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Music and Book Reviews

trombone/euphonium, tuba, trumpet/clarinet, and horn. As On the heels of Subito Musics CD-ROM collections of or-
Edwards notes in his introduction: You can never have too chestral music come these new offerings of solos, methods, and
many good tunes to play. Experienced performers know the chamber music featuring the horn. Together, these two vol-
value of a good simple melody. This book provides a wealth umes contain around 200 works by about 110 composers com-
of melodies for musicians to use as they see fit. prising almost 6000 pages of music. Everything included here
The book is divided into five sections. The first, Building is in the public domain (they checked!), ranging from well-
a Foundation, includes 30 original works that Edwards calls known standard repertoire to works long forgotten. Because
Foundation Pieces. Each is intended to focus on a specific these works are in public domain, one can assume that what
element of style. Some of these are presented in multiple keys, has been scanned are early or original editions. Sometimes it
while others have a varied rhythm. The second section, Sing- is nice to see them in this form (like seeing sans les Pistons
ing Smoothly, features 63 legato melodies, many of which are actually appear at the top of Dukas Villanelle), but these are
familiar folk tunes. These, too, are included in multiple keys. not always the cleanest or best to scan for various reasons. That
Section three, Singing with a Bounce, presents melodies that said, however, to have all of these pieces in one place is fan-
are in a detached style. These focus on specific rhythmic or tastic, especially with the opportunity to revive some pieces
metrical elements. The fourth section, Singing with Style, previously forgotten. While some may have deserved this fate,
reinforces the concept of style, and thus the melodies are all it is still nice to have a chance to find out for ourselves.
common and in familiar musical styles. The final section, Fid- The Solo section includes standard recital pieces and con-
dling Around, includes 16 fiddle tunes adapted for wind in- certos (with piano reductions) by Mozart, Haydn, Beethoven,
struments. Danzi, Strauss (both), Weber, and more, alongside pieces of
Edwards is clear in what he expects of the user in terms of various lengths and sizes by Abt, Bdecker, Eichborn, Kudel-
both process and outcome. Each section is prefaced by a short ski, Muzio, Spindler, and Zapff, among many others. Most are
introduction that outlines the content and his suggested tips originally for horn and piano, but some transcriptions are also
for using the section. His language is direct and straightfor- included probably part of the collections from which some
ward and he challenges the user to not only strive to achieve of these pieces were taken. The Methods section includes three
the goals he has put forth, but also to be mentally engaged types: exercises to play, by such composers as Maxime-Al-
in the process. Indeed, in several places he asks the reader to phonse, Brahms, Kopprasch, Lambert, Gallay, Schantl, Franz
consider pointed questions of self-assessment. In addition to Strauss, and Dauprat; duets and trios, by Kling, Rasmussen,
these introductory precursors, Edwards is clear and specific Schubert, Trrschmidt, Punto, and others; and full-blown
about how he wants the student to proceed with each exercise. methods by Gallay, Domnich, and Duvernoy in their original
For example, on the first melody in the first section he asks, form (i.e., in French).
Can you sing this? Can you buzz this on your mouthpiece? The Chamber Music volume is a wonderfully eclectic col-
thereby issuing a challenge. He also clearly marks articulations, lection, featuring a large number of wind quintets, as well as
dynamics, and tempos, giving the student all the information horn ensembles of three to six, a few brass pieces, and a sur-
needed to proceed. A mix of both musical and extra-musical prising number of mixed ensembles ranging from the familiar
information (prose) appears on each page. (trios by Brahms and Herzogenberg, piano quintets by Mozart
Other positive points include the organized and accessible and Rimsky-Korsakov, Schuberts Auf dem Strom) to the ob-
format, the easy-to-turn pages, clear text, and the fact that the scure (did anyone know the quintet for horn and strings by
book progresses largely from simpler concepts to more chal- Emil Kreuz? The piano quintets of Franz Spindler, Fritz Vol-
lenging ones. As Edwards notes, a number of concepts can be bach, or Hans Huber?). So much music has been written that
addressed, including rhythm, pitch, intonation, phrasing, and we have never seen or heard of. This volume not only closes
style. It may be easier to reinforce and retain the concepts dis- that gap a tiny bit but also makes me wonder just what else is
cussed due to the relatively short length of each melody; in- out there, sitting in libraries or filing cabinets or boxes waiting
deed, most are shorter in duration than many of our standard to be discovered.
etudes. The fact that this method is based on familiar melodies Admittedly, some of the scans are a bit fuzzy and may
can possibly make the concepts themselves seem more familiar not be useable for performance, but they are all clear enough
and more easily attainable as well. This resource can be used at least for study purposes. Out of curiosity, I compared the
with a wide range of students, from those who are just begin- scanned edition of the Reinecke oboe trio with the new au-
ning to those who could use a refresher or a new way to get thoritative edition sent by Breitkopf & Hrtel (reviewed below)
back to the basics. Heidi Lucas, University of Southern Mississippi (HL) and found it to look just like my old International edition the
score was similar and the parts had the same mistakes. Hav-
ing these older versions does not, in my mind, preclude own-
ing newer (and, in some cases, better) editions, but for trying
From Subito Music Corporation, 60 Depot Street, Verona NJ them out, this is well worth the relatively minimal expense.
07044; Created by CD Sheet Music and distributed For both volumes, access the Table of Contents on the Subito
by Hal Leonard. Music website. It is pretty amazing! An added bonus, in both
Horn Solos, Studies & Methods: The Ultimate Collection. cases, is the inclusion of entries from the 1911 Grove Diction-
ISBN 1-4584141-51, HL 00220363, 2011, $19.95 ary, a wonderful snapshot of the composers and other related
Horn Chamber Music: The Ultimate Collection. ISBN articles from that time. Check out the entry for Horn very
1-4584141-44, HL 00220362, 2011, $19.95 entertaining to see what people thought about the instrument

76 The Horn Call February 2012

Music and Book Reviews
100 years ago. I think these CD-ROMs are well worth the in- Chris Garland began his studies on a battered Lidl instru-
vestment some pieces one would never use, but more I am ment which sustained further damage when it fell off his bike.
certain we will play that would otherwise never have been His playing improved when a new job allowed him to pur-
known to us. JS chase a Holton H378 which seemed to play itself and inspired
his works in this catalogue. A classical church music tradition
underlies his joyful writing along with influences from bands
such as the Beatles and Genesis. As a geologist, Chris has trav-
The Horn Concerti by Wolfgang Amadeus Mozart, edited eled widely in search of uranium, gold, and oil. Although he
and cadenzas by Eric Ruske. Cimarron Music Press, 15 Cor- has not managed to find the lost chord, he has found happiness
rina Lane, Salem CT 06420; CM 1869, with his wife and two children La Bise (Breeze on the Lake)
2011, $50. is light, even joyous, with a robustamente encouragement
This new edition of Mozart concertos (with piano accom- from the composer at the start. A slower, lyrical center sec-
paniment) by international soloist Eric Ruske has a unique tion provides a calmer contrast, and a short recap of the open-
combination of desirable features all in one place. First, it in- ing material brings this piece to a rousing close. La Bise is a
cludes not only the four well-known works (K. 412, 417, 447, little easier technically, with narrower range and fewer overall
and 495) but also the other second movement of the D major technical challenges, but that only enhances its charm. Both of
concerto (K. 386b) and the two earlier stand-alone movements these would make nice recital pieces, even as a pair, to contrast
in E that are now usually combined, K. 370 and 371. In his larger, heavier works on a program. JS
preface, Ruske describes the sources he consulted, as well as
Oh No, John Variations for horn quartet by Chris Gar-
the rationale for some additional features: 1) the horn parts are
land. edb 0104021, 2010, 8.
presented only in their original keys to see them more accu-
Dedicated to his sister and her fianc on the occasion of
rately in their original form and allow for natural horn perfor-
their wedding, this additional offering by Chris Garland is an
mance; 2) in general, the parts are free of editorial additions of
enjoyable set of five variations based on the old folk song Oh
dynamics, articulations, etc., so that performers can create their
No, John! The song is an old story of a fellow trying to win the
own versions in the same spirit Classical soloists did; 3) sample
hand of a maiden and the antics he goes through after he is told
cadenzas are included, but performers are strongly encour-
she will always answer him No an interesting choice for a
aged to create their own; 4) judicious choices regarding page
wedding present! Each variation has a little different mood,
turns. To have a clean part to begin with is always refreshing.
from straightforward to a minor mode, followed by a quicker
My resident pianist suggests that the comb-bound accompani-
mixed-meter variation, then a slower, quieter one, and a rol-
ments are quite accessible and playable not the easiest re-
licking closer. The overall range and technical demands make
duction available, but certainly more practical than the crazier
this a very accessible arrangement for high school players and
ones we have seen (and shall remain nameless here). To have
up. We found this fun to play, especially when we exaggerated
all of these works in one clean, playable edition is great, and
the contrasts, made easier by reading the suggestive text of the
Eric is to be commended for it. JS
original song (well, we had to look that up). JS

From Editiondb, 7 Clarence Grove, Horsforth, Leeds LS18 4LA;
The Horn Call received a new installment of original works and
Pour une Perte for horn and piano by Christopher Gough.
arrangements from Musikverlag Uetz, part of two series the company
edb 0702004, 2011, 6.50.
produces, Musik fr Blechblser, and Edition Peter Damm. For more
La Bise for horn and piano by Chris Garland. edb 0702003,
information, visit
2010, 6.50.
8 Swinging Christmas Carols for Horn in F and Piano ar-
These two short pieces for horn and piano are a nice con-
ranged by Keith Terrett. BU 1258, ISMN M-50146-610-8. 2010,
trasting pair. According to the edition db website, Christo-
pher Gough (b.1991) studies horn and composition at the
British composer Keith Terrett has written several works
Royal Scottish Academy of Music. Prizes which Christopher
for brass and accompaniment, many of which feature jazz
has won through his composition include the Music for Youth
rhythms and styles, including his work for horn and piano en-
Composers prize, the RNCM Young Composer for Brass band,
titled A Hornist Goes Ballroom Dancing [Ed. Note: reviewed in
and most recently, runner-up for the Associated Board inter-
our October 2009 issue]. Terrett has a unique ability to translate
national young composers competition. Pour Une Perte [For
the inherent style qualities of many standard jazz styles to his
a Loss] was written by Christopher as a salute to the loss of
writing for horn and piano.
his twin brother... This piece is poignant and expressive, and
His presentation here of eight traditional Christmas car-
# b
requires some careful pacing to bring out the professed senti-
ols features a brand-new take on some old favorites. The set
ment. The overall range is c -b , and the range of dynamics is
includes eight selections: Ding Dong Merrily on High, Si-
quite large, in keeping with the emotions involved, a mix of
lent Night, We Three Kings, Away in a Manger, God
sadness and warm memories. I found the piece very striking,
Rest You Merry, Gentlemen, Deck the Halls, Good King
and look forward to performing it myself.
Wenceslas, and Joy to the World. Each movement features a

The Horn Call February 2012 77

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