General Information

Gig Book II - General Information


 

 

 


GigBook-2_Set_U1_80The PAXMAN Horn Quartet Gig Book II  -  by William Melton

Description / Beschreibung
​From the Foreword / Aus dem Vorwort
​Table of Contents / Inhaltsverzeichnis
Accessories / Zubehör
Programme Notes

© 2013
ee 213020
ISMN M-700196-71-4

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The PAXMAN Horn Quartet Gig Book liefert, wie schon im ersten Band, für alle Gelegenheiten das passende Repertoire. Mit den Kapiteln I. SACRED MUSIC, II. OCCASIONAL MUSIC, III. THE HUNT und IV. LITTLE CONCERT PIECES bietet es Musik für Hornquartett zu Anlässen jeglicher Art - das alles in einem handlichen Band.

Einige unverzichtbaren ‚Hits’ sind unter den 107 Stücken, jedoch die meisten sind neue Bearbeitungen von Musik verschiedenster Stilrichtungen aus sechs Jahrhunderten. Auch schon lange nicht mehr im Druck erhältliche originale Kompositionen erscheinen hier, ebenso wie erstmals nach dem Manuskript veröffentlichte originale Hornquartette.

Und nicht zuletzt: Programme Notes, d. h., ausführliche Werkbeschreibungen zu jedem Stück in Form von Programmheft-Texten (in englischer Sprache) sind frei erhältlich unter: Programm notes

 

Der Autor William Melton ist Hornist in einem deutschen Sinfonie Orchester. Schon seit 40 Jahren arrangiert er Stücke für Hornquartett und konzertierte mit verschiedenen Quartetten in Europa. Nord Amerika, Asien und Australien.

 

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From the Foreword / Aus dem Vorwort

‘Quartets! What joy! That is living in the very heart of music’.
Patrick O’Brian (The Wine-Dark Sea)

‘It is evident that the quartet of horns,’ wrote Nicolai Rimsky-Korsakov in The Principles of Orchestration,‘presents every facility for four-part harmony, perfectly balanced in tone’. Few groups of identical instruments command enough octaves to deliver a wide repertoire, but horn ensembles have done just that since their beginnings at Charlemagne’s court in the early Middle Ages. What began as an adjunct to the hunt moved over the intervening millennium to centre stage with 19th century horn quartet collections by Gumpert and Diewitz.

The present volume stands firmly in this tradition, offering a large selection of arrangements that complement sacred, social and concert settings. Differences with older collections will be noticed: ‘old’ bass clef and complex key signatures have been banished, while ample courtesy accidentals and healing breaks from high register play have been added. The sound of four horns is a rich one and too much exposure can affect listeners like over-indulgence in dessert. But a varying menu of styles can help avoid audience indigestion, so selections here range from Guillaume Dufay (born about 1397) through Alban Berg (born 1885).

Beyond the many new arrangements (often taken from works that recreated horn sound on piano or voices and are here welcomed back into the horn fold) are pieces composed originally for horn quartet. Some, like those by Josef Spary, Emil Kronke, and Karl Goepfart, have been out of print for over a century. Others, including works by Louis Delune and Hendrik Willems, have slumbered as manuscripts in archives and are published here for the first time. Here’s hoping that they, along with the rest of this collection, offer the chance to take both performers and audience into ‘the very heart of music’.

Chapter V. gives full scores of two trios (one solemn, one lively) in the instance of a tardy quartet member. The present format is a compromise; small enough to fit into a horn case easily, but large enough to avoid squinting at microscopic noteheads. The ring binding assures that the pages will remain securely open during play. Extensive programme notes will be posted on the publisher's website, and performers are welcome to download and insert these notes into their programme booklets.
 

 

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Table of Contents / Inhaltsverzeichnis

 

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