last movement is a capricious fugue./ Répertoire / 4 Cors

Par SAINT-SAENS. Ähnlich wie Schumanns 'Konzertstück für vier Hörner' op. 86 (HN 1138) entstand auch Saint-Saëns' 'Morceau de Concert' mit der Idee, die technischen Möglichkeiten einer neuen Ventilhorn-Konstruktion auszureizen. In diesem Falle gab der französische Hornist Henri Chaussier den Anstoß. Er hatte ein neuartiges „Cor omnitonique' entwickelt und wollte mit Saint-Saëns' Komposition die Vorzüge seines Instruments demonstrieren. Chaussiers Erfindung konnte sich bei den Hornisten nicht durchsetzen - wohl aber das 'Morceau de Concert'! Das beliebte einsätzige Werk ist aus heutiger Sicht technisch nicht übermäßig anspruchsvoll - zudem hat schon Saint-Saëns selbst zwei erleichternde Kürzungsmöglichkeiten vorgesehen, so dass sich auch schon fortgeschrittene Schüler an das Stück wagen können./ Répertoire / Cor et Piano