• Winteregg, Steven
• Medium
• United States
• Stopped Horn
• Flutter Tongue
• 20th Century

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.

• Wilder, Alec
• Difficult
• Medium
• United States
• Stopped Horn
• Lip Trill
• Glissando
• Mute
• 20th Century

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. 

• Williams, John
• Advanced
• United States
• Stopped Horn
• Glissando
• Flutter Tongue
• Mute
• 21st Century

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.

• Weber, Carl Maria von
• Intermediate
• Germany
• Lip Trill
• Multiphonics
• Romantic

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.