Search results for 'horn call for horn and electronic media'
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Starting at: $10.00
Wonderful piece for horn and electronic media where the horn sound is echoed and the timbre manipulated through electronic media. Performed at The Electronic Music Plus Festival--The University of Maryland --1979. Subject of an article by the composer in THE HORN CALL--Fall of 1980. Recorded by Andrew Pelletier on MSR Classics 1168: Celebration: Horn Music of Randall Faust Grade: 5-6 Horn Call for Horn and Electronic Media-Andrew Pelletier, horn
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$15.00MSR CLASSICS, 1168. Andrew Pelletier, horn; Jason Aquila, piano, Hyung Ja Kim, piano; and Brian Rotz, organ.
HORN CALL for Horn and Electronic Media (1976)
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CONCERTO for Horn and Wind Ensemble (1987/2006)
CALL AND RESPONSE for Solo Horn (1997)
THREE ENGLISH FOLK SONGS for Horn and Piano (2006)
RONDO for Horn and Piano (1997)
DECLAMATION--Fantasy Variations for Horn and Harpsichord (2004)
FESTIVE PROCESSIONAL for Horn and Organ (2001-2002)
MEDITATION for Horn and Organ (1983)
CELEBRATION for Horn and Organ (1974)
FANTASY on "Von Himmel Hoch" for Horn and Organ (2001)
SESQUICENTENNIAL PRELUDE (2004) -
Starting at: $4.00
Solo work that explores the technique of stopping the horn. Composed for Marvin Howe.
In 1972 THE HORN CALL published part of a short treatise by Marvin Howe on Stopped Horn (1968). In this short treatise, Marvin Howe discussed an effective method for improving stopped horn technique. The essential statement was that closing the hand in the bell of the horn, lowers the pitch to a half-step above the next lowest partial in the harmonic series.” The subsequent letters to the editor of THE HORN CALL became what was known as “The Great Stopped Horn Debate.” Rather than write a letter to the editor, I chose to compose this Prelude—to illustrate the techniques discussed by Marvin Howe. (REF)
Interestingly enough, the review of this composition also became an ongoing discussion between the reviewer-Dr. Gayle Chesebro, the Editor of the Horn Call-Paul Mansur, and Dr. Howe. So, this composition, itself, also became part of “The Great Stopped Horn Debate”!
In many ways the composition is a dialog between the outdoor horn-with little fanfares on open notes of the harmonic series-and the indoor horn-with open-stopped glissandi-created by closing the right hand inside the horn. In the end, regardless of whether one is projecting open notes or stopped notes, the harmonic series always wins the debate! Grade: 5 University Division Solo Horn Selection--American Horn Competition, 1991, 1994, 1997, & 2001.
Recorded by Randall Faust on Fantasies on American Themes. Prelude for Solo Horn-Randall Faust, horn
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Starting at: $4.00
Variations on the Hymn--Amazing Grace. Composed for a presentation by John Heilman for the Auburn University Research Council, March 1997. University Division Solo Horn Selection, American Horn Competition, 2001
Grade: 5Recorded by Andrew Pelletier on MSR Classics 1168: Celebration: Horn Music of Randall FaustRecorded by David Griffin on compact disc: For You: Music for French Horn and PianoRecorded by Randall Faust on Fantasies on American ThemesCall and Response for Solo Horn-Randall Faust, horn
Andrew Pelletier, May 2018. Performance starts at 9:50.
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$16.00Recorded by Chicago Symphony Hornist David Griffin. Includes Call and Response for Solo Horn.
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$50.00Dedicated to Myron Welch and Gaylen Hatton. First performance at The International Horn Workshop-- Brigham Young University, 1987, by hornist Thomas Bacon and The Provo Wind Consort, Ralph Laycock--conductor.
Grade: 5
Scherzo from the Horn Concerto for Horn and Piano-Andrew Pelletier, horn Cadenza and Fanfare from the Horn Concerto for Horn and Piano by Randall Faust, Andrew Pelletier, horn Rondo from the Horn Concerto for Horn and Piano, Andrew Pelletier, horn The Concerto for Horn and Wind Ensemble was written at the request of Myron Welch, Director of Bands at the University of Iowa and Gaylen Hatton, Host of the Nineteenth International Horn Symposium. The first performances were given by hornist, Thomas Bacon with the Provo Wind Consort, Ralph Laycock, conductor, at the Nineteenth International Horn Symposium in 1987 and by Randall Faust with the University of Iowa Symphonic Band, Myron Welch, conductor in 1988. Subsequent performances have taken place at various other schools around the country. Throughout the Concerto, individual movements pay respect to various hornists who have been influential on the composer in a variety of ways. They are recognized in their respective movements.
Prelude-Nocturne (Horn and Percussion) (3 min.) The initial movement makes extensive use of glissandi from open to stopped horn as discussed in Marvin Howe’s article in the Fall, 1973 HORN CALL. The thematic material of this movement creates a scale of open and stopped notes that serve as the pitch set for the entire concerto. Scherzo (Horn, Woodwinds, and Percussion) (5 min.) The second movement takes on the heroic and agile character of the orchestral hornist. It employs a semitone flexibility pattern similar to one practiced by Thomas Bacon. Cadenza and Fanfare (Horn, Brass, and Percussion) (5 min.) Paul Anderson, horn professor at the University of Iowa, introduced me to the unmeasured Preludes of Gallay and some multiple tonguing techniques. I pay my respects to him in this movement. Rondo (Horn with complete Wind and Percussion Ensemble) (4:30 min.) Ignaz Leutgeb, the hornist who commissioned Mozart’s horn concerti, set the standards for all of us. Legends are told of the friendly banter between Mozart and Leutgeb. Their good humor is reflected here. Thank you, Ignaz Leutgeb!
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$0.00short description
In 1994, I was commissioned by Randy Gardner to compose a Quartet for Four Horns for a compact disc he was producing for Summit Records in collaboration with Michael Hatfield, Douglas Hill, and David Krehbiel. This Romanza was one of the four movements of that Quartet. In the Fall of 2016, I created this horn and piano setting of the Romanza for a series of recital performances, I was planning for the 2016-2017 academic year. -Randall Faust
Grade: 4
Recorded by Thomas and Tricia Jöstlein, horns and Yeon-Kynug Kim, piano on the CD: SINGING SMOOTH MELODIES ON THE HORN
Tricia Jostlein, horn and Minjung Seo, piano May 2018. Performance begins at 18:45.
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