Steven Winteregg’s Blue Soliloquy was written for Richard Chenoweth and funded with the assistance of the International Horn Society’s Meir Rimon Commissioning Fund. It was composed in memory of Paul Chenoweth, who was a great supporter of music for the horn.1 The work is a nice addition to the horn’s unaccompanied repertoire. The range makes it playable for most, while techniques like shakes and pitch bending, combined with the jazz idiom, will keep this piece interesting for even the most talented player. It is written in ABA form. The A sections are in a slow and somewhat free tempo. It reflects the spirit of improvisation and allows the performer flexibility in interpretation. The contrasting B section is fast-paced with swung eighth-notes. Overall, this work is fun for both the performer and the audience.


Composer Winteregg, Steven
Dates (b. 1952)
Duration 5:00
Horn Range A2 to Ab
Level Medium
Clef Treble and New-Notation Bass Clef 
Techniques Flutter tongue, pitch bending, portamento, shakes, stopped horn 
Era/Style 20th Century
Country/Region United States
Accompaniment Available N/A
Accompaniment Difficuly N/A
Movements One

Steven Winteregg’s Three Moods is dedicated to Dr. Richard Chenoweth.  The work consists of three movements whose titles serve as both a tempo marking and a descriptor of the music.  The first movement, Dramatic, begins with two piano chords and is eerie, intense, and of course, dramatic.  This movement contains a section that is to be played freely; otherwise the meter alternates between 4/4, 3/4, 2/4, and 5/4.  It also calls for stopped horn, half-stopping, and flutter tongue.  The second movement also contains shifting meters (4/4, 3/4, 2/4, 5/4) and a section marked freely; however, as its title suggests, it is lyrical in nature.  The third movement, Playful, gets its character from alternating meters (2/8, 3/8, 4/8, 5/8, 6/8, 2/4, 4/4) and a light style.  It is loosely structured in ternary form, with a slower, more lyrical B section.


Composer Winteregg, Steven
Dates (b. 1952)
Duration 8:00
Horn Range C2 to B5 
Level Medium/Difficult
Clef Treble Clef 
Techniques Flutter tongue, stopped horn 
Era/Style 20th Century
Country/Region United States
Accompaniment Available Piano
Accompaniment Difficuly Easy/Moderate


Movements Duration Level Range
I. Allegro moderato 3:39 Medium/Difficult C2 to B5
II. Lyrical  2:10 Medium/Difficult B3 to G5
III. Playful 2:19 Medium/Difficult A3 to G5

The Alec Wilder Sonata No. 3 for Horn and Piano is not the typical classical sonata.  As evidenced in the title of the third movement, it contains many jazz elements, including laid-back triplets, pitch-bending, and glissandi.  It also contains some difficult rhythms, in numerous, sometimes mixed meters: 6/8, 4/4, 2/4, 3/4, 5/4.  There are frequent accidentals and wide leaps; however, there are minimal lip trills, fast articulated passages, and no bass clef.  The piece, while fun to play, requires a strong range and rhythmic skills.  It adds nice diversity to a recital program. 


Composer Wilder, Alec 
Dates (1907-1980)
Duration 13:00
Horn Range Eb3 to Bb5
Level Medium/Difficult
Clef Treble Clef
Techniques Glissando, lip trills, mute, stopped horn
Era/Style 20th Century
Country/Region United States
Accompaniment Available Piano
Accompaniment Difficuly Easy/Hard


Movements Duration Level Range
I. Moderately fast 3:17 Medium/Difficult Gb3 to Bb5
II. Slowly 4:32 Medium/Difficult D#3 to Bb5
III. With a solid beat and a jazz feeling 2:48 Medium/Difficult Eb3 to Bb5
IV. Tempo di Valse-Joyously 2:48 Medium/Difficult D3 to Bb5

The Concerto for Horn and Orchestra by John Williams is an intense and difficult work.  It was written for Dale Clevenger and commissioned by the Edward F. Schmidt Family Commissioning Fund for the Chicago Symphony Orchestra.  The piece consists of five movements; the third and fourth are performed without a pause.  This is a substantial work that requires good endurance, flexibility, technique, and mental stamina.  There are complex rhythms, numerous accidentals, and large leaps.  It is an impressive piece that is programmatic in nature with each movement portraying its subtitle.  This composition displays the grandeur of the horn’s timbre and beauty.


Composer Williams, John 
Dates (b. 1932)
Duration 27:00
Horn Range E2 to C6
Level Advanced
Clef Treble and “New-Notation” Bass Clef
Techniques Flutter tongue, glissando, mute, stopped horn
Era/Style 21st Century
Country/Region United States
Accompaniment Available Orchestra, Piano
Accompaniment Difficuly Hard


Movements Duration Level Range
I. Angelus 5:47 Advanced A2 to A5
II. The Battle of the Trees 2:18 Advanced E2 to C6
III. Pastorale 2:35 Advanced G3 to F5
IV. The Hunt 6:08 Advanced Bb2 to B5
V. Nocturne 10:28 Advanced C3 to B5

The Concertino, Op. 45, by Carl Maria von Weber is quite a difficult work.  It begins with an introduction and is followed by a theme and its three variations, a recitative, and a polacca.  The piece was written in 1815 for the natural horn.  It also calls for multiphonics.  This technique can prove to be difficult for many horn players.  In addition to the use of multiphonics, the performer must also have good flexibility and a mastery of the horn’s range, as the piece calls for a range from a pedal F# (F#2) to a high D#’s (D#6).  In this edition there are optional parts for sections involving the high C#’s (C#6) and multiphonics.  An additional challenge for performers is the length of the work.  With or without the repeats, this work is taxing on a player’s endurance.  While challenging, this piece is quite amusing for both the audience and the performer.  


Composer Weber, Carl Maria von
Dates (1786-1826) 
Duration 17:00
F2 to D#6 F2 to D#6
Level Intermediate-Advanced
Clef Treble and “Old-Notation” Bass Clef 
Techniques Lip Trill, Multiphonics
Era/Style Romantic
Country/Region Germany
Accompaniment Available Piano
Accompaniment Difficuly Moderate
Movements One