INSTRUMENTAL FORM AND USAGE IN SELECTED

CLASSICAL HORN CONCERTOS

by

RICHARD D. BINGHAM, B.Nus.Ed.

A THESIS

IN

MUSIC

Submitted to the Graduate Faculty

of Texas Tech University in
Partial Fulfillment of
the Requirements for
the Degree of

MASTER OF MUSIC
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ACKNOWLEDGMENTS

The author gratefully acknowledges the valuable suggestions

and assistance rendered in the preparation of this work by Professors

Paul Cutter, Mary Jeanne van Appledorn, Richard McGo·.-1an, Anthony

Brittin and Richard Tolley of the Department of Music, Texas Tech

University. To Mr. Paul Yo\lllg, Chairman, Reference Department,

Texas Tech University Library, and mauy others are also due his

appreciation and thanks for numerous courtesies.

ii
 CONTENTS
LIST OF TABLES

ACKNOWLEDGMENTS •• • • • • • • • • • • • • • • • • • • • • • • . ii

LIST OF TABLES • • • • • • • • • • • • • • • • • • • • • • • •• iv

I. HISTORICAL ASPECTS OF THE HORN • • • • • • • • • • • • • 1

II. CONCERTO FORM • • • • • • • • • • • • • • • • • • • • • 10

The Classical Concerto • • • • • • • • • • • • • • • 10

The Mozartian First Movement

Concerto Form • • • • • • • • • • • • • • • • • • 20

III. W. A. MOZART : CONCERTO NUMBER 4 IN

Eb MAJOR FOR HORN AND ORCHESTRA K.495 •••••.• 39

IV. JOSEPH HAYDN: CONCERTú NUMBER 1 IN

D-MAJOR FOR HORN ANO ORCHESTRA ••••••••••• 70

V. MICHAEL HAYDN: CONCERTO IN D-MAJOR

FOR HORN ANO ORCHESTRA .•••••••••••••• 91

VI. FRANz DANZI: CONCERTO IN E-MAJOR FOR

HORN AND ORCHESTRA • • • • • • • • • • • • • • • • • 109

VII. FRANCESCO ROSETTI: CONCERTO IN

D-MINOR FOR HORN AND ORCHESTRA • • • • • • • • • • .131

VIII. CONCLUSIONS • • • • • • • • e • • • • • • • • • • ••• 156

First Movement Concerto Form • • • • • • • • •• 156

"Hand-Stopping" • • • • • • • • • • • • • • • • . . .172

The Relationship of Composers

and Hornists •••••• • • • • • • • • • • • .178
BIBLIOGRAPHY ••••••••• • • • • • • • • • • • • • • • • • 187
•

iii
I. THE STRUCTURE OF THE DA CAPO ARIA. • • • • • • • • • • • 13
II. THE DA CAPO ARIA AND THE EXTENDED ARIA COMPARED •• . . . 15

III. NORTH GERMAN CONCERTO FORM • • • • • • • • • • • • • • • 18

IV. KOCH'S DESCRIPTION OF CONCERTO FIRST-

MOVEMENT FORM • • • • • • • • • • • . . . • • • • • • 28

V. KOCH'S DESCRIPTION OF MODIFIED CONCERTO FORM. • • • • • • 35

VI. FIRST RITORNELLO • • • • • • • • • • • • • • • • • • • . 161

VII. FIRST SOLO SECTIONS COMPARED • • • • • • • • • • • • • . 162

VIII. DEVELOPMENT KEYS OF HORN CONCERTO

FIRST MOVEMENTS ••.•••• • • • • • • • • • • • • 165

IX. SECOND MOVEMENTS • • • • • • • • • • • • • • • • • • • . 170

X. THIRD MOVEMENTS •• • • • • • • • • • • • • • • • • • • • 171

XI. OPEN AND "STOPPED" NOTES • • • • • • • • • • • • • • • • 172

XII. PHRASES BEGINNING WITH A "STOPPED" NOTE . . . . . . . 173

• •
XIII. PHRASES ENDING WITH A "STOPPED" NOTE • • • • • • • • •• 173

iv
 5

CHAPTER I

HISTORICAL ASPECTS OF THE HORN

Writing in an American journal sorne years ago on the vagaries

of his instrument, an eminent horn player headed his article with

the

motto: "God in His wrath created the horn." He might have added that
1

the blueprint was lost, for there is probably no orchestral instrument

about whose origin and early development so few facts are known.

The scope of thís paper is not meant to trace the development

of the horn from earliest times to the present. However, certain

his- torical and developmental points from the horn's history and

certain technical developments, notably that of "hand-stopping," as

are rele- vant to the present study will be drawn on to help clarify

the treat-

ment of the horn as a solo instrument in the concerto of the Classical

2
Period.

The earli.est record of horn or trumpet making is found in a

description dating from the third or fourth millennium B.C. by the

Sumerian hero, Gilgamesh. It describes an instrument made of wood,

1
Reginald Morley-Pegge, "The Evolution of the Modern French
Horn from 1750 to the Present," Proceedings Royal Music Association,
London, 69 (11 March, 1943), 35. Through his presentation, he tries
to fill in sorne of the gaps in the history of the horn.
2
For f,1.��·.1er discussion of the horn and its development, see
Horace Fitzpatrick, The Horn and Horn Playing and the Austro-Bohernian
Tradition fro� 1680 to 1830 (London: Oxford Vniversity Press, 1970),
pp. 1-84 and 125-191; Birchard Coar, The French Horn (DeKalb, Illinois,
1971), pp. 1-46; Robín Gregory, The Horn: A Comprehensive Guide to
the Modern Instrument and Its Music (2nd ed.; New York: Frede�ick
 6

CHAPTER I
Praeger, 1969), pp. 21-31; and Reginald Horley-Pegge, Jhe French Horn:
Sorne Notes on the Evoluticn of the Instrument and Its Technique (2nd
ed.; New York: W. W. Norton, 1973), pp. 1-120.

1
in fact a hollow tree branch, with an added refinement of a somewhat
3
larger portian at the end to augment the sound. The prototype of the

modern instrument, a conical bored, hooped hcrn, was also k.nown to the

Romans through their cornui found in their military band. It was a cup-

mouthpiece instrument of conical bore formed into a large single hoop

ending with a bell pointing forward over the player's shoulder. This
4

instrument, as with most brass instruments during the early period, was

used to sound battle fanfares or for military signaling.

The entrance of brass instruments into the realm of art music

seems to have taken place around the VÑelfth century. Exact information
5
as to type of music, performance practices, and instruments, is lost.

But this time period does mark the beginning of the development which

the horn would undergo to become a solo instrument during the Classical

period. In 1530 Pierre Attaingnant began to publish the first instru-

mental transcriptions (primarily for keyboard), and it is to this usage

that Tylman Susato refers in a collection published in 1545. The tenth

volume of Battles, Hunts and Bird Songs contains a programmatic chanson,

"La Chasse de Lievre," by Nicolas Gombert. The tenor and bass lines

can be played on a horn in Fas the idiom is horn-like, excluding cer-

6
tain notes.

3
Coar, The French Horn, p. l.
4
F·1tzpatr1. c,k H ornan d H orn Pl ayi. ng, p .•1
Th e
5
Edward Patte Evenson, "A History of Brass Instruments, Their
Usage, Music and Performance Practice in Ensembles During the Baroque
Era," (unpublished Ph.D. dissertation, University of Southern Califor-
nia, 1960), p. 2.
6
Fitzpatrick, The Horn and Horn Playing, p. 3.
 3

Witb furtber development taking place, Francesco Cavalli, in

1639, composed tbe first surviving born fanfare for use in his opera,
Le Nozze di Teti e di Peleo. In 1649 Lully �rote in bis opera, Les

Plaisirs de l'Isle Encbantée, a second fanfare whicb with tbat of

Cavalli establisbes tbe precedent for early usage, namely, to invoke

7
tbe mood of tbe bunt.

Between 1650 and 1680 the instrument underwent furtber modifi-

cation in France tbat resulted in tbe development of tbe Waldhorn,

distinguisbed from the Corno da caccia. Tbe instruments were similar

in appearance, but the moutbpieces produced marked differences in

tone. The Corno da caccia moutbpiece was shallow and somewhat cupped

in a manner similar to the trumpet, giving a trumpet timbre. The Wald-

horn mouthpiece was funnel-sbaped as is today's horn moutbpiece, pro-

ducing a horn timbre. The bores were different in that the Corno da

caccia was cylindrical and the Waldborn conical.8 This division would

ultimately give tbe horn its present-day sbape and form.

In 1681 Franz Anton, Count Sporck, introduced the Waldborn to

9
bis native Bohemia. Still used as a hunting instrument, the horn
symbolized all that was desirable in worldly virtue, representing in

a new way tbe older ritterlich-hofisch (cbivalrous-courtly) ideals

10
whicb were at the center of aristocratic thought.

7Fitzp2t�ick, The Horn and Horn Playing, pp. 5-6.

8
Evenson, "A History of Brass Instruments," pp. 64-65.
9Fitzpatrick, The Horn and Horn Playing, pp. 14-15.

lOibid., p. 120.
 4
5
Dueto the outdoor association, opera composers used the horn

to create the mood of the hunt and the aura of royalty. The exact

date the horn became a part of the opera instrumental consort is not

certain. In 1713, Johann Mattheson states that the horn was in use in
11
the church, theater and concert music in Germany and Austria. This

is supported by comments made by David James Blaikley who states that

befare this period, the horn had been used only far color effects.

by 1711, records of the Royal Theater of Dresden show two horns in the

orchestra, and it may have been as early as 1705 that Reinhard Keiser
12

13
required two horns in his opera, Octavia.

As the instrument carne to be part of the orchestra, a method to

alter the fundamental pitch of the horn was found. Until this period,

the horn was fixed in the key in which it was built. The Waldhorn was
14
built in seven keys: D, F, G, A, B flat-Alto, D-Alto, and F-Alto.

The high pitched keys sound respectively a majar second below concert

pitch, for B flat-Alto; a majar second above concert pitch, for D-Alto;

anda perfect fourth above concert pitch, for F-Alto. In arder to

change key, it was necessary for the horn player to change instru-

ments, thus a better method was needed. The solution was to employ

crooks, which had been used on trumpets since the early seventeenth

century. The credit for the development of the horn crook is given

11
Adam Carse, The Orchestra in the XVIIIth Century (Cambridge:
W. Heffer and :..,.1, 1950), p. 39.
12
navid Blaikley, "The French Horn," Proceedings Royal Music
Association, London, 35 (15 June, 1909), 126.
13
Coar, The French Horn, p. 11.
14
Evenson, "A History of Brass Instruments," pp. 55-56.
to Michael Leichnambschneider, a Vienna horn maker, in 1703 or shortly

befare. Described in simple terms, the crook was merely "a bent or
15

coiled detachable tube, anda shank or str&i�ht tube, by means of whicP

a brass instrument could be temporarily lengthened and thereby lowered

1116
in pitch. These crooks were of the "terminal" type; that is, they
were inserted between the mouthpiece and body of the instrument, singu-

larly or in combinations of a master crook and several couplers. By

the appropriate combination of crooks, the horn could be pitched in

17
almost any key, from A-flat basso to F Alto.

At this time the horn was still limited primarily to those tones

fol.llld in the harmonic series, and therefore any natural diatonic passage

had to be played in the clarino register where the partials fall close

enough to permit the production of a scale. Horn makers prior to the

introduction of "hand stopping" had designed the instrument to improve

the intonation of the eleventh and thirteenth partials of the horn (see
18
place I). In the 1750's Anton Joseph Hampl, who was second horn
of the Dresden opera under Johann Adolph Hasse, codified a technique
of

"hand stopping." It should be stressed that Hampl did not invent "hand

stopping," but simply modified and organized a method of filling in the

19
gaps in the horn's natural scale.

15
Fitzpatrick, The Horn and Horn Playing, pp. 32-34.
16
Adam Carse, Musical Wind Instruments (New York: Da Capo
Press, 1965), �'t'. 79-80.
17
!bid., pp. 215-216.
18
Fitzpatrick, The Horn and Horn Playing, p. 37; see pp.183-85.
19
rbid., pp. 85-86. Many modern writers suggest 1770 as the
date for "hand stopping," but several works by Hampl dispute this date.
 6
7
PLATE I

+
7 f

•
- - -------- ·--- -
' -- --·-.------- -- - --- - -- - --- ·--- ···-- . ..._
.
¡

Between 1750 and 1770, Hampl undertook experiments to soften the

tone of the natural horn. Oboe players at this time were using cotton

wool in the bell of the oboe. Hampl tried this on the horn and found

the hand would work as well. Even more important, he found the pitch

of the instrument could be raised by a semi-tone, or if one completely

20
closed the bell and changed the embouchure, a full tone higher. By
further experimentation Hampl developed thé system of "hand stopping"

so that one could obtain all chromatic intervals in the middle register
"
of the horn. Plate I shows the relative amount of adjustment of the

hand for each tone of the chromatic scale from e' to e'''. The open

circle indicates an open harmonic with the harmonic number in the

series indicated by a numeral. The filled circle indicates a fully

"stopped" tone requiring full bell closure by the hand. A fraction

indicates the relative amount of closure by the hand in the bell.

20
Coar, The French Horn, pp. 29-30. There is still much debate
as to whether the pitch rises or drops. Prcsent opinion concludes that
it rises as the placement of the hand in the horn bell shortens the tube.
A plus sign indicates open harmonics that do not sound in tune without

correction by the hand in the bel! of the horn. While the table dem-

onstrates the µossibility of a complete ch�omatic scale, there are

many difficulties dueto the uneven timbre between open and "stopped"
21
notes. For those tones requiring partía! bell closure, the amount

of "stopping" will depend upon several characteristics. First, the

make of a particular horn; second, the size of a player's hand; and

third, the tempo at which a passage is to be played. For example, a'

and b' at quick tempo can be produced with nearly the same amount of

closure of the bell by the hand, and the pitch of each can be "bent"

with the embouchure to a small degree. It is seen, then, that by

using a combination of these techniques many of the problems of execu-

tion on hand horn are made easier.

The exact nature of brass acoustics is still not clearly

under- stood. The simplified form of the "horn equation," first

discussed in the 1760s, shows that at any point in the horn the

acoustic wavelength depends upen the square root of the difference

between the squared fre- quency anda "horn function" U (U being energy

leaving the horn and energy reflected back into the horn), that depends

in a simple way on the horn bel! flare. The bel! flare must be

designed in such a way as

to trap energy inside the horn to create strongly marked standing waves

at precisely defined f�equencies. 22 By closing the bel! of the horn, a

distorted series of harmonics is obtained permitting the production of

21
Coar, The French Horn, pp. 29-30.
22
Authur H. Benade, "The Physics of Brasses," Scientific Amer-
ican, 229, No. 1 (1973), 24-25.
 8
23
tones between the open partials of the horn dueto the pitch rise.

Hampl made a second contribution to the development of the horn;

the development of the Inventionshorn. Hampl found that with the use o�

"hand-stopping" the old "terminal" crooks did not work well because

the bell of the instrument varied in length from the mouthpiece with

each crook change. With the assistance of the Dresden horn maker,

Johann Werner, Hampl redesigned the horn in such a way to allow the

crooks to

be placed in the body of the instrument in the manner of interchange-

able t un1. ng-s l"1d es. 24

One final alteration to the natural horn was made to give it

the shape and form that would remain in use until the invention and per-

fection of the valve. In 1780 the French horn maker, Joseph Raoux, at

the suggestion of Carl Thürrschmidt, modified the Inventionshorn to

avoid sorne sharp bends in the tubing where the crook was placed. Not

only did this strengthen the horn mechanically, but made it freer blow-

ing, because of a reduction of wind resistance within the tubing. The

horn was made to take only five crooks--D, E flat, E, F, and G--the

crookings of most solos and chamber works. For this reason the horn

became known as the Cor-Solo, whereas the other horn, the modified

Inventionshorn designed to take all crooks, became the standard

25
orchestral horn of the Classical period. If a valve section were
added to the Cor-Solo crooked in F, it would then become the single F

23
Blaikley, "The French Horn," 125.
24
Reginald Morley-Pegge, The French Horn (2nd ed.; London:
Ernest Benn, 1960), pp. 20-21.
25
Ibid., pp. 21-22.
 9

valve horn of modern usage. These two horns are similar in relation

to the bore and bell diameters. The step carried further would ulti-

mately produce the modern double horn in F and B flat Alto, the

standard orchestral horn of today.

The natural horn as a solo instrument in the concerto pre-

sented particular problems to the composer of the Classical period.

The use of "stopped" notes limited the use of dynamic contrasts.

The crooking of the instrument permitted limited modulation to the

dominant or relative minor or on occasion to the sub-dominant. Other

key movements involved considerable usage of "stopped" notes and

caused numerous pitfalls of tonic note placement in the natural

horn scale. The horn must be harmonically supported by the orchestra

26
for in normal circumstances it can only play one pitch ata time.

Lastly, the composer must provide relief from the horn tone from time

to time, for the timbre of the horn is such that it will blend with the

accompanying orchestra and not be clearly heard above the orchestration.

The solutions to these and other problems will be explored in the fol-

lowing chapters of analysis of five concertos for horn by composers of

the Classical period, in reference to the principal concerto medium of

the era, the piano concerto.

26
For a discussion of the production of chords on the horn,
see Coar, The French Horn, pp. 91-97.
 CHAPTER II

CONCERTO FORM

The Classical Concerto

The first movement concerto form of the Classical period evolved

from a continuous growth of the earlier Baroque concerto form, particu-

larly the Baroque violín concerto. The violín concerto of the Baroque

era had been created by the composer virtuosi far their own use and for

use by other virtuosi. In these violín concertos the aspect of personal

controlled display became important. The cadenza at the end of the move-
27
ment became the vehicle far pure virtuosity.

Johann Sebastian Bach's concertos far solo Klavier and orchestra

formed a bridge between the Baroque violín concerto and the keyboard con-

certo of the Classical period. These concertos were significant because

they were among the first examples of their type. The seven Klavier con-

certos were composed while Bach was a conductor of the Collegium musicurn

of Leipzig in 1729 to 1736. The Klavier concertos were not originally

keyboard compositions, but rather transcriptions of other works, mostly

violín concertos, the principal concerto medium of the Baroque. In

transcribing these works Bach adapted the established concerto form to

the keyboard concerto. Until then, the Klavier had been relegated to
the orchestra t�� continuo usage or use as a solo instrument in sonatas,
suites and part forms. Its function in the concerto was to accompany

27
Abraham Veinus, The Concerto (London: Cassell, 1948), p. 39.

10
 11

solo episodes for the violin, orto outline and strengthen the harrnony

in the orchestra. In the Fifth Brandenburg Concerto (1721), the Kla-

vier was found in the concertino for the first time and was given an

extended solo cadenza. Bach adapted the violín concerto for this pur-

pose b ecause there was notan ex1. st1. ng concerto pr1. nc1. f or Kl avi. er. 2

p 1e B

In Bach's Klavier concertos, the relationship of solo to orchestra was

nota rivalry, but rather the Klavier was the predominant instrument.

Bach's principle was based on Vivaldi's concerto form, but the Italian

model was only a skeletal outline on which Bach built a personalized

concerto form. As Bukofzer observed,

In his [Bach's] hands it became a thoroughly personal com-

position, distinguished by incisive themes, perspicuity of
form; and profuse contrapunta! texture. The admixture of
polyphony inevitably tended to obscure the tutti-solo con-
trast but this increase in fonnal complexity was counter-
balanced by the da-capo form which transformed the diver-
sified ritornello form into a highly unified tripartite
structure.29

Mozart's concerto principle further modifies the regular alteration of

tutti and solo sections as both solo and orchestra stand equal with one

another. However, the traditional scheme of three movements in fast-

slow-fast arder, and the greater length and weight of the first movement

i. s reta1. ne.d 30

Befare Mozart's modifications to concerto form, composers of the

early Classical period were seeking a concerto form to fit their require-

ments which were: 1) the display of virtuc��ty; 2) the display of

28
Ibid., pp. 53-56.
29
Manfred F. Bukofzer, Music in the Baroque Era (New York: W.
w. Norton, Inc., 1947), p. 290.
30
nonald J. Grout, A History of Western Music (New York: W. W.
Norton, Inc., 1960), p. 466.
counterpoint, for which the form of the baroque concerto for wind

instruments was not suitable; and 3) a new stylistic direction. The

universal forru for presenting an importan� solo far voice and instru-
menat accompan:.unent was operati. c ari. a. The operatic aria had
1
teh 31

served as a model for the ltalian concerto, illustrating a general con-

cept of form giving a practica!, technical foundation to the concerto

32
composer of the Classical period. The da capo aria was the most
prevalent of the numerous aria forros. This form served as a basic
33
precept for later developments.

The da capo aria opened with an orchestral ritornello which

began with an important theme in the tonic key. After the ritornello,

the first solo section began with sorne reference to the main theme and
34
t n move d 1· nto 1· ts own vaca 1 1 1· ne. secon d r1. torne 11 oc 1 teh
e ose d
A
h

first solo section. The second solo section provided a modulatory

middle section and euded in the dominant ar tonic parallel minar key

center. After the second solo section the first ritornello, the first

solo, and second ritornello returned unaltered for the da capo in the
35
tonic key. (See Table l.)

With the growth and further development of concerto first move-

ment form, the North German composers adopted the extended aria form

31
nenis Forman, Mozart's Concerto Form (New York: Praeger
Publishers, 1971), p. 28.
32
v e r· n us , �. �· t . 48 .
, p.
33
Forman, E.P_· cit., p. 28.
34
The first solo section and all that followed were punctuated
by sub-ritornellos often derived from thematic elements of the first
ritornello.
35
Forman, E.P_· cit., p. 29.
 1413

TABLE l

THE STRUCTURE OF THE DA CAPO ARIA

First Ritornello Main Theme Tonic

First Solo Reference to Main Tonic

Theme, may modulate
and return to tonic.

Second Ritornello Often opens with Tonic

Main Theme, rnay be
made up from
elements of First
Ritornello

Second Solo New material, free Modulatory

modulatory section,
ends in dominant
or tonic parallel
minar.

Third Ritornello First Ritornello Tonic

repeated.

Third Solo First Solo Tonic

repeated.

Fourth Ritornello Second Ritornello Tonic

repeated.
for concerto composition. The extended aria was not merely an exten-

sion of the da capo, but it did contain two important differences:

1) the first sc1o section sometimes moved into the dominant key cen-

ter, and the following ritornello confirmed the new tonality; therefore,

the extended aria began the middle section in the dominant and, follow-

ing the usual free modulatory progression, ended in the dominant; 2) the

final section of the aria could not be an exact repeat of the first part

since the first solo section had moved into the dominant and the

yecapit-

ulation had to remain in the tonic key throughout. This gave the

extended aria its chief advancement over the da capo form by introducing

new mater-

ial into the recapitulation of the first solo section, thus heightening

36
its emotional pitch over the original first section. (See Table II.)
These two points became rules invariably followed by the North German

composers.

Carl Phillip Emanuel Bach and the other composers at the court of

Frederick the Great used the extended aria form to contrast the harpsi-

chord and orchestra. They adapted the traditional style of solo writing

to the Klavier and the ritornello to the orchestral practice at the court.

In Uldall's essay, Das Klavierkonzert der Berliner Schule, the North Ger-
37
man form is recognized as being the standard concerto form. Although

Uldall did not recognize the relationship of the extended aria to the

North Gennan concerto form completely, by the middle of the century it

38
was the standard Klavier concerto form.

36
Forman, �· cit., p. 32.
37Hans Uldall, Das Klavierkonzert der Berliner Schule (Leipzig:
Breitkopf und Harte!, 1928), pp. 15-17.
38
Forman,�· cit., pp. 33-34.
 15
17

TABLE II

THE DA CAPO ARIA AND THE EXTENDED ARIA COMPARED

Da Capo Aria Extended Aria

First Ritornello Main Theme Uain Theme

Sequences Seque ne es
Close Close

First Solo Opening reference Opening reference

to Main Theme as to Main Theme as
described. described.
Solo section some- Solo section some-
times modulates times moves to the
but always ends dominant and ends
in tonic. there.

Second Ritornello A part of the Same as da capo

Firs t, in tonic. but can be in
tonic or
dominant.

Second Solo Fresh material; Same as da capo

free; modulating; but may start
end in dominan t • in dominant.

Third Ritornello Repeat of First; Sometimes omitted;

of part of
tonic.
the first. if not, a reprise
Tonic or tonic minar parallel.
Third Solo Repeat of First; Variation of First
tonic. or extension of First;
may reprise sorne
material; tonic.

Fourth Ritornello Repeat of Second; Repeat of part of

tonic. first; tonic.
 Before the modifications by Johann Christoph Bach and Mozart,

the North German concerto form had nine important functional

features:

1) t he ritornellvs with their r ep ea t ed ent.cies served as supporting

pillars; 2) the middle section was modulatory allowing the solo to

develop new ideas; 3) there was a special relationship between the

solo and orchestra, neither of which was subordinate to the other--

rather, each was featured in turn. The solo used the main theme, but

the orchestra borrowed nothing from the solo; 4) the first ritornello

opened with the main theme. Sequences flowed from the theme until they

diminished into a second subject still in the tonic key. The second

subject was a quieter passage, a relief in both tone and in pace (it

was scored more lightly). The "relief" second subject passage occurred

about halfway through the ritornello, which then led to a new series of

sequences and ended with two or three cadential phrases. Often one of

the cadential phrases provided another "relief" subject passage. Fin-

ally, the last cadential phrase, usually related to the main theme,

closed the ritornello; 5) the first solo section opened with a refer-

ence to the main theme, and following a sub-ritornello, moved into two

lyrical passages--the first bridging the gap to the dominant key, the

second confirming the new key; 6) the first solo section often ended

with a restatement of cadential material from the first ritornello; 7)

the second ritornello, ften restated additional parts of the first

ritornello; 8) in the middle section, C. P. E. Bach often began with

development of the main theme. The section was modulatory, but even-

tually settled into the dominant; and 9) the third ritornello was in
 17
19

the tonic key and recalled previous thematic material. Following the

third ritornello was the third solo section with a variable element of

recapitulation, �nd after this the fourth =itornello began. A cadenza

was often found at this point in the fourth ritornello. Often the third

and fourth ritornellos were only the first ritornello divided with the
39
third solo section inserted between. (See Table III.)

In altering the North German concerto form, J. C. Bach changed

the first ritornello. The first ritornello then opened with either a

lyrical or rhythmic first subject; the one unsuitable for development

or use in sub-ritornellos, the other limited in its ability to unify

the movement. After the first subject, a bridge passage began. The

bridge ended with a dominant implication, but did not settle into the

key. This action preserved a function of the first ritornello, that

of tonic key assertion. The second subject followed the bridge.

These were often definite tunes, played by only two or three of the

instruments in the orchestra. Following the second subject carne a

series of cadential phrases usually unrelated to the first subject.

This helped decrease the importance of the main theme, and broke up
. . 40
s h ort, contrast i ng secti ons.

The format of the first solo section in J. C. Bach's hands was

variable, but he added four new characteristics. First, the new mater-

ial for the keyboard w.vs more lyrical. Second, af ter the move into

the

39
Forman,�· cit., pp. 34-37.
401bid., pp. 39-40.
 TABLE 111

NORTH GERMAN CONCERTO FORM

First Ritornello Main Theme Tonic

Sequen ces
Second Subject
(Sequences)
(Cadential phrases) Tonic

First Solo Main Theme/Sub-

Ritornello Tonic
Solo/Sub-Ritornello Tonic
Solo to Dominant
(Cadential phrases) Dominant

Second Ritornello (Sequences) Dominant

(Cadentials) Dominant

Second Solo Main Theme developed Modulatory

followed by a free
fantasía or new mater-
ial in the form of a
fantasía Dominant

Third Ritornello (Main Theme) Tonic

(Sequences) Tonic

Third Solo May follow the course Tonic

of the First Solo, either
more or less; usually
opens in the same way Tonic

Fourth Ritornello (Sequences) (Second Tonic

Subject) Tonic
(Sequences)
(Cadential phrases) Tonic
 1919

dominant key, he introduced a new second subject similar to that of a

sonata (often followed by the old second subject). Third, more mater-

ial from the first ritornello was used in t�G first solo section.

Fourth, a shift of emphasis was achieved by J. C. Bach's development

of the "piano clímax." Different from a cadenza which broke the pace

of the work, the "piano clímax" instead generated tension and increased
dynamic levels until the cadential trill ending the first solo section
.
41

In Mozart's works, the "piano clímax" became an important structural fea-

ture, but J. C. Bach first saw the logic of the operatic convention in

the concerto. The second ritornello, instead of beginning a new section,

served to clase off the first solo section.

Development sections were not closely related to the rest of the

movement; however, they observed the relative majar or minar key center

without a strong sense of arrival. The recapitulation was similar to

that of the North German form but with the return of the bridge a change

was made. The recapitulation became a fusion of the first ritornello

and the first solo section. In many cases the recapitulation was short-

ened with the new second subject dropped and new material introduced

rarely. After the return of the "piano clímax," the fourth ritornello

rounded out the recapitulation with the final cadential phrases, after
42
the cadenza, to end the movement.

In the North German concerto form the main theme returned five
times. J. C. �acn modified this feature by de-emphasizing the main

theme and altering the first ritornello, creating unity with a new

4
�orman, �· cit., pp , 41-43.
42
!bid., pp. 43-44.
logic--an unfolding sequence of events. Now the cycle occurred three

times: in the first ritornello, in the first solo section, and in the

recapitulation. The development stood �p�rt and in so doing created

\

a concerto of four parts. Three parts shared the main theme, used

common bridge material and second subjects, and ended with some or
43
all of the cadential phrase materiai.

The Mozartian First-Movement Concerto Form

The structure of the North German concerto formas first used

by Mozart was discussed by Heinrich Koch (1749-1816) in his Versuch

44
einer Anleitung zur Composition, III, 1793. In Koch's view, instru-
mental music could be divided into three categories for analytical

purposes. The first category was the symphony from which the other

two categories, sonatas and concertos, were analyzed. In describing

the symphony, Koch set out the principles of large, formal construc-

tions. He stated that the first movement of a symphony had two main

parts. The first part set out the principal melodic phrases in their

original order with a tonic to dominant modulation separating the two

theme groups. The second main part was divided into two sub-parts.

In the first sub-part, thematic material was employed to modulate

through several keys ending in a related key. Following a transitional

passage back to tonir, the second sub-part began with the main theme.

43
Forman, �· cit., pp , 44-45.
44
Heinrich Koch, Versuch einer Anleitung zur Composition, III
(Leipzig: 1793); reprinted, Georg Olms Verlag, Hildesheim, 1969.
 21
21
The second part of this concluding period is an exact repetition of
45
the remainder of the first principal part.

In describing the concerto, Koch recognized the textura! divi-

sions, that of the alternation of tutti and solo, but takes the view

that

the first Allegro of the concerto contains three principal

periods (Hauptperioden) performed by the solo player; these
periods are enclosed by four secondary periods (Nebenperioden)
performed by the orchestra as ritornellos.

Regarding the three principal periods of the solo part,

there remains nothing to note; for they have the same out-
ward organization, and the same course of modulations as the
46
three principal periods in the first Allegro of the symphony.

In simplified terms, Koch sees a concerto as &n alternating pattern of

four tutti sections (ritornellos) and three solo sections which compare

with the three principal parts of the symphonic Allegro. (See Table IV.)

Mozart in advancing concerto forro observed two principles: 1)

the balanced usage of given material in the first ritornello and first

solo sections, and 2) the natural unfolding of the work. In balancing

47

a movement, Mozart felt it important far material used in the first

ritornello to be repeated at least twice but not more than three times.

In unifying a movement, Mozart used the concept of interrelated themes--

a mot1· v1· c fº1l d ev1. ce. 48
or o

45Jane R. Stevens, "An 18th-Century Description of Concerto

First Movement Form,1' Journal of the American Musicological Society,
24, No. 1 (1971), 87.
46
Ibid., 88.
47
Forman, .9.E..· cit., pp. 51-52.
48Ibid., p. 54.
 In Authur Hutchings' opinion, there is no such work as a

"typi- cal Mozart concerto," but the Concerto in D minor, K. 466 is one

of the

best known and �ost representative specim�ns of his mature work as a

49
concertist. The first movement of this concerto will be used to

define terminology used in the analytical chapters and to show the divi-

sions of the six-part concerto formas opposed to the seven-part North

German form. The work was scored far piano, flute, two oboes, two

bassoons, two horns, two trumpets, tympani, and strings.

The first ritornello, in connnon time, opens with the main theme

(Example 1, Theme A , MM 1-4) presented by the strings in d-minor.

1

Example 1, Theme A , MM 1-4.

1
r\
., J\
,. .....
.
-
...._
.....

r ""' 1 � l J , J

'\,. .�
. -· • . ·- .........

•
• • u_ 1'11

- -
r\. -
�

-
� --

,,..
-,
,I -1.. � -
.....,..
--
... ., "
�

- ,.. '::.-

Á I I L. - 1-t,fl �..

- 1 lil ., ..
......... I
CI
'- ... '°'.
•• 1 I • 'l.
--
......
3 3
�
, I\
¡·,
1
--,

,, "' ""'
J

.
......

1
 -.! ,.
_.1 ,
� � J

\.:- 1
._._u -'9

- •. -- -- ·* . ......
�

-- -.... --
r--1• -

- ..., - .-.
-
' ... . � �

- _.,,,.,,,
� I
- I • \
• • 91 ...

, I ,-

L.
.
-0, •
1
1 '-,

49
Authur Hutchings, A Companion to Mozart's Piano Concertos
(2nd ed.; London: Oxford University Press, 1950), p. 4.
The theme extends twenty-two measures and merges into transition
1
r e p 1 ac1. th e b r1. d ge passage, en d 1· ng i· n 32 .
In the theme
ng measure so
are found five motivic devices (see Example ?, Motivic Devices).

Example 2, Motivic Devices

1, M· i -"' n, o't; v e :t,) M.

3

/ti o-ri ve 5I 1'1. a,1

1\
,I� 1

,, ' ii-,.. 1 1
I 1 1 1

� LJ .... �
- .....

r\ - • - lY_ - áD'

51
After transition is completed, the second subjec t (see Example 3,
1
Theme B1, MM 33-34) is stated by the flute and oboe supported by the
52
bassoons and strings in F-Major. The theme extends eleven measures.

5
°Forman, �· cit., pp . 102-105. The first subject, or main
theme, is a symphonic statement developed by Mozart to fuse the main
theme and bridge into á transition passage, ending in dominant implica-
tion. The two sections are linked by the motivic devices. A restatement
of this passage at the beginning of the first solo section and reprise
serves to recall the material. This was one of Mozart's solutions to the
problem of recapitulation as the first solo section became more independ-
ent from the ritornello in an expanding concerto form.
51
Fonn�.1, �· cit., pp. 98-99. The second subject in the first
ritornello was usually a passage of twelve measures in length scored for
winds in contrast to the main theme.
52
 Hans Tischler, A Structural Analysis of :1ozart 's Piano Con-
certos (The Hague, Netherlands: Koninklyke Van�orcum and Compan�l966),
p. 86. Tischler views these eleven measures to be the bridge passage.
In his opinion, the first thirty-two measures all comprise theme A ,
dividing into three distinct parts. 1
 24
26

Example 3, Theme B , MM 33-34.

1

FI. »<
�
: ...--_
., O
b
...
:-
-- i± t)
.:b
r "" r • •
--
"'
• '-= •J•
/,

....
--
r� -
-"}
-

'""
- -I
Ir
\..

'---
p \}¡,¡, /sx
�

,-.....
F3.
�
_.....-- �
-
----
-
¡,,
r:»

--
�

">
�

I ,

-
I• • u -
..
..
"
"
_
J
- 24
27
-

The first six measures are in F-

Major with the last five returning
to
. 54
d- is
nor.
53IIU. pre-

sented (see , MM 44-46) which

Example 4, contains motive 4
Transition 2
in measures 48 and 53. The passage
is twenty-seven measures in length

Example 4,
Transition , MM
2
44-46 .

.p

and dynamically contrasts with

its forte the piano of the
preceding second subject. The

c�osing phrase (Example 5,

Closing, ��1 71-73),

53
cuthbert Girdlestone,
Mozart and His Piano Concertos
(Norrnan, Oklahoma: University of
Oklahoma Press, 1952), p. 312.
54
Tischler views this passage
to be the second subject,
also
dividing into three parts, and
which comprises our closin
transition g.
In his opinion the first ritornello a
1
does not have cadenti l material.
 Example 5, Closing, MM 71-73.
- • n • .:...

I( ,
�

f¡� -
\.'
�.
i
� r:»

\.....o
-
-,

,-......
.
.�
--
I""'

-
.. - --.--..

p
V/AJ. ....
t � - .
_..,.......
r .. �
.
-
J.

:......._.

-·
- ...-r l
\..

..
\ 1 ..... . ...--1 l 1 1 l

II �.,,,. -_,
. -
(
-e;; ...
•
1
•
I l I
•
.M
1
- 1 ! 1.1"' •

""- - ....
- >' ..

-• --
'
� I

r -���-!
\. 1
�
�·-i/r-#- - � '-..-
1-1 ,. 1
.
-
• 1
T

,A"S' ,-

v,� •
1

a, -
1 •

- ...
-

-
.,'

-
--

. . ....
1 ....... ...... ....J. 1
' ..
--¡

f �
-4 ..

V/e • ��. ,-.

-
�
........ r» -
r-
n .,..........-..

-
-
-tBa IS , I l - ..........
1
•p
1
1
1 •

seven measures in length, is presented by the strings and provides

contrast by returning the dynamic level to piano to end the first

ra. to rne 11 o. The first ritornello is divided into five parts by the
55

dynamic contrasts of forte and piano, which combine to make the three

56
main structural elemeuts of the ritornello.

55
After the second subject, the cadential phrases began,
building, until at last they lead into a slower phrase that prefaced
the solo entrance. As has been noted above, the bridge passage grew
out of the main theme, and became a transition passage. In a like
manner the first cadential passage which follows the second subject
becomes a cadential transition passage contrasting in mood and dynamics
the slower cadc�rtal phrase to which it is leading. Forman,�· cit.,
pp. 98-99.
56H
utc h.ings, �· ci. t., 7-9 .
pp.
 26
30

The piano opens the first solo section by presenting its own

first theme (Example 6, Theme A , MM 77-80) in d-minor. The theme's

2
fifteen measures divide as a 12 + 3. Aftec theme A , the orchestra
2
returns the beginning of theme A • In the fifth measure the piano
1
rejoins the orchestra continuing the main theme and transition which
1
is shortened by eight measures. After a dominant cadence in d-minor,

Example 6, Theme A , MM 77-80.

2

�
'11.. ...
!19 -
-.......
- .
� -,.: --
-...
. !:_t ... • r»

• ..
,

- .-
r ,� T .. 1

1 ,� ' .. J ,, l

.. �.,.
\.... '- .I

L.. T" "f 1 ...-.. 1 r

......- r- - J 1

r •

) , �.
\ � �

, I I
s-""�
,- ,1,./' - -r
-
' "'-= ti" - - e;
i· • ......
.\

iJ . . -.Elll
fl
- C1

u
,
in measure 114, the piano presents the second subject of the first

ritornello in F-Major. The first measure of the theme is presented

by the oboes over the bassoons, as first found in measure 32, while

the piano assumes the flute's role in measure 115. The last five

measures, or tail, of the second subject pass through the dominant

of F-Major ending on a half-cadence preceding the solo second sub-

ject.
57
The solo second subject is sixteen measures in length divid-
 26
31
ingas an 8 + 8, subd viding as a 4 + 4 + 4 + 4, and is related to

57 cit., pp. 205-206. Tischler continues to view

Forman,�·
the passage as bridge material.
 motive 2. The first four measures are in F-Najor, while the second
f our measures are i· n g-nu.· nor. 58 The woo dwinds restate the me in
teh

the same arder of key movement. After the re�tatement of the solo

second subject by the woodwinds, over the piano figuration, the solo

begins the first of three segments comprising the three parts of the
1159
piano "climax. The piano "climax" is filled with scales, arpeggios,

Example 7, Theme B , MM 127-131.

2

and broken octaves which are characteristic of keyboard composition.

It twice leads into a cadential trill which seems to signal an end to

the "clímax" only to climb out of the trill with another spurt toan
even more b r1·11·1an fº1n1. s.h After the final cadential trill of the
t 60

clímax, the second ritornello begins with a return of the main theme

58
rn balancing the movement Mozart encountered a problem with
the second subject group. There is a second subject in the first
ritornello and another in the first solo section. The majar problem
is one of balancing the length of the first subject and the two second
subjects. Mozart found a solution to the problem by making the second
subject of the first ritornello into a "relief" second subject. As has
been noted, the ritornello second subject was usually a passage of
twelve measures lightly scored for woodwinds to contrast the main theme
and transition passage's forte. In scoring the ritornello subject in
this manner :'-1o?art was thus able to elevate the solo second subject.
Forman, .2E.!.. cit., pp. 75-76, 98-99.
59
0rischler, .2.E.· cit., p. 87.
rischler views this entire segment to be an extension of
6 with the final twenty rneasures, befare the second ritornello,
theme B ,
2
tfie return of his theme B
being , our transition section.
1
 28

•
•
p:::
-e-

QJ
(J
e::QJ
• •
"tl
<1'
•
u
1
::,
..,.u.. e::o •
• H
c...,. .. •
C'd .u •
(J
QJ ,........¡
C'd •C""l
p::: ti)

�
o
µ..¡
H

• H
•
C""l
� p:::
�
�
> 1
� e, •
1 o •
H ,........¡ .u •
ti)
p:::
QJ e:: • .,...
H
>QJ QJ
e N
>
µ..¡ i:::i
ti) >
o
>
H
H
p:::
� •
� u
....l
¡:Q
z
o
•
u
N
µ..¡ p:::
o
z •
H
o 1 •
-rl
H rn e:: •
l,l.¡
H
o o
c.. •rol
• >
p::: � .u ,........¡
u
ti)
� ti) H

�
i:::i ........
.::e:
ti)

>
H

..._,,
u ,........¡
� p::: H

.�
•n
QJ

.,...¡ QJ e::
r_. .,. . . , e-, .e: C'd
Q e: rn 4J �
.,... "tl 4-l o o e,
4J QJ QJ o
,........¡ .e:e, ,........¡ »
..o
C'd
u
(J $-4 QJ C'd ,........¡ $-4
QJ ::::, $-4 e, rn e Q) � -rl
rn .u .e: •rol "tl » rn e::
u 4J u o rn E] Q) o
o ::::, e:: ·rol
,........¡ $-4 QJ .,... $-4 QJ
o » ...:::
C'd u e
-
4J
o .u ..e: e, $-4 Q) ..e
ti) e.o 4J o. 4J
-rl
�
,........¡
o. o
$-4
.�
 34
29

CONCERTO IN D-MINOR, K.466

W. A. MOZART

Part One: Solo:

Orch:
i---------------
Part Two: Solo: A2 ,A1+Tr , B , bridge, B2, Tr 3, 4, 5
1 1
Orch: A +Tr
1 1 Bl
i-------- !!!--------------------

Part Three: Solo:

Orch: A' l+Trl' , c1
!!!----------

Part Four: Solo: sequence, bravura, figuration, Prep recap 1 , 2

Orch: A (Motive ) sequence,
1 1
. . IV
111 --,1 1 --- --1. 1. 1. ---1. 1. ------1.
------------------
Part Five: · Solo: A +Tr , B , bridge, B , Tr 3, 4,S
1 1 1 2
Orch: A1 +Tr 1 , B1 ,
i--------------------------------
Part Six: Solo: Cadenza,
Orch: A'1 +Tr'1,
i---------------------------------------
and transition condensed into eleven measures. After the return of
1
the main theme group, the closing phrase completes the second ritor-

nello.61

The first solo section adds to the material presented in the

ritornello and characteristically makes additions with regard to the

second subject; however, in some concertos both the bridge and second

subject of the first solo section are new, and the second subject of

the ritornello may be replaced or dropped entirely. The main theme

62
may have an introductory theme or flourish such as used here.

Part one of the development section opens as the piano returns

the beginning of theme A in F-Major, for ten measures. In the tenth
2
measure the strings return the beginning rhythmic outline of theme A 1

and modulate into g-minor in four measures. The piano then restates
theme A 's motive in the new minor key, extending another ten measures.
2
Again the orchestra returns theme A 's rhythmic motive and modulates
1
into E-flat-Major. The piano begins a third statement of theme A
2 but
this time it is lengthened to twelve measures and blends into a series

of descending arpeggios of diminished seventh chords into the new key

of f-minor for part two of the development. The strings, beneath the
solo at this point, in measure 232, return motive of the main theme.
1
After four measures, this is sequenced to g-minor, and after an addi-

tional four measures, back to d-minor, extending only two measures.

61
To balance material usage, Mozart returned a portien of the
bridge, in this case transition, of the first ritornello to balance the
use of the bridge passage in the first solo section. By using cadential
phrases only in the ritornello sections, unity was also added to the
IOOvement.
62
Tischler, �· cit., p. 131.
 31

Part one of the preparation for recapitulation begins at this point,

extending eight measures. Part two of the preparation for recapitula-

tion is based on motive 5 taken from the be gí.nní.ng transition .The

1
63
passage extends four measures, emphasizing the dominant of d-minor.
64 b
Th e recap1. tu 1 at i on egi. ns orchestra restates teh me A
1
asteh
as i n the f.1rst ri. torne 11 o. The return of the main theme at the
65

63
Several of Mozart's concertos present new themes in the devel-
opment, but only three concertos use new themes exclusively. Most of the
development sections vary one or more previously exposed ideas. Many use
more than one idea, such as seen here in the Concerto in D-minor, K.466.
Tischler, �· cit., p. 132.
64
In Mozart's later piano concertos, a majar structural feature
was changed by the omission of the third ritornello. The alterations to
concerto form made by Mozart in this respectare recognized by Heinrich
Koch in his Musikalisches Lexikon (Frankfurt am Main, 1802).
65
Forman observes that in Mozart's piano concertos the recapitula-
tion presented problems because of the expanding concerto form. Mozart
wanted complete recall of thematic material presented in the first ritor-
nello and first solo sections, but in so doing the length of the recapitu-
lation would exceed the length of the first ritornello or first solo sec-
tion and would not balance. As has been noted above, the North German
concerto form did not always recall all material presented. Only the da
capo form which was restored by J.C. Bach did so. Bach used sorne, or all,
of the cadential phrases of the first ritornello after the first solo sec-
tion, and again in the second ritornello. In Mozart's early concertos a
change is made to this formula to shorten the recapitulation. In this
change, cadential phrases were used only in ritornellos, and then split
between the end of the first solo section and the fourth ritornello after
the cadence.
As Mozart's concerto continued to grow, the first solo section
became more independent from the ritornello with regard to recall of them-
atic material. The two second subjects of the first solo section continued
to present problems. Often in the first solo section the ritornello second
subject was dropped, orno recall made of first ritornello material in the
first solo se ct.:' "'r-. at all, but complete recapi tulation was dif ficul t. As
has been noted above, the symphonic statement gave an answer to the problem.
In the first ritornello Mozart fused the main theme and bridge making a
transition passage of the bridge, ending in a dominant implication. The
two sections were linked by motives ar the filo device. By using caden-
tial phrases only in the ritornellos, unity was added to the movement.
Forman,�· cit., pp. 102-105.
 32

piano dynamic level contrasts the final forte of the solo instruments

in part two of the preparation for recapitulation. The piano re-enters

in the eighth measure of the recapitulati0n, but the music fol:ows the

first ritornello rather than the first solo section. In the sixteenth

measure of the recapitulation, the forte section of the first ritor-

nello returns, as the piano rests for eight measures. At the conclu-

sion of the eight-measure rest, the piano re-enters with triplet

figuration at the beginning of transition leading to the second sub-

1
ject. Two additional measures are added to the return of the main

theme. The second subject of the first ritornello returns as presented

in the first solo section with the tail of the subject now ending on

the dominant of d-minor. The second subject is extended three measures

(MM 296-298) in a variant of motive 3. Mozart in the recapitulation

often added a feature which made ita return of both the first ritornello

and first solo section. In the restatement of the second subject group a

theme or thematic fragment was inserted from the ritornello that was nat

found in the original first solo section. The use of this device makes

the recapitulation compare more closely to the first ritornello than the
. l . 66 In this movement the added three measures are
f 1rst so o sect1an.

taken from the main theme motives 2 and 3.

After theme B is stated the solo second subject is returned in

1
d-minar extending sixteen measures. A potential move to the tonic paral-

lel majar far theme B is nat made and the retention of the minar made
2

66
oonald Tavey, "The Classical Concerto," Essays in Musical
Analysis (Londan: Oxford University Press, 1936), III, p. 23.
 33

67
adds a sense of pathos to the end of the movement. After the restate-

ment of theme B , the three sections of the piano "clímax" are returned.
2
The first section is reworked; the second i� �xtended by two measures,

and the third by three measures. In reworking the "clímax," Mozart

has achieved a higher leve! of tension.

At the conclusion of the piano "clímax," the orchestra begins

the third ritornello with a return of the forte part of the main theme,

extending nine measures to the cadenza. After the cadenza, the third

ritornello continues with a return of transition . The transition is

2
shortened by the omission of eight measures; measures 53-57, and 62-64

are removed. After transition the closing phrase is returned exactly

2
without alteration. As a codetta to the movement, Mozart has added

eight additional measures of material continuing the piano dynamic

68
leve!, based on the opening motives 1, 2, 3, and 5 of the main theme.

Severa! features of the concerto are important. First is the

treatment of thematic material. The main theme group is compact, and

the long stream of cadential passages reduced to one. Second subjects

are short and the piano episode has disappeared with no loase sequential
, 69
passages found. Also of importance is the treatment of the woodwinds,

67
Girdlestone, .2.E..· cit., p. 316.
68
The third ritornello in Koch's Musikalisches Lexikon begins
after the cadenza. However, the dramatic sense of what the cadenza is
supposed to �e �laces the beginning of the third ritornello at the con-
clusion of the piano "clímax" to create the dramatic tension in prepar-
ation far the solo cadenza. In the Concerto in D-Hinor, K.466, the
return of previously presented thematic material also marks the begin-
ning of the third ritornello as being at the end of the piano "clímax"
and befare the cadenza.
69
Forman, .2.E..· cit., p. 208.
 34

and particularly the brass and percussion. Severa! aspects of their

treatment can be answered by the minar key, as both horns and trumpets

are crooked in the tonic key. The flat m�diant tone will not be avail-

able asan open partial. This will limit the brass primarily to tonic

and dominant tones, which are open harmonics. The percussion will use

these two pitches also. The woodwinds are used primarily in ritornello

or tutti passages. This treatment permits the solo instrument to balance

the strings and provides a thinner orchestral texture when the piano

plays. In piano bravura passages both winds and strings generally rest,

allowing these rapid notes to be heard more easily. The piano of the

Classical period was notas powerful an instrumentas the modern concert

grand piano, therefore these particular textura! qualities are uecessary

for the piano to be an effective solo instrument.

The majar structural change made by Mozart to the North German

concerto form is recognized by Koch in his Musikalisches Lexikon, 1802,

70
by the omission of the third ritornello from his diagram. (See Table V.)
This reduces the form to a six part form first descríbed by Kollmann (1756-

1829) in his Essay on Practica! Musical Composition, According to the

Nature of that Science and the Principles of the Greatest Musical Auth-
71
�, 1796. Kollmann's view is that a concerto is an amalgamation of

70Heinrich Ko�h, Musikalisches Lexikon (Frankfurt am Main,

1802).
71
Augustus Frederic Christopher Kollmann, Essay on Practica!
Musical Composition, According to the Nature of that Science and the
Principles of the Greatest Musical Authors (London, 1796).
 35

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 36

symphony and sonata structure. The ritornellos correspond to the

72
symphony and the solo sections correspond to the sonata. Concern-

ing the varjous parts of the concerto, Kollmann wrote:

The first movement is generally an Allegro. The two

Sections or four sub-sections [the division of six parts
will also be shown] of which it consists, according to
the general plan of a piece shewn in Chap. I, para. 11,
are managed as follows:
The first Subsection [part 1] is a Tutti, calculated
to exhibit the number and sort of instruments that shall
be used in the Concerto; and to impress on the ear of the
hearer, the Key and Mode, the principal Subjects, and the
Character of the Movement. It consequently should be in
the key, with the sort of Modulation shewn in Chap. I,
para. 11. And nothing should be introduced in it, but
Subjects or Passages, which are to be elaborated in the
course of the movement. Sorne authors make this Tutti
longer, and others shorter; but commonly its length is
about one third, or fourth, of the whole first Section.
It ends, either with a pe�fect cadence in the Key; or
better, with the half cadence on its Dominante, according
to my Essay on Harmony, Chap. X, para. 7.
The second Subsection [part 2] begins with, and chiefly
consists of, a Solo, calculated to shew the powers of the
principal performer. The said beginning may be with the
Subject or Subjects, without any variation; or with a judi-
cious variation or imitation of the same. This Solo is
occasionally relieved by short Tuttis, to keep up the
grandeur of the piece; and when it has got its proper
length, which is about twice or three times that of the
first Tutti, a conclusion is made, commonly with a Tutti
[part 3] in the Fifth, or [in minor] in the Third of the
Key, by which the first Section is completed. The proper
Modulation [part 4] far this part of the movement, see also
at Chap. I, para. 11. The third Subsection is similar to
the second, in cohsisting of a Solo relieved by short Tuttis;
but is different from it in the sort of Modulation and Elabo-
ration it admits of, or requires. See also Chap. I, para. 11.
It may be a little shorter than the second Subsection, and
must end with a half cadence on the Fifth of the principal
Key.

72Jane R. Stevens, "Theme, Harmony and Texture in Classic-

Romantic Descriptions of Concerto First Movement Form," Journal of
the American Musicological Society, 27, No. 1 (1974), 35-36.
 37

The fourth Subsection [part 5] again contains a Solo,

which generally begins with the Subject in the principal
Key, and continues with the sort of Modulation and Elabora-
tion shewn at Chap. I, para. 11, till it is about so long
as the third Subsection; when it proceeds to a grand Cadence
on the Key note, of which I shall speak in para. 10; and
after this a short Tutti is added as a Coda [part 6] to
make a complete and formal conclusion of the first Movement. 73

Therefore, Koch's diagram of a seven-part concerto form is redrawn

to be a six-part formas shown in Table V with the third ritornello

omitted. This is Mozart's six-part concerto form.

Many theorists of the nineteenth and twentieth centuries have

viewed concerto form to be a derivative of symphonic sonata form with

a distinctive formal deviation, that of the "double exposition," as

74
first stated by Ebenezer Prout (1835-1909) in Applied Forms, 1895.

Prout views the first ritornello and first solo section as being

analogous to the repeated exposition of the sonata. The solo merely

75
comp tes whatthe h as b egun. Th e "d oubl e expos1. t1. on "
e1 orehestra

concept puts forward the idea that it is the recapitulation that

makes concerto form analogous to sonata form. Prout's and Girdle-
76

stone's analytical view depends on the thematic structure of the

opening orchestral section, but eighteenth century theorists describe

73 Stevens, "Theme, Harmony and Texture," 42 ff.

74
Ebenezer Prout, Applied Forms (London: 1895).
75 Stevens, "Theme, Harmony and Texture," 56-57.

76
Girdlestone, �· cit., pp. 30-33.
 38

the form on its harmonic plan which returns emphasis to the ritornello

function. This view is expressed by Tovey who saw the ritornello of

77

the concer to in t ne manner of the Baroque r Lt o rnal.Lo+-Ln an introductory

function. Hutchings also notes the importance of the ritornello

78

function as does Tischler, and both are correct in observing the flex-

ibility of the ritornello material. In this respect, Mozart uses the

ritornello to contrast the solo portions of the movement.

The analysis of the five concertos in this study will be under-

taken on the basis of the six or seven part concerto form, whichever

each concerto dictates.

77stevens, "An 18th-Century Description," 86.

78 11
rovey, "The Classical Concerto, 14-16.
 CHAPTER III

W. A. MOZART: CONCERTO NUMBER �

- -IN -Eb -MA-JO-R
FOR HORN AND ORCHESTRA, K.495

In 1777 Mozart left the service of the Prince Archbishop and

moved to Vienna. The four concertos far horn, Number _! in D-Major,

K.412, Number � in Eb-Major, K.417, Number l in Eb-Major, K.447, and

Number !!_ in Eb-Major, K.495, were composed for Ignaz Leutgeb following

his arrival in the capital. Leutgeb had left the service of the

Arch- bishop and his first horn position in Salzburg ten years

earlier and
79
settled in Vienna. He apparently derived his living in much the
�ame manner as a "free-lance" player would today, appearing as a solo-
ist from time to time and probably playing principal horn in sorne of

the numerous musical activities of the old Imperial Capital. In addi-

tion to this, he owned a cheese shop which was financed by a loan from

Leopold Mozart. The relationship between composer and hornist was

clase; this can be seen in the great humor found written into the horn

concertos either as marginal notes, dedications, or practica! jokes,

with the 1 ong su f L eutge b teh b utt o f Mozart ' s 1' mp1' s h h umor.
f er1' ng SO

Concerto Number i in Eb-Major, K.495, was composed during the

last part of June, 1786, the last complete concerto Mozart would com-
81
pose for the horn. The score was prankishly written with black,

79 Morley-Pegge, The French Horn, pp. 1

53-154.
80
veinus, The Concerto, pp. 110-111.
81Girdlestone, Mozart's Piano Concertos, p. 417.

39
 40
82
red, blue, and green ink, and supposedly was delivered to the soloist
by Mozart flinging the un-numbered score leaves through the door of the

cheese shop leav�ng the horn-player to sort them. Of the fou� horn con-

certos, it is the most difficult because of its length and the demands

made on the soloist. It is in three movements as are the two

remaining concertos in Eb-Major. The range of the solo part is from the

third to sixteenth harmonics of the natural horn crooked in Eb. The

demands

made of Leutgeb in this concerto demonstrate he was an artist of high

calibre.

The first movement is a concerto form in Eb-Major, in common

time. The movement opens with the violins and oboes presenting the
mai. n me. (See Example 8.) It extends four measures leading into
83
teh

the bridge of the first ritornello. It is also possible to consider

this bridge as part of the main theme, twelve measures in length, and

82
Girdlestone, Mozart's Piano Concertos, p. 170.
83
The solo horn plays at the beginning of the movement follow-
ing Baroque tradition. Several instrumental concertos other than
piano concertos also contain this practice as found in the Concerto
for Violín and Orchestra in A-Majar, K.219 and the Concerto for Clari-
net and Orchestra in A-Majar, K.466. In these concertos the solo
instrument plays the orchestra first violín part during the ritor-
nello. However, the pre-valve horn is limited technically because of
the incomplete scale and cannot play the violin part in the ritornello.
In Concerto Number i in Eb-Major, K.495, the horn is assigned the first
horn part of the orchestra during the ritornello passages. This may
indicate that the soloist was also the first horn of the orchestra, and
following the orchestrél arrangement of woodwinds in pairs, shows that
a third hornist was not available to take the orchestra first horn part
during the concerto. In current performance, these ritornello passages
are omitted from the solo part to save and rest the horn player's
embouchure.
 41

Example 8, Theme A, MM 1-4.

. .
� \ - . - 1

...
• ,

-�
--- J- �•
� D r» t- r,. � 1, �
•• • -
- ..- .,.
r
' """ 1 - -

r,.""' D \� - . • - . -- -- - • -- -
,-
-=-
\..: J - - �
\

-f ,,_.,.,- --
• • ,,,-"'... •
. """,., . \
n r»
Cl
.i'I e'41
r.

--- --
""� ....
-- . -e-
I
""" 1

�-
-
aJ. -
-
I
... u -
-41 • -
-4-

- l---:1 I- ...... - - �

1-
n • - - ......

,, � �
,,
\,,.
\

n
\
...
- . .
- - - ,_.
tit_
-
- - -- }

•,
--
'-." �
. --
11<1
c.

- --
� -
- --
\
�

,,,,_,,.,,- -... -.......:C:L

�..: "'
� •
• � 11

�,
-
- ...
, \. I
...
.. - - -
- ...
�

, '

ID - -
1,
\
u f-f � -- � . . . . -'--J
.... r- J

I
-
u .....
-
-
-
dividing as a 4 + 8 with a half-cadence leading into the second subject,
but there is nota modulation within the bridge passage so it only gives

the implication of the dominant key and functions more as a transition

to the second subject than as a true bridge.

The second subject, Example 9, beginning very quietly and con-

trasting with the main theme, is presented first by the violins far two

Example 9, Theme B , MM 13-17.

1

p
 43
42

measures and joined by the oboe for the two remaining measures. In

measures 13 and 15 of the second subject is found the filo motive

(see Example 2) that reappears throughout the movement to give unity.

The second subject is followed by fifteen measures of transition that

build in dynamic tension until a second cadence in Eb-Major in measure

32. Both the second subject and transition passage are significant as

will be seen later.

The first closing of the first ritornello (see Example 10) is

derived from the second subject and divides as a 4 + 4. The first part
is presented by the violins, and the second, an exact repeat of the

first four measures, is joined by the first independent solo entrance

of the horn. This is an instance where Mozart has the soloist play

Example 10, Closing , MM 32-36.

1

before the beginning of the first solo section. In this case, it may

have been to give the soloist an opportunit, �J play a few notes and

get the embouchure functioning properly befare beginning the first

solo section. This relieves much of the pressure that would be

present if the first entrance of the solo were at the beginning of the
firs so 1o secti. on 1. nstea.d 84
t

In Concerto Nurnber .!_, K.412, and Concerto Number ±_, K.417, the

soloist enters at the end of the first ritornello. In Concerto Number

l, K.447, the horn enters befare the first solo section with a short,

rhythmic motive in the bridge of the first ritornello. This does not

reappear in the recapitulation following the return of the main theme.

In none of these concertos is the solo horn used in the ritornello pas-

sages as a member of the tutti. Mozart, in Piano Concerto Number .2_,

K.271, has the soloist enter early in a statement, answer, statement

fashion, but normally an early entrance occurs asan overlap of the

main theme as fowid in Piano Concerto Number 11, K.413.

84
rt is interesting to note that even the finest of horn players
can have nerve problems as seen in an extract from Horace Fitzpatrick's
book, The Horn and Horn-Playing, page 199. The occasion is described by
Michael Kelly for the Reminiscences of the King's Theatre Royal Drury
Lane. "I went one oratorio night into the green room to speak to Hr s ,
Crouch (writes the intrepid Kelly), but the only persons in the room
were Madame Mara and Monsieur Ponte, first horn player to the King of
Prussia, anda very fine performer; he was an intimate friend of Madame
Mara, and engaged to play a concerto at the oratorio that night. He
said to Madame Mara in German, 'My dear friend, my lips are so parched
with fear, that I arn sure I shall not make a sound in the instrument;
I would give the world for a little water or beer to moisten my lips.'
Madame Mara replied in German, 'There is nobody here to send;
and yet if I knew where to get something for you to drink, I would go
myself.'
During this dialogue, I was standing at the fireside; and
addressing Madame Mara in German, I said, 'I should be sorry for you to
have that trouble, and I sit lazy by; I will, with great pleasure, go
and get Honsieur Ponte .:;;orne Porter.' I instantly dispatched a messenger
for a foaming pot; andas soon as it arrived, I presented it to the
thirsty musician, in nick of time, for he was called on to play his con-
certo at this moment. Madame Mara desired me to accept her best acknow-
ledgments, and invited.me to call at her house in Pal! Mall the next day
at two o'clock." It is a revealing commentary on human nature that the
greatest horn-player of the time should be vulnerable toan attack of
nerves.
 44
45
Other possibilities for early entrance of the solo are also

found. In Piano Concerto Number 13, K.415, the solo begins in the

fourth cadential passage with an introductor:; passage leading into

the first solo section. In Piano Concerto Number 20, K.466, a lyrical

phrase is used leading to the return of the main theme by the orchestra

to begin the first solo section. Piano Concerto Number 21, K.467, has

the solo begin with dominant chord figuration before beginning the first

solo section. Piano Concerto Number 24, K.491, also has the solo begin

with an introductory phrase as found in K.466. The solo in Piano Con-

certo Number 25, K.503, begins with an introductory phrase alternating

between solo and orchestra before the first solo section begins.

In all of these concertos the solo, when an early entrance

occurs, does not halt once begun but continues on into the first solo

section. In Concerto Number i, K.495, a departure is found from the

normal sequence of events for an early entrance. The horn having

become independent during the second half of the first cadential

phrase, returns to the tutti for all of the second cadential phrase.

The second closing section moves across a series of tonic to dominant

progressions which serves to firmly close the first ritornello and

85
dynamically contrast the first closing phrase.

The first solo section begins with the horn giving a variant of

the first ritornello main theme (Example 11), similar to the first four

measures 0f the first oboe part in the first ritornello. The next

85
Though probably not intended to be used in such a manner by
Mozart, these three measures rest could well be used by the soloist to
clear the instrument of water, and check tunings before launching into
the first solo section where he is more exposed.
 Example 11, Theme A , MM 43-46.
1
- �
o
E!S
L
.
- f;
lo -1

eight measures of the theme are an elaboration by the soloist. The

theme in its root form is simple and fits the harmonics of the natural

horn in Eb, and will permit development if the composer desires. The

twelve measures of theme break down as a 4 + 4 + 4 oran a b b', with

each unit separated by at least a quarter rest, allowing the soloist

to take. breath as required. In Mozart's symphonic concerto form, the

orchestra often restates the main theme and the following bridge

pas- sage because the piano could not compete against such powerful

resources. Here the texture is thinned so the horn can take the

main theme. Indeed, quite a contrast is achieved by the sudden drop

to piano by the orchestra to the preceding final forte closing section

from the first ritornello. The ritornello's bridge passage is omitted

following the main theme's restatement. The second closing passage is

returned following the main theme as a sub-ritornello befare the begin-

ning of the solo bridge passage, providing unity between the two sec-

tions. This can also be considered as the orchestra's bridge passage

as found in Concerto Nu�ber .!., K.412.

The bridge passage in the first solo section is nine measures

in length, dividing as a 5 + 4 passage and moving from tonic Eb-Major

to Bb-Major. It has a thematic nature and draws motivically on the

main theme.
 47
46

CONCERTO NUMBER 4 IN Eb-MAJOR, K.495

W. A. MOZART

First Movement
Part One: Solo: Clos ,
1
Orch: A, bridge 1, B 1
, transition ,1 Clos , 1 2
!-------- ---- ------------- ------- -�
Part Two: Solo: A, bridge , B , accompaniment, transition
2 2 1
Clos , B1,
2
r----------v------------------------------------
Part Three: Solo:
Orch: bridge1+transition1, transition2
v--------------------vi---------
Part Four: Solo: n , D , sequence-filo motive, transition 3
1 2
Orch:
vi--IV--------ii----------------1

Part Five: Solo:

Orch: Preparation for Recapitulation
!-----------------------------
Part Six: Solo: A+bridge +A, closz,
1
Orch:
1-----------------------------------------------
Part Seven: Solo: Cadenza,
Orch: transition ,
4 bridge +transition,clos1 ,2,
1
!----------------
Codetta
 In the bridge is fo\ll1d the first substantial number of chro-

matically altered notes for the horn. In a passage of nine measures,

six are foUPd, three of which are the written �11'' requiring the use

o f ful! "hand-s top. " One wri t ten E_II ' ' , one E.' , and one f 11 ' ' are us
ed also. The f#'' is found in the harmonic series asan eleventh

partial and can be "ben t" by the embouchure to be f' ' or f#' ' as

needed.

Following a half-cadence in Bb-Major, the first theme of the

dominant key center is stated by the solo horn (Example 12) with the

orchestra interjecting a descending figure of eighths and two six-

teenths. The theme breaks clown as a 2 + 2 + 2 + 6 oran a a a' b.

Example 12, Theme B , MM 64-75.

2

The theme might be considered as a second part of the bridge, but if

this is the case, then the second subject of the first ritornello,

which appears next, must be considered as the only second subject of

the first solo section. Examples may be f ou,«, in Piano Concerto Num-

ber 23, K.488, and Horn Concerto Number l, K.447, where the solo does
not present its own second subject but rather uses the second subject

of the first ritornello instead. A possible explanation for the lack

of clarity may be found within the theme. The theme centers around

the dominant of Bb-Major more than around the tonic. This is due, in

part, to the availability of more notes, which can be obtained by the

use of "hand-stopping," than would be present if the theme were cen-

tered on the tonic of Bb-Major. Because of the difference in timbre

as well as dynamic leve!, between open and "stopped" notes, a certain

number of open partials must be used if the solo part is to be heard

above the orchestra. An interesting arrangement of tones which allows

this to be done is found in the last six measures of Theme B , mea-

2
sures 70-75. An open tone preceding a "stopped" tone in alternation

gives the necessary strength to the melodic line.

Immediately following Theme B , in measures 75-78, the second

2
subject of the first ritornello is returned in the orchestra over

accompanying figures in the horn. The old second subject is now in

Bb-Major. The placement of the notes in the theme transposed for the

horn crooked in Eb will not permit the theme to be played on the horn

easily. Instead, Mozart has assigned the horn an accompanying figure

based on open harmonics of the natural horn in Eb. This contrasts the

melodic material given to the horn during the first part of this sec-

tion, and provides relief from the horn tone. The return of the old

second subject also provides unity between tne ritornello and the first

solo se�tion. Following the old second subject, transition of the

1
first ritornello is returned by the orchestra to form the first five
 49
50
measures of the transition serving as the horn "climax." The entire

transition is nine measures in length, the last three being taken by

the horn, forming the cadential trill phrase that ends the first solo

section. Mozart has created tension through transition in four ways:

1
1) the sequence of the transition in the orchestra rises upward by step

four times after the original statement; 2) the solo horn line descends

chromatically over the sequence adding tension through the dissonance

and release of altered chords produced as a result of the chromatic

alterations; 3) the note values in the horn shorten from whole notes,

to a half note, to quarters, to eighths, creating rhythmic tension; and

4) the dynamic leve! increases from mezzo-piano to forte adding the ele-

ment of dynamic contrast. In these ways Mozart has prepared a dramatic

exit for the soloist. The horn "clímax" is used here in a manner simi-

lar to that in the other three horn concertos. In the transition, the

soloist plays a chromatic scale from _g_" to�" constructed in such a

way as to use a mínimum of "stopped" notes (see Example 13).

Example 13, Horn "Clímax," MM 79-83.

The second ritornelio following the �irst solo section is eight

measures long. The ritornello is a fusion of the bridge and transition

1
of the first ritornello, now in Bb-Major. By using this material for

TEXAS TECH LIBRARY

the second, or closing ritornello, Mozart has recalled all of the

first ritornello material through the first solo section, providing

great unity.

Transition , extending three measures, serves to separate the

2
second ritornello from the development section. A modulation from
Bb-Major to e-mino� occurs to establish the first key of the develop-

ment section. '

The first development theme (Example 14) is in c-minor. It is

sixteen measures in length fonning an 8 + 8 phrase which sub-divides

further as a 4 + 4 + 4 + 4 oran aba' b'. The filo motive is found

in measures 97 and 99 providing unity between the development and the

first two sections of the movement. The theme's sixteen measures con-

tain twenty-five "stopped" notes dueto the demands of the minar key's

tonic falling on the written a' far the horn in Eb, a note which must

be produced in any register by the use of three-fourths "hand-stop."

This section has the largest number of "stopped" notes yet encountered

in the movemen t.

Example 14, Theme o . MM 97-104.

1
 51
51

By means of a chromatic alteration in measure 112, Mozart

shifts the tonality from e-minar to Ab-Major, the sub-dominant of

Eb-Y...ajor. The �econd development theme (Example 15) is also based

on the filo motive. The theme, given by the horn, breaks down as a

4 + 4. The filo motive found in measure 115 adds more unity to the

m:>vement, and relates the remainder of the development to the first

ritornello and first solo sections. The "stopped" note, written a',

is used three times during the course of the theme.

Example 15, Theme n • MM 112-120.

2

Transition , beginning in measure 120 and ending in measure

3
132, serves to move the tonality from Ab-Major, through f-minor, back

to Eb-Major to conclude the development. Because the horn is limited

in its ability to modulate from its tonic crooking, an expected shift

to the relative minor at the end of tht development does not take

place. This key center is used to open the development section instead.

Transition is not developmental with the exception of a sequence based

3
on the filo motive at its beginning as the key moves from Ab-Major to

f-minor. The sequence is four measures in length dividing as a 2 + 2.

The first unit is in Ab-Major, the second is sequenced down a minar

third to f-minor. There are twelve "stopped" notes, most of which

are produced because of the harmonic instability of the transition as

it moves from Ab-Major back to Eb-Major. Seven of these tones are the

written a' on the Eb horn, the third of the Ab-Major key center, and

were probably used to avoid the written f' which is more difficult to

produce "hand-stopped,11 than the a'.

The third ritornello is ten measures long and is more of a

transition than a ritornello. It is constructed to establish clearly

the tonic key in preparation for the recapitulation. The ritornello

builds in dynamic tension overa rising sequence of two two-measure

units in the strings until a half-cadence on a full dominant-seventh

function. Then, with a subito piano, it drifts quietly downward the

remaining four measures to the return of the main theme. As with the

original first solo section, the horn enters early, leaping an octave

_g_' to _g_'' and descending down a triplet figure to the written tonic

e'' where the recapitulation begins. In the later piano concertos

the third ritornello is usually reshaped giving the symphonic concerto

form of six parts. Here and in the remaining three horn concertos by

Mozart the third ritornello is used to give the earlier seven-part

concerto form. This could be planned to give the soloist an oppor-

tunity to rest the emb0uchure.

In the symphonic concerto form, the recapitulation begins with

the orchestra returning the main theme, without the solo, forming the

third ritornello. At sorne point after the return of the main theme
 5353

by the orchestra, the solo will re-enter to continue the recapitula-

tion of the solo part. Here the solo and orchestra begin the recapit-

ulation together with the return of the main theme in the solo horn,

with the third ritornello placed before the recapitulation as prepar-

ation for recapitulation. Another departure is found in Piano

Concerto Number 19, K.459, where the solo begins the recapitulation

with the return of the main theme, while the third ritornello is

placed eight measures afterward. However, the usual placement of the

third ritornello is at the beginning of the recapitulation with the

return of the main theme in the orchestra.

The return of the main theme begins exactly as in the first

solo section, but after the fourth measure the first four �easures of
the ritornello bridge are used to replace the second four-measure unit

of the main theme. In doing this Mozart provides for the recall of

both the ritornello material and the solo section material.86 This is

in keeping with the symphonic concept of the concerto recapitulation.

The second closing of the first ritornello is returned after the main

theme as a sub-ritornello without modification.

The solo bridge begins as if it will return exactly but it is

altered from the second measure onward to prevent the modulation to

Bb-Major. It is shortened one measure. The filo motive is found in

measures 156 and 158, g�ving additional unity to the movement.

With the return of Theme B , a second modification is made.
2
The rising sixteenth-note figure of the first solo section is changed,

86rovey, "The Classical Concerto," 23.

in measures 163-167, to better suit the harmonics of the natural horn

than would the original theme transposed to Eb-Major. It now divides

as a 3 + 3 + 6 oran a a b. If the theme were only transposed it would

require the use of the difficult "hand-stopped" .!..', as a comparison of

measures 65-70 transposed to Eb-Major will show. The modification is

nota rhythmic duplicate of the original theme, but keeps the idea of

the original. The contrast also prevents exact repetition of thematic

material in the recapitulation.

The second subject of the first ritornello returns similarly

to that in the first solo section. The theme now in Eb-Major can be

played by the soloist wich return of the second two-measure unit.

Transition , which formed the horn "clímax" in the first solo section,
3
is extended four measures. An alteration is made to change the descend-

ing chromatics of the transition into a rhythmic figure. The four mea-

sure extension consists of two one-measure units of sequence in the

horn--the first an ascending C-Major scale, the second its relative

pure minor. The last two measures are a tonic-six-four, dominant, to

tonic chord movement, clearly establishing the final cadence of the

recapitulation.

The fourth ritornello begins with nine measures of transition

4
leading to the cadenza. As with the other two concertos in Eb-Major,
the soloist is expected to improvi. h íis own ca d enza.
Following the
se 87

cadenza, the first four measures of the fir�t ritornello bridge return

fusing into the last measures of transition leading to the first

1
cadential passage. The two closing passages are recalled without

87
For cadenzas by various solo hornists to Concerto ��umber �,
K.495, see the Instrumentalist, 28, No. 8, 1974, 79-83.
 5555

alteration, including the solo appearing again in the last half of the

first cadential phrase. As with the case of the early solo entrance

in the first ritornello, the horn rests during the second cad��tial

passage representing another departure from the usual cycle of events

in the piano concerto. In Pi.ano Concerto Number 21, K. 46 7, and

Piano Concerto Nurnber 24, K.491, when the solo plays after the

cadenza in the fourth ritornello, it continues to the end of the

movement. In

Horn Concerto Number �, K.495, the solo rests to the end of the

movement after its phrase in the second half of the first cadent:Lal

passage.

Mozart has added one last unifying feature to the fourth

ritornello. Overa series of ri$ing tonic arpeggios the motivic

idea of the bridge of the first ritornello is returned in measures

215-218 as a short codetta to conclude the first movement.

The "Romanza" movement is an ABA CA Coda rondo form in

three-four time that opens with the horn presenting the main theme,

or refrain subject, in Bb-Major. (See Example 16.) Though most of

the accompaniment is on the tonic chord, the solo horn uses more of

the dominant tone to avoid "stopped" notes in the main theme in the

Example 16, Theme A, MM 1-4.

new tonic tonality, dividing as a 4 + 6 phrase. The orchestra then

repeats the theme as the harmony moves in a reversa! of the dominant

to tonic chord progression. In ten measures the solo horn has only

six "stopped" notes.

The modulation to F-Major is without preparation. The solo

horn presents the second subject over accompanying figures provided

by the strings. The harmony is mostly over dominant i. which is the

principal chordal function for the first eight measures oE the theme.

(Example 17, Theme B, MM 21-24.) Because the tonality is a second

above the horn crooking, more "stopped" notes are produced, particu-

larly dueto the use of the leading tone, written !=_#'', for the

natural horn in Eb. An interesting aspect of the writing for horn

is Mozart's use of the written e'' instead of the !=_#'' by use of the

tonic-flat-seven chord function in measures 23-27. This avoids the

"stopped" notes and lends harmonic variety to the musical line.

Example 17, Theme B, MM 21-24.

Horw :¡:,., Es

Theme Bis related to the main theme by a motivic or filo device found

in measures 7-8, 21-22, and 25. Theme B divides as a 4 + 4 + 8 or

a a' b. The second eight measures show more chromaticism, but analysis

of chord functions clearly shows that the F-Major key center is still

present. There are 20 "st�pped" tones used in the passage.

 57
57

CONCERTO NUMBER 4 IN Eb-MAJOR, K.495

W. A. MOZART

Second Movement

Part One: Solo: A,

Orch: A
!-----
Part Two: Solo: B, transition
1
Orch: transition
1
v------1-----
Part Three: Solo: A,
Orch: transition
2
I-------vi---

Part Four: Solo: e, transition

3 + transition 1
Orch:
vi---l----vi---1---------
Part Five: Solo: A, Coda
Orch: Coda
!--------
Rondo: ABA e A Coda
 Transition , of one measure's length, re-establishes the tonic
1
key of Bb-Major for the first return of the refrain. It is presented

by the solo horn and orchestra, with slight modification in measures

44-46. The theme is now complete in nine measures.

Four measures of transition , serving as a closing section to
2
an exposition, lead to the third section of the movement. The tonality

moves to g-minor, the relative minor. Theme C is fourteen measures

long dividing as a 4 + 4 + 6. (See Example 18.)

Example 18, Theme C, MM 50-58.

The theme is derived from the fourth and fifth measures of theme A.

The filo motive is found in measures 57-58 and 64-65. Some develop-

ment takes place within the limitations of the solo instrument, as

seen in the sequence in the first eight measures of the section. This

reinforced the five measures of transition with a return to g-minor,

3
as the key al���� immediately returns to Bb-Major again, and prepares
for the return of the refrain. The last part of transition is cen-
3
tered on the dominant of Bb-Major, and seems to be a preparation for
recapitulation. After transition ends, transition1 is returned.
3
 5960

There are eleven "stopped" notes in the C section of the movement, and
eleven "stopped" notes 1·.n t rans1."t"1.on •
2
The refrain is announced by the solo horn, exactly as found in

measures 37-46. The twelve measures of coda following the last return

of the re�rain divide as a 4 + 4 + 4 ora a b.

Throughout the "Romanza" the solo horn's melodic lines are lyr-

ical, proceeding mostly in a diatonic manner. The contrast between

sections is achieved by key change.

The "Rondo" in Eb-Major, in 6/8 time, which concludes the con-

certo is a rondo sonata cast in the following form: A A bridge B A

1 2 1 1
Development A A bridge B A Coda. The horn gives the main or refrain
1 2 1 1
theme which is sixteen measures in length. (See Example 19.) The first

eight measures are the horn's while the second eight are an exact repeat

of the first eight by the orchestra. There are only three "stopped"

notes. The theme subdivides asan 8 + 8, subdivides as a 4 + 4 + 4 + 4

ora' a a'. The theme suggests the hunt field, in keeping with the

nature of the solo instrument and its historical background. The theme

is not taken directly from any hunting call but, rather, only cast in

the manner of one.

Example 19, Theme A , MM 1-8.

1

,_
.
J - ... - • 1 ........

•. B ....
• -
........
�

r,
.)

'"\
¡;" 17
• ••• - -

--
...
r: ¡i, .. 1
"
�
- �
......... -4.
- I"""""

r- 1
\.' '../ 1 'J -
 The refrain is followed by a second theme in the tonic key.

A contrast to the rapid eighth notes of the first theme is provided

by movements of rising dotted quarters, out.l!ning the tonic arpeggio,

as is seen in theme A • (See Example 20.) Its eight measures divide

2
as a 4 + 4 or a a'. There are six "stopped" notes_. Fourteen measures

of bridge lead to the dominant key of Bb-Major. Theme A and this

2
bridge could be grouped as one section for they tend to merge into

one another; however, the deciding factor is the feeling of complete

cadence in measure 24.

Example 20, Theme A , MM 17-24.

2

p HOrN IN Es

Theme B (Example 21), dividing as a 4 + 4, is first presented

by the solo horn and answered by the violins as the horn provides an

accompanying figuration of a somewhat similar nature. Mozart in this

way uses the strings to reinforce the soloist, lending variety to the

movement and not allowing over-exposure of the thematic material by

the soloist or orchestra. The next sixteen measures are an extension

of the theme B and give both the soloist and orchestra time to elabo-

rate on a motivic idea taken from the bridge passage, measure 32.
 61
61

CONCERTO NUMBER 4 IN Eb-MAJOR, K.495

W. A. MOZART

Third Movement
Part One: Solo:
Orch: A , bridge
1
1-------------v----
Part Two: Solo: B, extension, transition
1
Orch: B, extension, transition
1
1-------------------v-----
Part Three: Solo: A ,
1
Orch: Al
!-------
Part Four: Solo: c, sequence-bridge motive,transition ,
3
Orch: transition ,sequence-bridge motive,transition ,
2 3
vi----IV--------v--V-----vi------------iii------
Solo: sequence-A motive
1
Orch: sequence-A motive
1
---ii------1------

Part Five: Solo: A + bridge

2
Orch: Al,
!------------------
Part Six: Solo: B', extension
1
Orch:
1---------i--I--

Part Seven: Solo: Coda

Orch: extension 2, Coda

!-------------------
Rondo: A A2 bridge B A C A A bridge B A Coda
1 1 1 2 1
 Example 21, Theme B, MM 38-46.

It is not the melodic idea but rather the rhythmic idea that is devel-

oped by the horn and orchestra. The last measures of the extension are

centered around the dominant of Bb-Major to make use of as few "stopped"

notes as possible. The written f#'' ande#'' are used extensively, the

latter being the most difficult of the "stopped" notes in the B section.

There are eleven "stopped" notes in the B section, with the written b'

(sounding d) being the most frequently found. The eight-measure tran-

sition1 that prepares the return of the refrain uses a motive taken

from the first measures of the rondo in the horn. It is sequenced in

thirds three times in the first violín, with the second violín imitat-

ing the sequence two measures later. The horn in the third measure of

the transition has a descending chromatic scale from written _g_" to e''

without resorting to more than slight alteration of pitch with the hand.

The refrain returns e>1ctly as first presented in Eb-Major by the horn

and orchestra.

A sudden change to the relative minar begins the development

section with a new theme based on the rhythmic motive of theme A •

2
 63
63

(Example 22, Theme C, MM 84-91). It divides as a 4 + 4. The next

eight measures based on this theme function as transition leading

2
to the developm�nt, with the key changing from e-minar to Ab-Major.

Example 22, Theme C, MM 84-92.

This parallels the first movement's development, and could have been

deliberately planned by Mozart. The violins and violas have a sequence

of two-measure units based on a motivic idea taken from the bridge (mea-

sures 24-26) beginning in measure 100. The sequence begins in Ab-Major

for two measures, then to Bb-minor, followed by a change of mode to

Bb-Major for the last measure of this unit, then upward to e-minar for

the third sequence, which is left uncompleted. The solo horn partici-

pates with its own motive from measure 25 in an accompanying fashion.

Four measures of transition lead to the next development key, that of
3
g-minor for another sPquential pattern based on the first motive of

the solo horn at the opening of the rondo. The sequence is a four-

measure unit handled in imitation ata two-measure interval between

first violín and second violín. It moves from g-minor to f-minor to

Eb-Major, incomplete. The last move serves, of course, to prepare

the return of the refrain. The solo horn again provides an accompany-

ing idea, this time only twice completed. It consists of a descending

sequence moving from a full "stopped" note to a full open tone a minar

second above the "stopped" tone.

The refrain theme returns to begin the recapitulation. The A2

theme returns shortened by four measures, and now merges into the bridge

passage. The bridge is shortened as well, and the solo horn now has a

sequence that is modified in the arder of its appearance. The rising

tonic-minor arpeggio should either ascend first to the .!_#'', then to _g_"

to a-flat'', orto the a-flat'', _g_" and then to the .!_#'', functioning

as a leading tone to the secondary dominant of Eb-Major. The illogical

order does tend to increase the harmonic tension, as the augmented

sixth-chord opens out to the dominant chord. It is an opportunity for

the horn to make good use of the color contrast between open and

"stopped" notes in the release of tension. The remainder of the bridge

is the same as in the first part of the rondo--in the nature of an

expository section--leading to the return of the theme B grouping now

in the tonic key.

Theme B in the horn is modified slightly to account for its

return in the tonic ke.y. The curve of the melodic line is essentially

the same, but some intervals are moved so they are within the harmonic

series, or more easily produced in a good "hand-stopping" register.

 65

The second four measures are returned exactly in Eb-Major by the vio-

lins. The horn accompanying figures are changed to a rhythmic motive

first used at this point. The first part of the extension which fol-

lows is lengthened by two measures, moving to a remate key center from

the tonic of Eb-Major and ending in e-flat minaron the dominant. This

change may be to compensate the removal of transition in the expository

1
part of the rondo for the return of the refrain in Eb-Major.

The refrain returns beginning as befare, only to be modified

when the orchestra takes up the theme after the solo horn. The refrain

in the orchestra becomes an extension to prepare the coda, although the

coda could begin at this point as well. The coda is based on the A
1
theme and divides as a 4 + 4. The first violín repeats the IIVtive from

the first statement of the A theme at two measure intervals, with the
1
solo horn filling the interval with a descending tonic triad over two

octaves.

Two versions of the first movement are known to exist. The

movement first analyzed is a manuscript found in 1881. It is an

expanded version of the 1786 original. Nothing is dropped from the

100vement, but often the movement is cut apart and additional material

taken, in most cases, from thematic material already presented, inserted.

The longer movement is now the most commonly performed, with the shorter

version being seldom performed. A brief examination of the 1786 version

will now be unciertaken.

The first ritornellos of both movements are exactly alike, dif-

fering in one detail. The horn does not enter with the oboe in the
 66

closing of the first ritornello. Instead the horn continues its ritor·-

nello function as foun<l in the 1881 version. Through the bridge in the

first solo section the two movements are alike. There is a small modi-

fication in the horn in measure 52. The written .&" is lengthened to

a full half-note tied toan eighth note with the scale descending from

a''. After the bridge the first six measures of theme B are the same
2
in both movements. The following fourteen measures found in the 1881

version are not present. The last six measures of theme B are missing
2
�so, as is the ritornello second subject and the transition to the

second ritornello. The second ritornello is the same as found in the

1881 movement. Theme B is altered to a 2 + 2 + 2 + 4 ora a a' b

2
with these changes. The closing ritornello and the transition to the

development are unaltered. Theme o is shortened by omitting the first

1
eight measures. Theme o is omitted. The third ritornello leading to
2
the recapitulation is slightly altered with measures 129 and 131 of the

1881 version of the movement not being repeated. The preparation for

recapitulation is the same, the only change being that the horn does

not enter early before the return of the main theme, as was the case in

the opening of the movement. The return of the main theme with the

alterations at the beginning of the first solo section is changed

again in the recapitulation to a half-note and two triplets. The

bridges are alike in the recapitulation, as are the first four mea-

sures of theme B • The first four measures are repeated over altered
2
string accompaniment. The remainder of the theme is the same as

befare.
 67

CONCERTO NUMBER 4 IN Eb-MAJOR, K.495

W. A. MOZART

First Movement--1786 Version

Part One: Solo:
Orch: A, bridge , B , transition , clos ,
1 1 1 1 2
1-------------------------------�--
Part Two: Solo: A, bridge , B
e 1 os , 2 2
Orch: 2
1----------�-v�------
Part Three: Solo:
Orch: bridge + transition , transition
1 1 2
V-----------------------------�--
Part Four: Solo: D, sequence-filo motive, transition
3
Orch:
vi----IV-ii-----------�--I�-----�

Part Five: Solo:

Orch: Preparation for Recapitulation

Part Six: Solo: A+bridge + A, bridge2, B2 , 1, extension

1
Orch: clos ,
2
!----------------------------------------------
Part Seven: Solo: Cadenza,
Orch: transition , bridge1+transition ,
4 1
!-----------�-------------------------�
Solo: clos ,
1
Orch: clos , , Codetta
1 2
--------------�-
 68

The first majar alteration in the recapitulation is found at

this point: the second subject, theme B , is returned following

1
theme B • This represents a departure from the symphonic concerto
2
form recapitulation used by Mozart and is in fact an earlier treat-

ment of the problems of second subjects in the recapitulation. Five

measures of extension follow the second subject and are used for the

hom "climax." From this point, through the cadenza until the final

cadence, the movements are the same. The first movement of the 1786

version then follows Mozart's earlier concept of concerto form.

There is no definite information concerning the 1881 version

of the first movement nor the eight added measures in the "rondo."

It may be assumed that for some reason Mozart expanded the work at

Leutgeb's request orto meet some other soloist's demands. As can be

seen by examining the two first movements, most of the additional

material is taken from material already presented, usually from the

first ritornello, the exception being theme n ,�which is new in the

2
1881 version.

The treatment of the orchestra is of interest. When the

soloist is playing, only strings are used to provide accompaniment

for the most part. Oboes and orchestra horns join the strings in

the tuttis only. The only time the oboes join the strings when the

solo is playing or oboes and orchestra horns join the strings is at

cadential points leading into a tutti. Th,..., demonstrates that

Mozart was aware of balance and tone color problems with the winds,
 69

and particularly the weakness of the solo horn dueto limitations

imposed by the incomplete scale. Thus the accompanying strings are

playing at all times to support the solo, whether they have the

melodic line. In this work the strings do not double the solo horn

except in the "Romanza" or "rondo" when the solo is playing. The

strings are used to fill out the harmonic background which the piano,

W1like the horn, could do. The orchestra horn parts are of interest

also because there are no "stopped" notes used. Mozart has left this

purely in the province of the soloist, so as not to have the two in

conflict for audience interest orto have similar tone colorations

present at the same time.

 CHAPTER IV

JOSEPH HAYDN: CONCERTO AJ

-NUM-BE-R - -OR-
1
-IN -D-
FOR HORN AND ORCHESTRA

The first concerto for horn written by Franz Joseph Haydn is

believed to have been composed in 1762. The work is listed in the

Hoboken Catalog under Gruppe Vlld Nr. e. It appears to have been

composed for Thaddaus Steinmüller, the new first horn player of the

Esterhazy Orchestra, appointed about the same time Haydn became

Capellmeister. The range and technical abilities of Steinmüller were

outstanding, as can be seen from the first horn part to Symphony Num-
1188
ber 31 in D-Major, the "Hornsignal. Dr. Birchard Coar shows

Steinmüller's range in his book by citing an example taken from

Symphony Number 31, the last movement, the fourth variation, mea-

sures 65-80. Coar makes the observation that this part not only

requires virtuoso playing but surpasses in difficulty many parts

written by Bach and Handel. The Divertimento a Tre, for horn,

89

violín, and violoncello, 1767, taxed Steinmüller's abilities to the

uppermost, requiring the range of the second to the twenty-second

9
h armoni· cs. o I t appear as th ough H ay d n w er e r e - th e
wou ld i· n t ro d uci· ng

88r·
1tzpatr1. c k , Th e H ornan d H orn- Pla y 1 ng, pp. 116 - 117 .
89 38.
Coar, The French Horn, p.

gQibid.

70
 71

clarino style of horn playing, but in his later works these high parts

91
began to <lisappear. This is seen in the Concerto Number 2 for Horn

and Orches�ra in D-Major, ca. 1767, as the tessitura líes within the
range of the four Mozart horn concertos. The range of the second
92

concerto is between the written small _g and �- Only briefly <loes

Haydn go above or below this two octave range. In no case <loes Haydn

write above the written c''' as in the first concerto where the written

d' '' is found in every movement. The second concerto was probably

written for a soloist other than Steinmüller, who, with a greater

degree of "hand-stopping" skill, could play in the lower and middle

register without resorting to the high tessitura.

Haydn's travels to other places compounded the difficulty for

he could never be sure of a first horn of the calibre of Thaddaus

Steinmüller and, therefore, a different style of horn writing had to

be found. Such difficult passages had to be doubled by other instru-

ments so that missed notes or complete failure of the part would not
93
be noticea. The lower registration of later parts is logical, as

Haydn's concept of writing for horn had changed.

The first concerto for horn is scored for horn, oboes, strings,

and continuo. The first movement, in D-Major, is in concerto forro.

91
Robin Gregory, The Horn (New York: Frederick A. Praeger,
1969), pp. 162-163.
92
At present this work is attribut�d to Haydn but it is not
certain that this concerto is his composition.
93
Coar, The French Horn, p. 39.
 72

The time signature is common time. The main theme (Example 23, Theme

A, MM 1-4) is presented by the violins and oboes. The theme may either

Example 23, Theme A, MM 1-4.

J�
-r
_.,_ ,....
, .I�.�

J •
- -
1
1

�n- .._
-
• _....
,,. - -

,. ""'
"- � •
.4"I, ,--.

'----
�
- - '

\
., -
1
- •
�
-
...

-
-

f
- -- -
-
,".. "I'•
- -L
- .., _L.L.lt.
- - .. !. •' ' -

- ---
- • •••
-.
lil,r - r•
...,
-
-e-- .
I A li"'""� -¡
-
-•
_.

r< I
• 1

�#

'

be four or fifteen measures in length, depending on whether the eleven

measures which follow are considered transitional or part of the theme.

The stronger case is made for this to be an integral part of the theme,

as the solo horn's statement of the main theme is fourteen measures in

length, omitting only measure fourteen of the original theme.

The first part of the closing section following the main theme

is ten measures in length. In measure 16 is the motive x that will be

used in the development. (See Example 24, Closing , MM 16-19.) The

1
first closing moves in a tonic to dominant progression. After the first

closing, five measures of additional closing material, closing two,

serve to round out the first ritornello.

 7374

Example 24, Closing , MM 16-19.

1

.,,,,_
.J� ....
•
,
...
-

- --:..
- ., '
. .
....

- 1- l' -
,

- ""'- •
- 1 . . .. -.
..,,
• •• -
/ -u,. rs �
- ,J

• • • �

I .... "" .. '

- - . -., • -.
L)(-1

\. J
' ...
..J ... ...........
-"9 ........

p
.........
L. x "
-....
.,.,.. � . ' ..
,,,
� - r-
IX. - .-. - ..
..
••••
-- ..-.. .... � - -• ••• •••• -
,,,,,.. �
.. .-.
""""' -- -- ..
--- �
:J

., .. J J
� - - ::: "'.:..

•
t•
�
- ,,•
'3 � -
-
I �l� J J

' - ,. - ,.
J

--

The first solo section begins with the horn presenting the main
.
theme. The theme is fourteen measures in length with measure 14 of the

original main theme omitted. Other small changes are made but only to

join the theme to the bridge. The violins double the horn throughout
 7374
much of the concerto, the majar exception being the development section,

where Haydn uses the change in doubling to exploit various tone colors

and avoid limitations of the natural horn. Doubling the solo part gives

additional security of pitch on the natural horn. Motive x is found in

measures 40-41 in a rising sequence. A second motive y_ is found in the

bridge in measures 44-45. The bridge ends on an A-Majar chord as the

dominant of D-Major, which immediately becomes a new tonic. During the

first twenty measures of the solo exposition, the horn has played three

"stopped" notes, all in a neighboring tone usage. They are set in such

a manner as to be easily "bent" with the h.:ind or embouchure to the cor-

rect pitch.
 CONCERTO NUMBER 1 IN D-MAJOR

JOSEPH HAYDN

First Movement
Part One:
Orch: A, clos ,
1 2
!----------
Part Two: Solo: A, bridge, B
1-------v----
Part Three:
Orch: A+sequence+A, clos
2
v--vi-iii-IV--V----

Part Four: Solo: A-motive, motive y_, pedal point,

Orch: sequence-A-motive, measure 43
v-------1-------------------------------ii--
Solo: sequence-y_-motive, extension-motives x and y_,
Orch:
-------iii---------------vi------------------

Part Five: Solo: Prepare far recap: pedal point

Orch: sequence-measures 11-12, 14, clos
1
---ii----------1-----------------------------
Part Six: Solo: A, bridge, B'
Orch:
!------------
Part Seven: Solo: Cadenza,
Orch: clos , clos ,
1 1 2
!------------------------
 76
75
finally to the Bsub-dominant
Theme (Example 25,ofTheme
A-Majar to 51-60)
B, MM end theissequence.
presented The next
by the

horn and strings. Severa! sequences are found within the theme as

seen in example 25. The range of the theme �n the horn is from d''

to d''', with only one "stopped" note used. The high tessitura

avoids "stopped'' notes which would be used if the theme were set

lower than the dominant of the new key center. Measures 55-56 con-

taina motivic idea in sequence that is derived from closing two of

the first ritornello, adding unity to the movement.

Example 25, Theme B, MM 51-60.

Hor11 x» O

\.

I
l.
�
r
r,
�
-
. sa-
-
•

The second ritornello opens with the main theme for four mea-

sures and then moves into a sequence pattern of five one-measure units.

The sequence b�:�ns on an A-Major tonic-flat-seven chord which leads

to the leading tone triad of b-minor. This in turn progresses to the

tonic chord of b-minor, which moves to the dominant of f#-minor, and

six measures of this ritornello are related to the second part of the

main theme, measures 11-12, thus giving unit¡ to the two ritornellos.

Four measures of the second closing from the first ritornello are

returned to finish the second ritornello adding additional unity.

After a full cadence in A-Majar, completing the second ritor-

nello, the development begins with a sequence passage of two statements

of the main theme motive; the first in A-Majar by the orchestra overa

pedal point e' in the horn, extending three measures, the second in

D-Major by the orchestra and horn far four measures followed by two

measures of motive y in the horn in measures 85-86 [as a transition].

The second part of the development consists of two two-measure units

of tonic-flat-seven chord function in D-Major derived from measure 43

in the orchestra overa small � pedal point in the horn. The third

part of the development is another sequence of two statements. A

transition of one measure preceding the first unit of the sequence

establishes the key of e-minar. The horn presents bridge motive y

as the first two-measure unit, in e-minar. The next unit of the

sequence is in f#-minor, with the horn presenting motive y in the

new key. Four measures of extension material based on motives x and

y follow as the key changes to b-minor in the second measure. The

horn elaborates on the cadential movement in the new key, ending on

a cadential t1ill which clearly points out the minar tonic,

ending the development.

 7778
Haydn has accomplished thematic development using two-unit

sequences, allowing the horn to function as the available open har-

monics will pe�.nit through two majar and �hree minar keys. In this

way he has formed the development around the limitations of the

natural horn and when going beyond its capabilities, has omitted it

or assigned ita pedal point. This presents another solution to the

problem of development, as opposed to the "new" theme approach used

by Mozart in Concerto No. i, K.495.

The third ritornello begins with a sequence of two three-

measure units beginning in e-minar. The second unit of the sequence

modulates into D-Major. The last measure of the sequence is repeated

raised one step, which cadences on the dominant of D-Major to �nd the

ritornello.

After the third ritornello, the preparation for recapitulation,

taken from the first part of closing 1, measures 16-20, over an � pedal

point in the horn, leads to the recapitulation. The recapitulation is

essentially unchanged from the solo exposition. A change is made to

end theme A on a half-cadence. This change is accomplished by altering

the chord function in the last measure of theme A from a tonic triad to

a dominant triad. This alteration, coupled with the transposition up-

ward by the interval of a fifth of measure 45 of the original bridge,

joins theme A and tht bridge to give a dominant implication. One mea-

sure is added to the bridge, causing the bridge, by a change in cadence

formulation, to end on the tonic chord. Theme B returns over changed

harmonic movement with the first sequence lengthened by one measure

in its upward movement in measure 144. The transposition to D-Major

is accomplished by the change in key, as the sequence now begins over

the dominant of D-Major rather than the toni.c of A-Majar. The second

sequence is altered so that the movement of the sequence is stopped,

in measures 145-146, but the rhythmic movement is retained. The

remaining measures of theme B parallel the corresponding part of the

first solo section. In the recapitulation to this point, three

"stopped" notes are found.

The fourth ritornello begins with the last six measures of

closing1 of the first ritornello leading to the cadenza. The move-

ment then concludes with a complete return of the first and second

closing sections of the first ritornello. Thus the movement is

uní- fied by the return of all ritornello and solo section material.

The Adagio movement is a concerto form modified by the exclu-

sion of the development section. The movement, in A-Majar, is in

three-four time. The main theme (Example 26, Theme A, MM 1-4) is

twelve measures in length dividing as a 4 + 4 + 4. The last four

Example 26, Theme A, MM 1-4.

\u,\\ J
\ �L
� >'..,
J
,,
1
_;...
.,
�
- \
• .- ;::1111,

r 411.

.., """'--
- \�
' .,. 1

-
-r-
"'111· - • •
-
..,. • • -
--1-r.-
•
IJ /1 I:_ �
_ ,
\,,; ., ..,.. f ' 1

�
., , - •
,
r ' \
"1,1"
1
.
• • -
-·
I ..n.
-
.. ... -�
t,

•
� _, - - -
-
... - ....
• -

. -
L.J
- - -
-· - -,-
.-.._".
.....
_,. ..... "11 . . .. -" ..:. -
....... "1. -4 .. _,
-· -i- .. "11 ......
 79

measures of the theme may be viewed as bridge material leading to

theme B as the rhythmic flow of the melodic line changes. A second-

ary dominant implication is found in measure 11. Theme B (Example 27,

Theme B, MM 13-15) is twelve measures in length. The syncopation of

the melodic line is used to contrast the long note values of theme A.

Both themes are of a lyrical nature and flow easily from one to the

other. Following theme B, the three measures of closing material

derived from the syncopation of theme B clase out the first ritornello.

Example 27, Theme B, MM 13-15.

/' n
11' ,. ,
r\ \}-�

- 11
;,l ¡)
•

• •-
• '�

�-
�� )
•-
- �... . . -
•

-...... �- ... i- - - ......

.-
�
-..-
• .-
•
r,
-
• !
-
- "::,,
"\

- -- -
-J
- - -
- --
-
1
-
-
-
...
-
\,. L.J � - - � "'.:.. .....
¡...- -

..«.
- - - -•
1

• + -
L"'\ • ..... J
• •
•
- I,, ,r -...I JI •
-. . . .
Jlr.
' • ..... --. ......
-
-
-r ��
...
• •
• •

Dynamic contrasts play an important part in the first ritor-

nello not only emphasizing changes in the rhythmic pulsation but

adding the element of suspense to the unfolding melodic sequence.

The first solo section begins with the horn presenting the

first eight measures of theme A. The violins double the solo an

octave higher and provide a harmonic background far the theme exactly

as found in the first ritornello. The bridge, derived from theme A,

extends ten measures and provides an interesting change in registra-

tion by using "stopped" notes in the low range of the natural horn.
 80

CONCERTO NUMBER 1 IN D-MAJOR

JOSEPH HAYDN

Second Movement

Part One: Solo:

Orch: A, bridge, B, clos
1
I-- ---------------

Part Two: Solo: A, bridge, B

Orch: A, bridge, B
I----V-------
Part Three: Solo:
Orch: A+ B, clos1, transition - A motive
V------- ------------------------!
Part Four: Solo: A, bridge, B'
Orch: A, bridge, B'
!------------
Part Five: Solo: Cadenza,
Orch: B, B, clos
1
!------------
 81

(See Example 28, Bridge, MM 36-40.) In measure 41, after the horn has

given its bass register variant of theme A, it leaps two octaves and

a third to complete the remainder of the bridge passage. Three diffi-

cult "stopped" notes are used in the bridge, requiring in the case of

the written small f# and b considerable use of hand and embouchure.

Example 28, Bridge, MM 36-40.

Theme B (Example 29, Theme B, MM 47-55), in E-Majar, is eight

measures in length and divides as a 4 + 4. The first four measures

are an interchange in syncopation between horn and violins and the

bass. A relationship between these four measures and the four mea-

sures of the bridge are found in the syncopation of the upper strings.

In the second four measures of theme B, the horn has a sequential

pattern which ascends to the written d' ''.

Fourteen measures, forming the second ritornello, follow

theme B. The greater length of the ritornello is based on material

taken from theme A and may be used to compensate the lack of a devel-

opment section. Measures 64-65 may be derived from theme B, as all

of the closing material is returned after che theme A material in

measures 6 7-69.
 82

Example 29, Theme B, MM 47-55.

A transition of five measures based on the motive of theme A

serves as a preparation for recapitulation. The recapitulation begins

with the horn and orchestra returning theme A and the bridge exactly

as found in the first solo section. Theme Bis modified by the omis-

sion of one measure in the first four-measure group. The syncopation

as found in the first ritornello is retained in the strings, but

dropped from the horn. The horn is not given an � pedal point over

the strings' syncopation. A second modification is found in the horn

during the second four measures of theme B. The modification is shown

in example 30. (Example 30, Theme B--Modified, MM 96-99.) Haydn has

kept the rhythmic concept, but altered the melodic line to avoid

"stopped" notes that would result if the tueme were literally trans-

posed. This is Haydn's solution to the problem of returning the

 83

Example 30, Theme B--Modified, MM 96-99.

second subject in the tonic key. The general outline is the same and

the IIK>tive is retained so an uncritical ear would accept the two as

94
being one and the same. The other solution is to have the soloist

change crookings for the second movement. The second movement is in

A-Majar, however � is not considered a solo horn crooking but rather

an orchestral crooking, therefore the license taken here is permissible.

The third ritornello opens with the return of measures 64-65

of the second ritornello expanded, leading to the cadenza. Following

the cadenza, the remaining six measures of theme B and all of the

closing material of the first ritornello are used to conclude the

s econd movemen t.

The third movement is an Allegro in D-Major, in two-four time.

The first ritornello opens with the orchestra presenting the main

theme. (See Example 31, Theme A, MM 1-4.) The theme is six measures

in length containing two filo motives, x and y_, which will become

important in the ritornellos and development. Following theme A are

ten measures of bridge material ending on a half-cadence.

94
Murray Barbour, Trumpets, Horns and Music (Michigan State
University Press, 1964), p. 103.
 84
Example 31, Theme A, MM 1-4.

� ....... r, - -• r -

-. ' • ..
•� 1 ...
•
-

\ l,)t lt _,.
-

-
"'"
� "liP' � p J 1

'"" I

- -
�
-
r
�
-
1 -r; r

... .-�
,.... '1 �!I .
, .L
- • -
- -
. .. �- ,J . ., . 1
'' . -, � • - -

·,_
--- . � ...
I
A .- ,, -r -·
._ . - •
......

·----r, -
#
'
-7"
.i •

L.._ � .J •

Contrasting with the vigor of theme A, theme B begins overa

dominant to tonic pedal point in the bass. (See Example 32, Theme B,

MM 17-20.) The theme extends eight measures in length, leading into

the nine-measure closing that ends the first ritornello.

 The first solo section begins with the horn returning the main

theme, slightly expanded in measure 38. After, the re-statement of the

Example 32, Theme B, MM 17-20.

»: ' --·
,...._
-! ...
�
·1-
.... --
,, ""'
� 'U. ,J
" - .... ..
- 11
-
" "'!

I �
,..
� LI -
� •
p
-.• �••
J

•• • 1 1 1 1
- - -
-
" J •....... .
,
- -,'.... . '
\ 1
-
, M..
�
J 1

•• 1
\
•
1

•
r r l""'
l \
I""'
\
-,.... . ,... !""'
\ \ \
r
\
\ '

!
 85
86
theme, the bridge passage of the first ritornello is returned with

modifications by the horn and orchestra. (Example 33, Bridge, MM

42-44.) The figuration of the violins is modified to better fit the

harmonics of the horn, but the relationship is still clear.

Example 33, Bridge, MM 42-44.

�I
,1
r \
-,
� - j •• J.�t..: �
•
, •
� ""'-. ,_ .. ,. -
-,.. ' �
,... .. -
• • � \

.- -
tll1"':. ,..... 1 1

, -
.. ... ·- - • - . . .--:.
-- - 1
.
-
,..... I r--
- .I
-
-1

' ....... -- -. -
1 � r'I>
- I

"' IJ t::-.. . � .....

I r

-
( � '\lo ,.,. � ..,, 1'111. - , -
--, "' �

- -
" I

. U\'
- , ... �

-·
, �. 1 -:;.. --,. -
�

'- ,.,,, -r

-.�-. . ,
I

� 1
-•..
l

"
-
1
. "'
I
•

r
'- V'
) :;.L
�)
f_,,_ -

IJ
....
""' • Jlr -

- .... -
"'.:;.. � ...,
• l,""".1 •'\.
1
..,. ,, - � -
-
'
, 1 , 1

-
.

I .P,j 'l l
f'
•
'
 86
86
Theme B (Example 34, Theme B, MM 50-56), in A-Major, is pre-

sented by the horn over eighth-note figuration in the orchestra. Of

the eight measures of theme, only seven are the horn's. The orchestra

completes the cadence formulation started by the horn in the eighth

measure. Sixteen m�asures of transition of a lively nature empha-

1
sizing the open partials of the horn in a florid patternfollow

theme B. A sequence passage of four units is found in measures 63-64

in the horn. The accompaniment for the transition in the first four

measures is derived from measure 11 of the bridge passage. The last

 Example 34, Theme B, MM 50-56.

eight measures of the transition show sorne relationship to the

second four measures of theme B in the horn and accompaniment.

The first solo section is followed by nineteen measures of

second ritornello, serving as a closing section to the first solo

section. It is based on the main theme and bridge, but it is notan

exact return. The ritornello modulates to D-Major in measure 78 and

returns to A-Majar in measure 87. Measures 89-92 are based on an

elaboration of the bridge motive taken from measure 11. The motive

is worked into a sequence pattern of two two-measure units dropping

the interval of a fourth.

The development begins in A-Majar with the main theme presented

by the strings with the horn providing accompaniment based on the 1..

motive. Two measures of transition lead to part two of the develop-

ment, modulating into O-Majar, for a sequence of two three-measure

units. Both the x and 1.. filo motives are used, with the orchestra tak-

ing the x motive and the horn the 1.. motive. The second sequence modu-

lates from D-Major to G-Major. Two measures of transition are used to

establish the key of a-minar for part three of the development.

Another

sequence of two units forming a 4 + 6 passage is built using the x and

1.. motives.
 CONCERTO NUMBER 1 IN D-MAJOR

JOSEPH HAYDN

Third Movement

Part One: Solo:

Orch: A, bridge, B, clos 1
!-----------...:._ _
Part Two: Solo: A, bridge, B, transition
1
Orch: A, _bridge, B, transition
1
r-------v----------------
Part Three: Solo:
Orch: A, bridge
v---r---v--
Part Four: Solo: x-motive, sequence-y_-motive, sequence-x-motive A
Orch: A , sequence-x-motive, sequence y_ and x ,
V---------1--------IV---------v--------ii-------

Solo: B, bridge
Orch:
--!-------
Part Five: Solo:
Orch: x and y_ motives--Preparation for Recapitulation

Part Six: Solo: A, bridge, B' + transition

1
Orch: A, bridge, B' + transition 1
!---------------------------
Part Seven: Solo: Cadenza,
Orch: transition , clos
1 1
!--------------------------
 88

The first unit begins with the orchestra stating the y_

motive as the horn presents the x motive. The second unit modulates

to

e-minar as the horn and orchestra reverse motives for a complete state-

ment of the main theme in the new minor key, for six measures. Part

four of the development is comprised of five measures of the head

motive of theme Bine-minar. It is constructed in such a manner as to

provide a modulation in measures 121-122 to return the key to D- Major.

Part five of the development extends nine measures and is con- structed

from material taken from the bridge of the first solo section. The

arpeggio figuration in the horn is modified so that the rising sequence

of the tonic chord in the first solo section is removed, figuration

outlining the tonic chord in a descending pattern leading

to a dominant-seventh chord implication in an ascending pattern is sub-

stituted in its place.

The third ritornello begins overa dominant pedal point in the

bass as the upper strings exchange the x and y_ motives. The ritornello

extends nine measures as the harmony moves in alternating dominant to

tonic six-four chord constructions, ending, at last, on a half-cadence.

Because of the prolonged dominant pedal point, the ritornello gives a

strong sense of preparation for the recapitulation.

The recapitulation begins with the horn and orchestra

presenting the main theme and bridge as found in the first solo section.

The key change to tonic is accomplished by a change in the chord

movement under theme B. Instead of tonic of A-Majar, the function is

now dominant of

O-Majar. Theme Bis modified from the third measure onward, but the
 89

intervalic leap that characterizes the motive of the theme is retained.

The theme and following transition are fused together with the theme

shortened three measures, and the transition four measures. The

sixteenth-note figuration in the horn is similar to that of transition,

in the first solo section, but is reshaped to fit the natural horn

har- monics, with the transition now in the tonic key instead of the

dominan t.

The fourth ritornello begins with five measures of transition

1
derived from measures 163-164 of the solo horn, leading to the cadenza.

Following the cadenza, the movement is concluded with the return of

theme B and the closing material from the first ritornello without

alteration. Haydn has recalled all ritornello and solo section mater-

ial in the recapitulation.

The first two movements contain a total of fourteen "stopped"

notes with no "stopped" notes used in the last movement. The fre-

quently used f#'' is found as the eleventh partial of the horn's

harmonic series, and may be "bent" with the embouchure or hand to be

� or f#'' as needed for the tonic or dominant key center. Most

"stopped" notes are in a neighboring tone usage; eleven are the

written b', two a', and one �arare usage of this tone, found in

the development of the first movement. Acknowledging the broad range

of the concerto, it �s a cor-alto concerto, as the primary register
used is from �toe''', whereas the cor-basse concerto covers the
range of small _g_ to�-
 90

This is an early concerto, written following the concerto

form of C.P.E. Bach, before Mozart's modifications to concerto form.

It should be noted also that ideas and methods uf "hand-stopping" are

still being experimented with and codified. Thaddaus Steinmüller was

a cor-alto player trained during the late Baroque period1to play in the

horn's clarino register and therefore he would be less likely to adopt

the newer style of playing as rapidly as his three sons, who were

also horn-players, trained in that period's concept of "hand-

stopping."

The approach to the development section is different than in Mozart's

Concerto No.�, K.495. Haydn has used the filo motives as thematic
.
fragments in sequence passages moving through various developmental

keys, where Mozart, in the development section of Concerto No.!!._,

K.495, reshaped the filo motive into a new thematic treatment to

exploit the horn's ability to play melodic lines of a lyrical nature.

The difference in developmental treatment of the filo motive shows

the reason for the fewer developmental keys used by Mozart in the

horn concertos. Haydn's developmental treatment represents an attempt

to grapple with the natural horn's limitations in various keys, espe-

cially minor keys, away from the instrument's crooking.

The Concerto No..!. in D-Major for Horn and Orchestra presents

many obstacles in performance even with today's improved valve horn.

The florid lines in the horn part, plus the sustained upper register

playing in the middle movement, impose strenuous demands on even the

finest of professional recording artists. The work is important as

it points the way for later compositions by other composers for solo

horn.
 CHAPTER V

MICHAEL HAYDN: CONCERTINO IN D-MAJOR

FOR HORN AND ORCHESTRA

In many respects Michael Haydn's musical background and train-

ing follow that of his older brother, Franz Joseph Haydn. Both sang

soprano in the Kapellhaus � St. Stephan in Vienna, with Michael tak-

ing the principal parts after Joseph's voice broke. Michael Haydn

studied organ and violín, and for composition, J. J. Fux's Gradus ad

Parnassum. He eventually became a deputy organist at St. Stephan.

95
He settled in Salzburg in 1762 to become Capellmeister. In 1783,
the new archbishop commissioned Michael Haydn to compase some vocal

and instrumental pieces, but Haydn became ill and Wolfgang Amadeus
h
Mozart f.in i seh parto f t commi· ssi· o for i· m. In recognition of
d e n 96
h

this fact it is interesting to note that the Romance for Horn and

Strings by Michael Haydn, Bayerische Staatsbibliothek, SB 3767,

Rettensteiner Katalog (ca. 1801-1804), page 6, and the "Romance" of

Concerto Number 1, K.447, by Mozart, have a number of similarities.

Mary Rasmussen, in her article for the winter issue, 1966-67, of

Brass and Woodwind Quarterly, shows there is a possibility Michael

Haydn composed the Romance and Mozart later revised it for use in

his third horn concerto. In 1783, Michael Haydn may have

promised

95
Hans Janeik, "Michael Haydn," Die Musik in Geschichte und
Gegenwart (Kassel und Base!: Barenreiter-Verlag, 1956), V, cols.
1933-1935.
96
Eric Blume, ed., "Michael Haydn," Grove's Dictionarv of
Music and Musicians (New York: St. Martin's Press, 1960), IV, 206.

91
 92

a horn concerto and became too ill to complete the work, but had only

sketched it out. Mozart took the sketch and completed the work. In

later year�, Michael Haydn took the sketches he had made earlier and

decided the Romance was too good to abandon and rescored itas an

independent movement. This would explain the differences in dating

as Mozart's "Romance" dates from 1783 and Haydn's manuscript dates

97
from 1795.

The influence exerted on Mozart by Michael Haydn's work can

only be supposed. Upon examining the score of the "Romance" of Con-

certo Number .l, K.447, it is seen that the original material as com-

posed by Haydn has been expanded or rewritten and improved by Mozart.

Evidence strongly supports this idea. The key of the movement is

Ab-Major, a key Mozart seldom used in relation to a work in Eb-Major.

A second point is the use of the seventh harmonic of the natural horn

in Eb. In the remainder of Mozart's horn music, the seventh harmonic

is not used nearly as muchas it is here. Because of the intonation

problems, with the harmonic being flatter than the b-flat it repre-

sents, Mozart usually avoided it where possible. But it is con-

98
spicuously used in the "Romance" of Concerto Number _l, K.447. It
is possible Mozart derived much of his concept of horn writing from

Michael Haydn with the assistance and advice of Ignaz Leutgeb

not discounted.

97Mary Rasmussen, ''Mozart, Michael Haydn, and the Romance from

the Concerto in E-Flat Major for Horn and Orchestra, K.447," Brass and
Woodwind Quarterly, I, Nos. 1 and 2 (1966-1967), 35.
98
Ibid., pp. 28-32.
 93

The Concertino in D-Major for Horn and Orchestra is thought to

be from a larger work now lost. This is shown by a comparison of what

remains of this work and another similar to it, the Clarino Concerto,

also in D-Major. Major T. Donley Thomas, in an article for the summer,

1964, issue of Brass Quarterly states that the manuscripts of both

these works are untitled, and in this may be a clue to their usage.

Thomas feels they were meant to be interchanged with movements of a

mass. The Concertino in D-Major for Horn and Orchestra is undated

99

but thought to be from the period of 1760 to 1770. It is scored for

solo horn, two oboes, two ripieno horns, and strings.

The first movement is a Larghetto in concerto form. The time

signature is three-four; the key is D-Major. The first ritornello

opens with the strings and oboes presenting the main theme (Example

35, Theme A, MM 1-6). The theme is six measures in length dividing as

a 2 + 2 + 2. Following the main theme is the bridge passage of twelve

measures length, dividing as a 4 + 8. Contrasting the main theme's

quarter note movement, the bridge moves in sixteenth notes up to the

closing section of the first ritornello. The closing of the first

ritornello is three measures in length and relates to theme A.

The first solo section opens with the horn returning the main

theme exactly as presented in the first ritornello. The horn has four

"stopped" notes present in the main theme. Following the main theme, the

bridge passage of the first ritornello begins, and extends fourteen

measures. The first six measures are taken exactly as found in the

99
t. Donley Thomas, "Michael Haydn's Enigmatic 'Clarino'
Symphony," Brass Quarterly, 6, No. 4 (1965), 174-175.
 94
95
Example 35, Theme A, MM 1-6.

J J n •J
-
"' u,, \ �

-
1-.. ,¡¡ � .ff,

-
A

_..
,
-
- . - - -.
-. - 1

•
- r
IP
•
'
• .-1

- .
� " "!!::

•
� .
-
�

i
-:JI " l. f1

'l l
l- -
\
"''"" �
�, 1
.. -
,--..- - -.
A
, .. -.
..-. -- .. . -
1• . .. ,- r -
I
1
- - r r"
, . ,-- --- -
1
.-
.. I • .- ........ �
- -

1
'.
1
. .
T •
� .

-
 94
95
-
1 �-
.
! \ \l, -
,, ·- -
- . n
-
�- •
J I["�
r
- ,"' • • , "' - - �

• - •
� ":.. •

-
7
�
1
• •
' - -- -�
":: "".

.J.-l �
,
_J J
:;

- ..
-
I"
-
- .. . .. .. . - - --
� ,¡ ¡ ,

- --I r r- r-: ,-
- -
r r r 1
• ....
í
-
r r - -
r- r-
-

- r
T 1
.
\ r
. l l \ \ l
�
1

.
1
\
1

first ritornello; the next eight measures give the modulation to the

dominant key. After the dominant key has been established by mea-

sures 33-34, a change of mode to the dominant minar, in measures

36-39, prepares for the B theme group. Within the bridge are found

severa! examples of difficult "hand-stopping" because of chromatic

alterations. In measure 32, f#', in measure 34, e#'', and in measure

39, the f#', e#'', and e-flat'', are all required. During the last

measures of the bridg�, the orchestra takes the melodic line while
the horn supplies accompanying figuration. Measures 36-37 are

repeated in measures 38-39. There are twenty-six "stopped" notes

required of the soloist.

 CONCERTINO IN D-MAJOR

MICHAEL HAYDN

First Movement

Part One: Solo:

Orch: A, bridge, clos
!----------
Part Tow: Solo: A, bridge, B
Orch:
1-----v---v

Part Three: Solo:

Orch: A
1--

Part Four: Solo: D, d'

Orch:
ii--I-----v--

Part Five: Solo: B - motive

Orch: Preparation for Recapitulation
v--------1

Part Six: Solo: A, bridge+ extension

Orch:
1---------i---I

Part Seven: Solo: Cadenza,

Orch: B, bridge, clos
!-----------------------
 96
97

Theme B, presented by the horn in A-Majar, extends for eight

measures, dividing as a 2 + 6 (Example 30, MM 41-48). There are ten

"s topped" notes us ed , the las t of which is an a' to b ' trill

figure, forming part of the cadential pattern concluding the theme.

Even

with the use of "hand stopping," the harmonics of the natural horn

in D do not permit the production of this trillas a normal whole

tone "lip" trill.lOO In the harmonic series the nearest "lip" trill

is that of a minar third, from the sixth harmonic � to the flat-

seventh harmonic b-flat'. "Stopping" the horn produces the a' and
the eighth harmonic � because the pitch will rise. It must be
assumed, then, that the b' was produced by "bending" the e'' with

the embouchure, for at "lip" trill speed, the hand cannot be moved

fast enough to effect the difference--all in all, a considerable

tour de force when properly executed.

The second ritornello, based on the main theme, follows the

first solo section. The ritornello is nine measures in length, divid-

ingas a 2 + 7. The development section functions similarly to Mozart's

Example 36, Theme B, MM 41-48.

lOOF or a discussion of the principles and techniques of produc-

ing whole tone trills on brass instruments, see Phillip Farkas, The Art
of French Horn Playing, pp. 75-78.
Concerto Number �, K.495. Theme Bis recast into a developmental

theme (Example 37, Theme D, MM 57-60). The "new" theme is eight mea-

sures long dividing as a 2 + 2 + 4. In measure 57 the key changes to

e-minar without preparation, by chromatic alteration at the beginning

of the theme. After the first statement of the theme is completed,

Example 37, Theme D, MM 57-60.

a second modulation moves the key to D-Major in measure 65. The theme

is modified from the original statement, dividing as a 2 + 2 + 4. In

the first statement of the development theme, there are six "stopped"

notes; in the second, nine "stopped" notes are used. A comparison of

the theme will show the alterations. (Example 38, Theme D-Modified,

MM 65-68)

Example 38, Theme D-Modified, MM 65-68.

'-
' � - • . ... !ti 1 • • - - !'1 ...

, .. - - ... . -. . I
- 1• - 1•
, - -.
.... ....
. -
-
. _,
, ....
1
,..
-, .....--
A r""
- .

�
- r"" -

lll' � .&.J-
1
1 1 ...... 1 1 L l •

The third ritornello extends only four measures. The ritor-

nello is derived from theme B, measure 44. At the beginning of the

ritornello, the key changes to A-Majar; at its end, the key returns
 98
98

to D-Major in measure 76 for the beginning of the recapitulation. The

sustained small � pedal point in the bass clearly marks the ritornello

as preparation for recapitulatior..

The recapitulation begins with the horn returning the main

theme exactly as stated in both the first ritornello and the first

solo sections. The bridge's first six measures return as befare, but

in the seventh measure the bridge material is placed under a new figure

in the horn. To accommodate this change two additional measures are

added, measures 91-92. The remainder of the bridge is the same with

the change of mode now to d-minor. In so doing, Michael Haydn has

recapitulated the first ritornello and the first solo sections by fusing

the two bridge passages together.

Theme Bis also altered. Here Michael Haydn has transposed the

theme downward the interval of a fifth for re-statecent in the tonic

key. Ordinarily this would present numerous problems because of the

use of "stopped" notes, but Haydn has altered the intervals found in

the theme in such a way as to avoid the production of the difficult

d' and �' and substituted open harmonics of the D-horn. It is similar

to the modification made by Franz Joseph Haydn in the second movement

of his Concerto Number !_ in D-Major for the return of the second theme.

The theme is extended by two measures, 105-106. There are four

"stopped" notes used.

The fourth ritornello begins with the head motive of theme B

leading, after four measures, into the cadenza. After the cadenza,
five measures of the bridge are returned leading into closing material
1
of the first ritornello. This provides recall of all ritornello and

solo section material.

The second movement is an Allegro, in common time, in D-Major.

The orchestra opens the first ritornello with the main theme (Example

39, Theme A , MM 1-4). It is a lively theme, filled with intervallic

1

Example 39, Theme A , MM 1-4.

1

\� --- J -. . -
- -
-' "":J.J_ ..
-
• rJ
f
,
.....
r.-.
"\
'J
� r»
�
- -
• - ..
• " . - - --
•... - �
/ t
... �
.-
6' -:::;.. .-
"\

'(
•
-
- '

- .. ..
. -
1
- ...

· ,�
. r• ... , .. . . .i
� - •
-
.-.!
- - -

•
I ,_ � - • .- I r

1,......... i-•
-• 4'

1...
I r
---
l.

......
-- J .Q.
-

J,
..
}l, .. .- . • , ;]
- • { �
•
- .. .
- J ":...
-
, �
:;._
.-- r
,.,,
1\... ' r""'- �
. 1 - � '
,. 1 1
1

- .L
-·
� -- •
• _t,
- \
1 -

-- .-J .
l

,- I �
I • -1 • •
\
•
-- -
r -
1 - t
,

leaps of a third, extending four measures, and leading into the bridge

passage of ten measures. The bridge begins with the head motive of the

main theme set an octave lower far four measures, and leads into a
sequence passage of two, two-measure units. The sequence drops one

step; after the sequence two additional measures of transitional

 101
100

material lead to closing . The first closing, derived from the main
1
theme, is twelve measures in length dividing as a 6 + 6. The two
parts of t�e closing phrase forman antecedent and sequence phrase,

using the same beginning three measures.

The first solo sectioµ begins as the horn returns the main

theme of the first ritornello. Following the return of the main theme

by the horn, the head motive of the main theme is returned again, simi-

lar to the bridge of the first ritornello. However, this return begins

a second theme still in the tonic key of D-Major (Example 40, Theme A ,
2
MM 30-34). The theme begins with the main theme motive and continues

Example 40, Theme A , MM 30-34.

2

with an extremely difficult passage of a virtuosic nature extending

eleven measures. The type of virtuosity required can be seen in

Example 40. The entire passage is written without the use of a

single "stopped" note in the horn; the whole passage being on open

harmonics. This theme may also be viewed .�e: the bridge passage,

similar to that of the first movement of Franz Joseph Haydn's Con-

certo Number .!. in D-Major. In both works, the dominant chord

 CONCERTINO IN D-MAJOR

MICHAEL HAYDN

Second Movement

Part One:
Orch: A , bridge, clos
1 1
!�--------�----
1 2 1 2
Part Two: Solo: A ,bridge or A , B (A + A ), transition

1------------V----------------�v-V------
Part Three:
Orch: clos
1
V----
Part Four: Solo:
Orch:
v-I

Part Five: Solo: bridge, or A + extension,

2
Orch: A ,
1
 102
103

function, which ends this passage, becomes tonic of the new key center.

The modulatory pull of the bridge passage then is weak.

Theme � (Example 41, Theme B, MM 41-51) begins in the orchestra

over an � pedal point in the horn. As theme Bis derived from theme

A and A --from the main theme motive, and the syncopation of theme
1 2
A -- the movement takes a monothematic structure. The theme extends
2
eleven measures, dividing as 7 + 4. The first seven measures retain the

inter-

vallic leaps of a third from the main theme. The last four measures are

in half-notes that prepare the cadential trill to end the theme. Follow-

ing theme B are seven measures of transitional material forming the horn

"clímax." In certain respects, the transition parallels the same sec-

tion in Mozart's Concerto Number i, K.495, as the note values shorten

from halves, through eighths to sixteenths, ending in the cadential

trill. The transition begins with a change of mode in measure 51 to the

dominant minor of D-Major, and returns to A-Major in measure 55. No

"stopped" notes are used in the horn. Only powerful, open harmonics

are used to build dynamic as well as rhythmic tension.

Example 41, Theme B, MM 41-51.

Hor11 s» O

Following the horn "clímax," the second ritornello, based on

the closing of the first ritornello completes the first solo section.

The ritornello now divides as a 5 + 4 phrase.

 The development section opens with a new theme derived from the
rhythmic motive of the main theme in a-minor (Example 42, Theme o , MM
1
67-71). The ter. measures of theme o divide as 5 + 5. There are eight
1
"stopped" notes used. At this point, based on events in the first move-

ment, the development theme could be expected to return in D-Major.

Haydn has instead reshaped the main theme and the syncopation motive

Example 42, Theme o , MM 67-71.

1

of theme A into a second development theme (Example 43, Theme o ,

2 2
MM 77-80). This theme returns in D-Major. The theme is eight mea-

sures long dividing as a 4 + 4. It parallels toan extent the Mozart

Concerto Number !t_, K.495, where two development subjects are found,

the first minor, the second major. There are sixteen "stopped"

notes used in the development section.

Example 43, Theme o , MM 77-80.

2
 104
105
The recapitulation begins with the third ritornello as the

orchestra returns the main theme. This compares with the recapitula-

tion in Mozart's piano concertos where the c�chestra returns the main

theme to begin the recapitulation. The horn rests during these four

measures re-entering with the beginning of theme A • By treating the

2
main theme and theme A i.n this manner, Haydn has fused both the main
2
theme and theme A together providing complete recall of the ritor-
2
nello and solo section material. Theme A
is altered by the addition
2
of seven measures after the first two measures to help complete the

fusion of the two themes. The remainder of the theme is the same as

found in the first solo section except for an alteration to the cadence

figure in the last measure of the theme. After theme A , measures 18-
2
20 of the closing section is inserted befare the return of theme B to

prevent modulation to the dominant. Theme Bis altered extendively,

being shortened by six measures. The monothematic structure permits

the main theme motive to be removed as it has already been returned

in tonic. The four measures of half-note cadence formulation is also

removed. The theme retains its characteristic rhythmic and intervallic

patterns. The transition ar horn "clímax" is changed by being shortened

ene measure. The beginning half-note pattern is shortened, and the

eighth note pattern omitted with sixteenths inserted in their place

leading into the cadential trill to end the recapitulation. The change

of mode, this cime to d-minor, is still present in the transition.

The fourth ritornello begins with two measures taken from the

rhythmic motive of theme A leading to the cadenza. After the cadenza,

1
the bridge and closing material of the first ritornello are returned

to complete the movement.

A Rondo ora concerto movement to close the work could

well be expected at this point; instead a Menuet and Trio are

used. It has two unusual features: the horn is silent during the

entire menuet, and plays only in the trio section in remete keys

from its
tonic crooking.

The orchestra presents the first theme (Example 44, Theme A,

MM 1-4). The theme is twelve measures in length dividing 4 + 4 + 4,

oran a a b. It is followed after the double repeat sign by t�1eme B

(Example 45, Theme B, MM 13-16). Theme Bis also in D-Major, but

there is more altered chord movement in theme B than found in theme A.

Theme Bis followed by the return of theme A again in D-Major. On its

return, theme A is changed toan a b' e micro form, still dividing as

a 4 + 4 + 4. The menuet macro form is a rounded binary form of

A:BA,

repeated.

Example 44, Theme A, MM 1-4.

 107
106

Example 45, Theme B, MM 13-16.

\
r- .... ,J J
••
. •' �J .- . ' .....
i. • • r::J .. -

- - - - �. --�
.1
1
1r • r"\-,y JI n 1 •
.
..
- 1
-.._
' LJ
......... • •
1 • •
- -� -.. ... . .....
l
.
.... :2' . .....
r,,�
-y.- n
..IJ • ...
-�
- -- -
� -
- - ,-.... ... -
1
--- I�-
# -,- 1

r-:

The solo horn enters for the first time in this movement in the

trio section presenting theme C in A-Majar. The theme is eight measures

in length dividing as a 4 + 4 (Example 46, Theme C, MM 33-36). Because

the new tonic key center is A-Majar, nine "stopped" notes are found.

It is interesting to note the use of the low f#' and the a' on the

natural horn in D. The theme's micro form is A b.

Example 46, Theme C, MM 33-36.

In the second part of the trio, the key changes to E-Majar.

The horn also presents the second trio theme (Example 47, Theme D,

MM 41-44). The theme also divides as a 4 + 4 and is based on mea-

sure 39 of theme C. The key of E-Majar is the super tonic key of

 Example 47, Theme D, MM 41-44.

Hor111 !11 D

D-Major and is a difficult key for the natural horn in D to play in

as the tonic of E would be the written d. Haydn has solved this

problem by having the horn play the fifth of the tonic chord to avoid

the use of the written low d' and f' for the easier a' by "hand-

stopping."

For the remainder of the theme, he has the horn punctuate the theme

with a pedal point e' asan accompanying figure. The micro form of

the theme is an a b. With the return of theme C in A-Majar, the Trio

is completed. There are slight modifications to the theme in its last

two measures to complete a cadence formula of V to I instead of having

the theme end on the dominant. With these changes, the micro form of

the theme is altered toan a b'. The macro form of the trio is a

rounded binary form of C:DC, repeated. With the da capo the movement

is completed.

The Concertino in many respects surpasses the four concertos

for horn by Mozart in difficulty dueto the larger number of difficult

"stopped" notes used. Particularly interesting is Michael Haydn's use

of the written low �, �, and f#' and the extensive use of the
written a'. Mozart tends to avoid these pitches entirely and to
handle the

remaining "stopped" notes in a conservative manner compared to Michael

Haydn's usage. Often Haydn has the soloist begin a phrase on one of
these difficult "stopped" notes, especially the a' and f/1'. Mozart

does not have the soloist attempt this, preferring to begin the

phrase with an open harmonic instead. Also found in the Concertino

is an a-flat', a chromatic alteration for natural horn Mozart does

not use.

On the whole, the style of writing for horn is advanced par-

ticularly with regard to chromatics in the solo horn part. This

pushes hand-horn technique very near its practica! limit. This could

suggest

a later date than 1760 to 1770 for its composition. With this leve!

of development in the use of hand-horn, a composition date of 1780 to

1790 is reasonable. A comparison to Franz Joseph Haydn's Concerto Num-

ber 1 in D-Major, a work composed in 1762, with this view in mind, shows

a marked difference in the use of "stopped" notes and treatment of the

natural horn as a solo instrument.

CONCERTINO IN D-MAJOR

MICHAEL HAYDN

Third Movement
Menuet: Solo:
Orch: 11:A:ll:B, A':11
I-- V--I

Trio: Solo: 11:C :11:D, C':11 Menuet da Capo

Orch:
V-----ii--V
 CHAPTER VI

FRANZ DANZI: CONCERTO IN E-MAJOR

FOR HORN AND ORCHESTRA

Franz Danzi (1763-1826) was a composer-cellist of the electoral

court at Mannheim. When the orchestra was transferred to Munich in

1778, he stayed with the small remainder of the orchestra at Mannheim

and made his first success as a composer of opera for the new German

national theatre. In 1783, after his father's retirement, Danzi became

principal cellist of the electoral court archestra in Munich. Under

Peter von Winter he was appointed vice-conductor of the orchestra in

1798, but Danzi retired from the position in 1800 dueto his wife's

early death. In 1807, Danzi was appointed court conductor in Stuttgart,

remaining until 1812. His last years were spent as court conductor in
101
Carlsruhe.

The Concerto in E-Major is thought to have been composed for

Carl Franz, an early exponent of hand-horn techniques. He was one of

the first players to cover both ranges of the horn equally well. Franz

Danzi studied horn under his uncle, and completed his study with Joseph

Matiegka, the leading horn teacher of the time. Franz's hand technique

knew few equals, and his range encompassed five cs. In 1763, he was

engaged as second horn to Thaddaus Steinm,iller at the Esterhazy court

101 Eric Bloom, ed., "Franz Danzi," Grove's Dictionary of Music

and Musicians (Sth ed.; New York: St. Martin's Press, 1960), 11, 594.

109
 110

l.lllder Franz Joseph Haydn. During the fourteen years he remained with

the Esterhazy orchestra, Haydn composed ntunerous second horn parts

which demonstrated his skill in the low register. The Concerto for

Second Horn in D-Major, 1767, by Haydn, may possibly have been com-

posed for Carl Franz. In 1787, Franz was engaged as Cammermusicus at

the Munich court l.lllder Franz Danzi.1 2 º
The Concerto in E-Majar is scored for solo horn, two flutes,

two ripieno horns, two violins, viola and bass.

The first movement, in E-Majar, is a concerto form in common

time. The violins present theme A (Example 48, Theme A , MM 1-4),

1 1
which contains an important motive in measures 1-2 that will be

used later in the movement. As the theme does not appear again in

the

Example 48, Theme A , MM 1-4.

1

,�, ü..-.t...
-
- -- 1
t.,, �
"" r �
-
�

� . . .. ,. 1
- , I �
.
• - .. �

.
� 1 •
•
"""!:

- - • ...
•• -
r"'l

• • '".....
-= 1 - •
--
,.,. � -· . .. - - • • ...
-;.

-i� "i· .,r' - •'llªJ -

_
-1 - � \.._
- 411

,., ., ¡,e.
•
l 1

,. -
--
' "'·· "" . .., T - 1 •• I
"""'."" �
, , .., . .,
1 t•

•
•• - •
#
-:lill. '- - \
1 1
. 1 1
.•
1 � --¡
1
- '

movement, its usage here may be viewed asan introduction to the main

theme. Theme A is twelve measures in length dividing as a 4 + 4 + 4

1
ora b b'. Following the theme are four measures of transition mater-
1
 111
ial derived from measures 1-2 of the introductory theme leading to the

main theme.

102
Horace Fitzpatrick, The Horn and Horn-Playing, pp. 196-197.
 111

Theme A (Example 49, Theme A , MM 17-20) is presented by the

2 2
violins over viola and bass accompaniment. The theme is twelve mea-

sures in length dividing as a 4 + 4 + 4 oran a b b'. Both t�eme A

1
and A are closely related as fragments of the motive from measures
2
1-2, and are found in measures 6, 10, 17, 18, 19, 20, 21, 25 and 26.

Thirteen measures of bridge material, based.on the head motive of

themes A and A , follow theme A . The first four measures forma

1 2 2
sequ�nce of two two-measure units moving downward one tone in a 2 + 2

pattern. The next six measures lead to a change of mode, to e-minar

in measure 38, for the remaining three measures of the bridge passage.

Example 49, Theme A , MM 17-20.

2

The dominant cadence which ends the bridge passage provides a complete

halt to the forward motion of the first ritornello. This creates ten-

sien by dramatically preparing the next theme. In this respect the

bridge passage compares with the bridge of the first ritornello in

Mozart's Concerto Number 4 in Eb Majar, K.�95.
- - -
Theme B (Example 50, Theme B, MM 41-45) is sixteen measures

in length, dividing asan 8 + 8. It is derived from the head motive

of
 112

theme A1 and the motive's use here gives a monothematic structure. All

of the themes presented in the ritornello are characterized by their

lyrical nature. This demonstrates that Danzi is aware of the natural

horn's limitations with regard to extended passage work in a thematic

context. As the horn must be supported by the orchestra, Danzi has pre-

sented in the first ritornello themes which will fit the natural horn

easily.

Example 50, Theme B, MM 41-45.

'U,. ,-

. ....

.. ..d • u •• • • ':. .... • _J • •- - l

� \1,-'

*'
,- tliol, r .,lI -- - - -""'
. ,,-;;; �

.. .
,, - _1 , .
1
• �
• •
- -.
.... r 1 1 ..J
'
- j • 1

-- ...,.
-- -
�
\ •
..... _
-- l"'U.

.
.. • - - .,
LI r"'
� -

.
--
....
-
'\... " .;;;
...
r ,--
....
- • .... ' 1
""
J

- !"'

1 l
r
-
•-
• -

va.� 8,ssi
--
¡,i,r.a,,,. 1 AJ • 6"' � ., \ LJ - 1
"'1 .a. ...

•
r ·� ... l 1
.
'"" 'I 1
l
I \

-.111'-
T
T " 1 �
r
1

- �"' -.
'
1
l
-e-
1

'-'

Four measures of closing material derived from the transition

between theme A and A .conclude the first ritornello.

1 2
The first solo section begins with the horn presenting theme A
2
(Example 51, Theme A , MM 60-63) with slight modifications. The theme
2

Example 51, Theme A , MM 60-63.

2
 113

Ho,.,, :ta1 E.
 113
is set in the horn's upper register ascending to the written e''' four

times. The soloist will have few problems concerning sufficient breath

because of the high tessitura of the theme, as there are numerous points

where a short breath may be taken. Four "stopped" notes are used, three

b'�, and one d#''. The A theme group is ended by three measures of sub-

ritornello used as a closing. The sub-ritornello may be based on the

transition separating themes A and A.

1 2
The bridge of the first solo section is twenty-one measures in

length dividing as a 10 + 11. The first part of the bridge is an exam-

ple of an extended passage in sixteenth notes in the horn concerto. The

passage fits the harmonics of the natural horn well with only three

"stopped" notes used, all of which may be easily produced. (Example

52, Bridge Passage, MM 75-76.) The second part of the bridge is derived

Example 52, Bridge Passage, MM 75-76.

from theme A , dividing as a 4

2
+ 7. The orchestra and horn interchange

with the melodic line in a statement and answer fashion. Measures 82,

83, 85, 89, 92, 94 and 95 contain the motive from the beginning.

Theme B (Example 53, Theme B, MM 96-103) is presented by the

horn extending eight measures. Because of the relationship of theme B

to theme A , elements of mono-thematic structure are seen. The horn is
1
 114
114

CONCERTO IN E-MAJOR

FRANZ DANZI

First Movement
Part One: Solo:
Orch: A1, trans1 A2 , bridge , B (from A1 ), clos1
1
1-----------------------------------------
Part Two: Solo: A , bridge + A , B, transition2
2 2 2
Sub-rit.,
(trans ) B,
1
1---------------v------------------------
Part Three: Solo:
Orch: Clos (motive x) Clos , Clos + extension
2 3 1
V---------------------------
Part Four: Solo: "i- n2 , transition 4
Orch: transition
3
v----------------vi----------v---
Part Five: Solo:
Orch: Prep. for recap. (Transition , bridge 1)
5
v------------------------------1------
Part Six: Solo: A bridge--altered , B transition
2 2 2
Orch: Sub-rit., B,
1---------------------------------------------
Pat:t Seven: Solo: Cadenza,
Orch: trans , trans ,
1 5
bridge
1
+ clos1

1---------------------------------------
 Example 53, Theme B, MM 96-103.

doubled by the violins through the first four measures of the theme as

the bass provides a tonic pedal point. The registration of theme Bis

lower than that of theme A in the horn. Theme B covers the interval
2
of a seventh while theme A covers the interval of an octave and one
2
fourth. This is an instance where the B theme, even with the oossi-

bility of numerous "stopped" notes, is set lower than the A theme

group. Six "stopped" notes are found, all in a neighboring or passing

tone usage. A sub-ritornello, based on theme B, extending for five

measures, is used to join theme B to the horn "clímax."

Transition
2
(Example 54, Horn "Climax," MM 109-115) extends six measures dividing

as a 3 + 3. The use of "stopped" notes in an extended passage of six-

teenth notes is important. In bridge Danzi has shown one way of using
2
"stopped" tones. In the horn "clímax," another is seen. Twelve of the

Example 54, Horn "Clímax," MM 109-115.

sixteen "stopped" notes used are chord members, rather than passing or

neighboring tones as in the bridge passage. "Stopped" tones used in

this manner are much more exposed than in a ��n-harmonic use, and

therefore present more problems in execution. Two other factors also

make this passage extremely difficult. Tile first is the written d' ''

in measure 112, the second is the a' to b' trill in measure 114. The

concerto must bé classes as a cor-alto concerto because of the d' '',

though not the same as the Concerto Number .!_ in D-Major by Joseph

Haydn, because of the freer use of "stopped" tones. When all of these

points are added together, the horn "clímax" is a difficult but dramat-

ically effective exit for the soloist.

Tile second ritornello begins as the orchestra presents the

second closing • The passage, of four measures length, is based on

2
theme A1's motive and may be rhythmically derived from theme A • Clos-
2
ing ends with a complete dominant to tonic cadence in B-Major, mea-
2
sures 118-119. Following closing , closing begins in the first and
2 3
second violins over quarter-note accompaniment in the bass. Tile third
closing may be derived from measures 3 and 4 of theme A , but is a dif-
1
ferent treatment of these two measures than found in the theme. Clos-
ing extends six measures leading into a return of closing 1• Closing
3 1
is extended by two measures making a 2 + 4 passage.

The development section is treated similarly to the development

sections in Mo�art's Concerto Number �, K.495, and Michael Haydn's

Concertino in D-Major. Danzi has taken the thematic motive from theme

A and theme B and reshaped it into a development theme.

1
 117
117

Theme n1 (Example SS, Theme n 1, MM 130-134) is presented by the

horn in B-Major. The theme extends for eight measures dividing as a

4 + 4. The motive is also used in measure 132 providing additional

unity of the development to the first solo section and first ritornello.

Measure 133 of the development shows a relationship to measure 111 of

the bridge passage of-the first solo section. The written d''' in
bridge2 is ascended to by an arpeggio� approached by a scale and is
used to complete this part of the phrase with a very high tessitura in

the horn, being extremely difficult to execute. The last part of theme

n1 may be derived from measures 77-78 of the bridge of the first solo
section. Theme n1 is completed with the a' to b' trill. When all of

Example 55, Theme D , MM 130-134.

1

these elements are added together, the first eight measures of the

development section prove to be one of the most difficult sections

yet encountered for the hand horn. Three "stopped" notes are used.

Transition
3
, extending three measures, is used to join theme n1 to

theme n2•

Theme n (Example 56, Theme n2, MM 1 /, 1-144) is presented by

2
the horn beginning in B-Major. After the fourth measure, the

key changes by chromatic alteration to c#-minor, extending for

eight
 measures, and returns to B-Major for the last three measures of the

theme. The key change to c#-minor is the only key change in the

development section, and is the relative minor of E-Major. Measures

145-146 contain the head-motive of theme A and B, and therefore

1
theme n may be derived from the first ritornello. The theme divides
2
asan 8 + 4 with transition being used to move the tonality back to
4
the dominant key of B-Major to prepare the third ritornello. The

development section is very limited in modulation; the two tonalities

used are related to the tonic key and do not present great problems

with regard to "stopped" notes on the natural horn.

Example 56, Theme o , MM 141-144.

2

�e J U l C I C f f E C 3jJJJJ tCc/ t!cC C!j f rtr C

r H•l'N :i:11 E

The third ritornello divides into two parts. The eight mea-

sures of transition serve as part one of the preparation far reca-

5
pitulation. Part two of the preparation for recapitulation extends

six measures, and is derived from the last six measures of the bridge

passage of the first ritornello. The function of transition is to in

5
return the key center to E-Majar. As the first ritornello, a

half-cadence concludes the bridge passage to end the preparation

for recapitulation.
 The recapitulation begins as the horn returns theme A exactly
2
as presented in the first solo section. The sub-ritornello used to

separate theme A from the bridge passage is also returned unchanged.

2
With the return of b r1·a ge , teh fº1rst majar a 1 terat1· ons are
2
fom1d in the recapitulation. The passage is shortened by thirteen mea-

sures to prevent modulation to the dominant key. The solo part still

contains the sixteenth-note movement, but this is changed to fit the

natural horn's open harmonics in a new pattern.

Following the bridge, theme B returns transposed upward the

interval of a perfect fourth. There is some slight alteration of the

theme which now ascends to the written e''', but the rhythmic movement

of the theme is largely unchanged. The sub-ritornello following the

theme Bis also returned to E-Major without major alteration. The

horn "climax" is modified extensively. The sixteenth-notes of the

original transition passage are altered to a triplet figure. The trip-

lets, however, give the rhythmic outline of the original transition

passage. The horn "climax" is shortened two measures. Only three

"stopped" notes are used in the recapitulation.

The fourth ritornello begins as the orchestra returns the

transition which separates theme A and A in the first ritornello.

1 1 2
Following the four measures of transition, five measures of transi-

tion material are used to prepare the cadenza. After the cadenza,
5
the bridge pa&sage of the first ritornello is fused into closing
1
of the first ritornello to end the movement.
 121
120
The second movement is a "Romance" in coDllllon time in rondo form.

The form of the rondo is ABA CA. The horn presents the first part

of theme A (Example 57, Theme A, MM 1-4) in E-Majar. The ent.ire theme

extends sixteen measures being divided between the horn and violins as

an 8 + 8, and subdividing as a 4 + 4 + 4 + 4. The second half of the

theme is based on the first eight measures presented by the horn, ending

in a ful! cadence to complete what the horn has begun. Four

"stopped" no tes are us ed ,

Exa.mple 57, Theme A, MM 1-4.

The horn presents theme B (Example 58, Theme B, MM 17-20)

in B-Major. The theme is eight measures in length dividing as a 4 +

4 with two "stopped" notes used. Four measures of transition are
used

to prepare the return of theme A with a return to the E-Major

key- center. The first eight measures of theme A are returned

without

change ending in a half-cadence.

Example 58, Theme B, MM 17-20.

, 1�·

-� ,
- - r.J

- 111' - • 1
� - 1• -.
--
r.._•
. -
�

-
r- 1

r 1 - \
 121
120
,,.�. 1 l. l 1 1 1 1 l.. l \
•

-
i, • . • •
H,wa-, I.,v E
.
 The half-cadence resolves to tonic e-minoras the horn presents

theme C (Example 59, Theme e, MM 37-40). The complete theme is sixteen

mea�ures in length dividing asan 8 + 8 a�d subdividing as a 4 + 4 + 4

+ 4. The treatment of the e-minor key-center is unusual. The natural

horn is given a key signature of three flats. During this period, the

natural horn does not have a key signature. The composer simply indi-

cates which notes are to be altered by the use of accidentals. This is

because the tonality of the horn is determined by the crook used, and

the part is written in C with the crook indicated by the composer,

therefore eliminating the need for a key signature. In this section,

Danzi has given the horn three flats to establish a written key of

c-minor for the horn, or concert e-minor for the orchestra. The minor

key-center produces fifteen "stopped" notes, thirteen e-flat'' 's and

two a-flat'''s. The section ends on a half-cadence leading into a

return of tonic E-Major, anda complete, exact return of theme A.

Example 59, Theme C, MM 37-40.

The second movement presents two problems to the soloist. The

first is the range of the solo part. The solo horn is set in the upper

portien of its register making embouchure fatigue a problem. The second

obstacle is the difficult use of "stopped" notes in the e-minor section

of the movement. Though the movement is simply constructed, the prob-

lems presented are not easily overcome.

 122
123

CONCERTO IN E-MAJOR

FRANZ DANZI

Second Movement

Part One: Solo: A,

Orch:
A'
I----

Part Two: Solo: B,

Orch: Transition
v------r----
Part Three: Solo:
Orch:
!----

Part Four: Solo: Orch: e , e'

C'
i------

Part Five: Solo: A,

Orch: A'
!-----

RONDO: A B A C A
 In the second movement, severa! passages have a possible them-

atic relationship to the first movement. This may be seen in the

mod-

ulating transition after theme B, measures 2�-28, which may be related

to theme B of the first movement. Also, theme e of the second move-

ment may be derived from theme B of the first movement in the recapit-

ulation, measures 196-197. If the relationship of thematic material

is intentional, then there are not only characteristics of mono-

thematicism in the first movement, but between movements as well giv-

ing a cyclic treatment to themes.

The final movement is a "Rondeau" in E-Major in two-fo:.ir time.

The movement opens as the solo horn presents theme A (Example 60,

Therne A, MM 1-8) in E-Major. The entire theme is sixteen measures

in length with the horn presenting the first eight measures and the

orchestra returning the same eight measures with the last two altered

to give a full-cadence instead of the half-cadence as presented by the

horn. The theme divides asan 8 + 8 and sub-divides as a 4 + 4 + 4 + 4.

Following theme A are sixteen measures of bridge material which serve to

move the tonality from E-Major to B-Major. The bridge passage is treated

similarly to theme A in that the horn presents the first eight measures,

and the orchestra the second eight measures. In the last four

Example 60, Theme A, M:·1 1-8.

 124
125

CONCERTO IN E-MA.JOR

FRANZ DANZI

Third Movement
Part One: Solo: A, bridge,
Orch: A' ' bridge
I--�---V--------�-
Part Two: Solo: cadenza
Orch: trans (B motive),
1 2
V---------------------------------------
Part Three: Solo: A,
Orch: A'
I------
Part Four: Solo: Prep. for recap., cadenza
Orch: trans , trans ,
2 3
1------------------------------------------�
Part Five: Solo: A, bridge,
Or ch : A' trans4
1--------------------
Part Six: Solo:
Orch: trans
5
I----------------
Part Seven: Solo: cadenza A, A'
Orch: trans A'
6
1---------------------
RONDO: A bridge B1 A e A bridge Be A
measures of the bridge, the solo horn re-enters with a dominant pedal

point. Five "stopped" notes have been used to this point, three

b''s, one d#'', and one a'. The a' is approached 3nd left by leap

making it the most difficult of the "stopped" tones used. The bridge

divides as

an 8 + 8 and sub-divides as a 4 + 4 + 4 + 4.

Theme B (Example 61, Theme B , MM 33-40) is presented by the

1 1
horn in B-Major. The complete theme is also sixteen measures in length

with the horn presenting the first eight measures and the orchestra the

second eight measures. The orchestra's eight measures are a repeat of

the horn's with only the cadence formulation changed to give a complete

full-cadence. The theme divides asan 8 + 8 and sub-divides as a 4 + 4

+ 4 + 4. Four "stopped" tones are used, three b''s and one d#'', in a

passing or neighboring tone usage.

Example 61, Theme B , MM 33-40.

1

Following theme B , Theme B (Example 62, Theme B , MM 48-55)

1 2 2
is presented by the horn. The eight measures of theme divide as a

4 + 4. The theme is comprised of triplets, with t3e last four mea-

sures making a sequence pattern of three one-measure units descending

by thirds within the B-Major key center. After theme B , eight mea-
2
sures of transition , derived from the rhythmic motive of theme B ,
1 2
 126
127

Example 62, Theme B , MM 48-55.

2

prepare the return of theme A in E-Majar. On the last chord of transi-

tion1, a fermata is placed to give the soloist a point to improvise the

first of three cadenza's in the last movement. In this contest the

cadenza passage becomes a point of dramatic pause and formal demarca-

tion. After the transition passage, theme A returns unchanged from

1
the first of the movement.

An unprepared modulation to e-minor in measure 79 establishes

the tonality of the C theme group. Befare the solo presents theme C

(Example 63, Theme C, MM 86-95), eight rneasures of transition are used

2
to prepare and affirm the new minar tonality. As in the second movement,

with the change to the minor key, the solo horn is given a written key

signature to produce the written c-minor tonality on the natural horn

in E. The horn presents theme C over violin accompaniment in the

orchestra. The theme is eight measures in length and divides as a 4 + 4.

Five "stopped" tones are used most of which are the written e-flat''

produced by the horn's c-minor key signature. Thirteen measures of

'
 Example 63, Theme C, MM 86-95.

transition , derived from the triplet motive of theme B , lead to the

3 2
preparation far recapitulation. The preparation far recapitulation

is based on theme C and extends far fourteen measures. The horn pre-

sents the first seven measures of the passage over eighth-note accom-

paniment in the strings while the last seven measures are comprised

of quarter-notes on the first beat of the measure moving overa series

of dominant to tonic-six-four chords. A dominant pedal point is found

in the bass emphasizing the dominant implication. In the last measure

of the passage, a fermata is placed giving the second cadenza point in

the last movement. The preparation far recapitulation contains eleven

"stopped" notes all the e-flat'' produced by the horn's c-minor key

signature. The passage ends with the cadenza on a half-cadence in

e-minor, the minar key dominant becoming dominant of E-Major with the

return of the A theme.

In the recapitulation, theme A is returned unchanged. The

bridge passage also begins as if it will return without alteration,

however in the sixth 1 easure it is changed to prevent the modulation to

the dominant key. The next five measures, instead of being the remain-

ing measures of the bridge passage, are the fourth transition passage
 129
128

leading to the B theme group, now returned in tonic. The first major
alteration is encountered at this point. Theme B is omitted completely
1
and in its plac� theme B is used. The t�eme is altered to fit natural
2
horn harmonics as it is transposed to the tonic key. But -the rhythmic

outline in triplets is close enough to the original theme that the rela-
103
tionship of the two themes is clear. After theme B , eight measures
2
5
of transition , derived from theme B , lead to a return in the tonic-
2
104
major key of theme c. In the rondo-sonata, this is an unusual treat-

ment of the C theme group, as it is not usually returned in the recapitu-

lation. Following theme C, thirteen measures of transition , possibly
6
derived from the bridge, lead to the third and last cadenza in the

"Rondeau." The cadenza is on the half-cadence. To this point in the

recapitulation, only four "stopped" tones have been used, all �'s.
After the cadenza, theme A returns for the final time. The horn pre-

sents the first eight measures and joins the orchestra for the final

eight measures of the theme to conclude the movement. The recapitula-

tion takes place entirely in the tonic key of E-Major so elements

common to sonata formare found. The form of the rondo is Abr. B A

tr. e Abr. B tr. e A.

Franz Danzi has handled the problems imposed by the natural

horn's scale limitations by employing only the keys of E-Major,

e-minor, B-Major and �#-minor. In this respect he has restricted

and
º
1 3
rn the recording by Hermann Baumann,
the bridge moves directly to theme B •
transition4 is omitted,
2
104
These eight measures are replaced by the final eight mea-
sures of the bridge in the tonic key in the Baumann recording.
his use of keys more than Mozart, Franz Joseph Haydn, and Michael Haydn.

The work is a cor-alto concerto dueto the severa! written d''''s in the

first movement; anda number of e' '''sin the third movement. The range

of the concerto is also of interest as it is set from � to d''' and at

no point does the work go below the �- By so doing, Danzi has the horn
playing in its best range, with most of the melodic movement taking

place between � and �, with occasional movement through and over the

e'''. This range then makes use of the best features of the cor-

basse concerto.

The use of "stopped" tones is also of interest. Most fallas

either neighboring tones or passing tones within a diatonic passage.

Few are leaped into or away from. The use of the chromatically

altered written d#'' is important. Without exception, the d#'' rises

to the written e'' in all movements. Of the chromatically altered tones

it is the most commonly used, being found eleven times. The written c#''

is used twice, once as a chromatic alteration and once as a chromatic

neighboring tone. The written g#'' is also used twice, once as the

raised seventh of an a-minar scale, on the natural horn, and the other

as a chromatic passing tone. In sections of the work in e-minor, the

written e-flat'' is used to give the minor third of the tonic chord

construction. The written b' in the minor key sections is used once

as the raised seventh the written a-flat'' is used once to complete a

sub-mediant chord construction. The range of the sections in e-minor

is predominantly between the written e'' and the �' thus limiting

to a large extent the nlDilber of "stopped" tones, other than the

 130

written e-flat'', required. In the minar key, the written e-flat''

is either leaped away from or resolved downward to the written d'' in

every instance. In leaping, it uDves only toan open harmonic, the

written e'' or the � usually found in a tonic chord construction in

e-minar.

It is seen, then, that the use of accidentals and chromatic

alterations is highly controlled. The solo part is well placed on the

natural horn, and although difficult at times because of range and con-

trol problems, none-the-less represents a good .solution to the problems

of natural horn in the concerto. Danzi has recognized, as did Mozart,

that the natural horn functions best as a melodist, that with "stopped"

tones being used extensive doubling of the solo part by the orchestra

would cover the horn to such an extent it would not be heard, and there-

fore the accompanying orchestration must be kept small, except in ritor-

nello passages, for the solo horn to be heard.

The Concerto in E-Majar for Horn and Orchestra is an excellent

example of a composer writing a concerto under the guidance of the

soloist who is to perform the work. The composer's work reflects the

soloist's range and technical abilities to the best advantage and

keeps the problems of the natural horn's incomplete scale to a mínimum

...
 CHAPTER VII

FRANCESCO ROSETTI: CONCERTO IN D-MINOR

FOR HORN AND ORCHESTRA

Francesco Antonio Rosetti (Franz Anton Rossler, 1746-1792) was

a Bohemian-born contra-bass player, conductor, and composer. He studied

far the priesthood but did not take religious orders. In 1773, Rosetti

was engaged by Count Oettingen-Wallerstein as a contra-bass player and

in 1785 promoted to the position of Capellmeister. The Duke of

•
Mecklenburg-Schwein at Ludwigslust appointed Rosetti to the position
105
of Capellmeister in 1789 where he remained until his death in 1792.

Rosetti is thought to have composed twenty-three horn concertos,

at least five of which are far cor-basse. The cor-basse concertos may

have been composed far Carl Thürrschmidt, one of the majar horn vir-
tuos1 o f per1. 0.d Carl Thürrschmidt studied with his father,
. 106
teh

Johannes Thürrschmidt, who was one of the leading cor-alto players and

horn teachers of the Classical period. Though first trained by his

father, Carl is thought to have completed his study in Dresden under

Anton Hampl. Carl's hand technique was acclaimed by the critics, and

it seems unlikely he would have learned such proficient use of the

right hand from his father, a cor-alto player. Much of Carl's fame

l05E ra· Bl om, e d G rove ' o·1ct1. VII , 256 •

c ., s onary, p.

l06Horace F L· t zpa t r.í·,c k , �· c . t , , 174 .

í

p.

131
 132

rests on his exploits as a duetist with Johann Palsa, a cor-alto player.

Rosetti may have composed for them a number of concertos for two horns.

As with Ignaz Leutgeb, Carl Thürrschmidt had the ability to cover wide

leaps in quick tempos. Thürrschmidt also made improvements in the horn

107
being used during this period, and developed a chromatic mute. Palsa
.. 108
and Thurrschmidt published three sets of duets for two horns.

Rosetti's Concerto in D-Minor is one of the most unusual works

for solo horn written during the Classical period because of the minor

key tonic. The outer movements are written in d-minor with the solo

instrument crooked in F. This will produce the written a on the horn

in F for a tonic note, which requdres considerable use of "s topping,"

if the pitch is to be used at all in any register. Also, the raised

leading tone in d-minor on the horn in F will be a written fJ!._, which

requires full "stopping" of the horn bell in any register. Rosetti's

solution to these problerns and the demands of forro make this one of the

most interesting concertos for horn during the period. The

treatment of "s topped" notes will be especially important in

relation to the
minor key tonic. The work is scored for solo horn, two oboes, two
,
ripieno horns, and strings.

The first movement is a concerto forro in d-minor in common

time. The strings present theme A (Example 64, Theme A , MM 1-4) in

1 1
d-minor. The movement begins with a martial statement of the main

º 1 7
Fitzpatrick, �· cit.,
a non-transposing mute. By means
pp. 174-175. The chromatic mute is
of a ball on the end of a rod, the
neck of the mute could be opened and closed in the same way the hand
"stopped" the bell of the open horn.
108
Morely-Pegge, �· cit., p. 155.
 134
133

Example 64, Theme , MM 1-4.

A
1

,.
- .
\

.. .,
1 .. . . ... l - ; 1 1 1 -• 1
.. l.

"' ,-. .
-
/ --- 1 T \ \

\_'
• ••• • u . ... .. 1 ,1111
•
_,
ti
. ....... ....
::::-=--
�

.p
- --
........
.. 1

\ J l 1 1 l l

s+ri"'" �
� �

'. -
�
... "" '
-
�

. .,
-
-,,,
, l .. '

,,-
. - ,,.

, - -. - - - �
- ,. - . ... -�
.. -
""'
.. 11

- - -- - "�•,.
-
1

./"\
• l •
I �l - l
1 �· ,.-
\ \ ll
'. W' \
1
• .. "3"':. -¡• -al'" 9CS"
.-

theme motive in unison by the strings in measures 1-2, which breaks

into moving eighth notes outlining the d-minor scale in measures 3-5.

In measure ten, transition , which replaces the bridge, begins. The

1
transition builds in tension through syncopation, altered chords, and

rising minar scales built on the dorrd.nant in the bass, to a fortissimo

half-cadence with a fermata in measure fifteen. The exact point at

which the transition begins is not clear. The transition is fused

 134
134
into the main theme as is often the case in Mozart's concertos. With

the great tension generated by the syncopation, altered chords, bass

scales and fermata, something of a very dramatic nature is expected.

Rosetti provides this far two things occur: the key suddenly changes
to F-Major and the solo horn presents theme B , piano. (Example 65,
1
Theme B � MM 16-18) In a substantial alteration of concerto form,
1
Rosetti has the horn presenta contrasting theme in the relative

Example 65, Theme B , :,,it·. :.6-18.

1
 CONCERTO IN D-MINOR

FRANCESCO ROSETTI

First Movement
Part One: Solo:
Orch: trans , B , clos, bridge
2 2 1
i-----------III----�-----�--�-----i---
Part Two: Solo: B3,
Orch: A1 + trans1 trans3, bridge2 (A1 ) trans ,
2
i-------------------------------1!!-------
Solo: trans
1456
Orch: eles,

Part Three: Solo:

Orch: trans 2, B eles
2
!!!------------
Part Four: Solo: n3, prep. recap.
Orch: + bridge 1, trans ,
2
III----------------VII--------III-----i-------

Part Five: Solo: A , trans (extended)

2 456
Orch: A ' ', bridge2(A'1),
1
i------------------------------(vi)--i----
Part Six: Solo:
Orch:
majar key center in the first ritornello.109 The theme is twelve mea-

sures in length, dividing as a 6 + 6, moving in a tonic to dominant

progression. Tae theme's construction fi�s the harmonics of the natu-

ral horn well, with twelve "stopped" notes used, six a''s and six b''s,

in diatonic movement. These "stopped" notes are easily produced, by

slight hand movement. After the horn has presented theme �l' the solo
i. ns t res f or th e remai. n d ero f teh f i· rst ri· torne 11 o. llO Th e
rumen t ts

orchestra dynamic leve! changes to forte as transition begins, con-

2
tinuing in F-Major. Transition
is twelve measures in length and may
2
be motivicly derived from measures 26 and 27 of the solo horn part.

Transition divides as a 4 + 4 + 4.
After transition , theme B
2 2 2
(Example 66, Theme B , MM 40-43) extends eight measures, dividing as
2
a 4 + 4. The theme contrasts the transition's vigor and rapid note

movements by presenting in the violins a lyrical phrase of eight mea-

111
sures in length.

1 9
º rn Piano Concerto Number 20 in D-Minor, K.466, Mozart
presents the second theme in the first ritornello in the relative
majar, but the key changes fairly quickly back to the relative
minor. The solo does not enter here, but at the end of the ritor-
nello as is the usual case.
11
ºseveral piano concertos of Mozart have the solo entering
early such as Number 20, K.466, and Number 21, K.503, but here, the
solo entry is closer to Beethoven's Concertos Number �' op. 58, and
Number 1, op. 73.
111
This pass�ge may also be viewed as closing2 with the
transition preceding it. Closing and the closing pa ssage follow-
1
ing as the third cadential passage of the first ritornello.
 136
136

Example 66, Theme B , MM 40-43.

2

Following theme B the closing phrase begins by returning sorne

2
of the vigor and rapid notes of transition 2, gradually building in

rhythmic tension over seventeen measures until measure 58 where the

upper strings play sustained tremolo over rapid F-Major scales in the

bass. The fortissirno dynarnic level is maintained for eight measures

until a sudden drop to piano in measure 65 signals the beginning of

bridge to return the key to d-minor for the start of the first solo
1
section. The bridge extends six measures dividing as a 3 + 3,

with the modulation occurring in the second three measures by

chromatic alteration.
 The first solo section begins as the orchestra returns the main

theme and transition , forte. The solo instrument rests during the first
1
twenty-six measures of the first solo section. After the return of the
.
main theme, thirteen measures of transition , derived from the clcsing
3
section, lead to the entrance of the horn in the first solo section.

The transition is thirteen measures in length with the first two mea-
3
sures in d-minor, the next in B-flat-Major, the next two in g-minor
with

a return to d-minor in measure 90. With another sudden drop to piano,

the horn presents theme A (Example 67, Theme A , MM 98-101) over light
2 2
string accompaniment. To avoid the "stopped" notes, the theme uses more

Example 67, Theme A , MM 98-101.

2

of the dominant of the tonic chord rather than the mediant or the tonic

pitch. The theme is twelve measures in length dividing as a 4 + 4 + 4.

There are ten "s topped" tones used, f our a'' s and six b' 's. As with

theme B , most of these tones are found in a diatonic passage and are
1
easily produced. There is a filo relationship between the first mea-
sure of theme B and theme A • Following theme A is transition ,
1 2 2 3
extending far ��ven measures, ending on a dominant cadence in d-minor.

The transition is derived from measures 3-7 of theme A •

1
 Tiieme B(Example 68, Theme B , MM 116-119) is presented by the
3112 3
horn in F-MaJor. The theme is eight measures in length dividing as

a 4 + 4 with twelve measures of extension material following the theme.

Example 68, Tiieme B , MM 116-119.

3

Open partials of the horn's harmonic series are emphasized giving the

theme strength anda very secure footing. As with the other thematic

material presented by the horn, theme B is of a lyrical nature. The

3
extension of theme B moves momentarily out of F-Major into C-Major in
3
measure 130-139. The theme and extension require the use of nine

"stopped" notes. Of the "stopped" notes used, the pitch which

gives the greatest difficulty in production is the written small b-

flat.

The note will require almost complete "stopping" of the horn bell and

even then will be most difficult to produce with any accuracy. The

problem is simplified toan extent as the pitch is used in a neighbor-

ing tone capacity, and therefore can be approached and left more easily.

After the extension of theme B , the last five measures of transition

3 2
returns continuing the key of C-Major from measure 130 into measure

139. Theme B returns at this point, with slight alteration in the

2

112
Because of the harmonic instability of the extension of
theme B , it is possible to consider this entire passage as a third
bridge 3passage continuing bridge and leading into measure 140 as
the return of theme B • 2
1
string accompaniment, over horn figuration of a thematic nature,

beginning in the second measure of the theme. After the restatement

of theme Bl, the closing section's head motive of four measures

returns over new horn accompaniment in measures 148-151. The

written small a and b are used in this passage and require much skill

to exe- cute properly. Following the return of the closing motive,

the first of three parts of the horn "clímax" begins in measure 152.

Part one of the "clímax" is a passage of six measures length, dividing

as a

2 + 2 + 2, and demonstrates ThÜrrschmidt's ability to move the right

hand in the bell with great agility as seen in Example 69 (Example 69,

Extract--Horn "Clímax," MM 156-157). The passage contains twelve

"stopped" notes, either a' or b'. It is analogous to a similar passage

in the Concerto in E-flat-Major for Horn and Orchestra, by Rosetti,

edited by James Chambers, measures 116-120 of the first movement, which

also may have been composed for Thürrschmidt. After part one of the

"clímax," part two begins in the orchestra with rising F-Major scale
,
passages in the violín jumping the interval of a third with each repe-

tition of the scale. The horn in measure 160 adds an ascending

written a-minar scale from a' to a'' in sixteenths and from this high

point

into a cadential formula concluding in a half-note trill on the written

d''. Part two of the "clímax" is four measures in length. Part three

Example 69, Extract--Horn "Clímax," MM 156-157.

 141
140

begins with a repeat of the scales of the violins from part two befare

passing the melodic line to the horn in measure 165. The horn

expands this passa6e into an elaborate cadential figure passing through

two

octaves from written � to small .& in progressively smaller note val-

ues ending in a whole-note cadential trill on the written d'' to finish

the f:!.rst solo section in measure 170. Of the fourteen "stopped" notes

used throughout the entire horn "clímax," only two pitches are used, the

written a' and b'. The passage requires virtuoso playing of the

highest arder but presents only moderate technical problems in execution.

After the horn's final cadential trill, the second ritornello

begins. The second ritornello is unusual in severa! respects. Follow-

ing the final cadential trill of the horn "clímax," transition is

2
returned without alteration. At its conclusion, the closing material

is expected to return. In a second alteration, of majar proportions,

to concrete form, Rosetti instead returns theme B complete as first
2
stated in the first ritornello. This may have been done to balance the

unexpected change to relative majar in the first ritornello. After the

return of theme B ,113 the closing material is returned unchanged, end-

2
ing in a full cadence to begin the development.
The development begins with theme D (Example 70, Theme D , MM
1 1
207-210) presented by the horn in F-Major. The theme may be a filo
derivate of theme B , measure 120, and from theme B , measure 40. It
3 2
extends twelve measures dividing as a 4 + 4 + 4. The last four-measure

ll)A si· nu· 1 ar occurrence f oun d i. Mozart ' P'1an C oncer t o N um-
i· s n s o
ber 23 in A-Majar, K.488 where a new second theme is introduced after
the piano "clímax" in the second ritornello.
 Example 70, Theme D , MM 207-210.
1

group of the theme contains the beginning three measures of bridge ,

1
in the horn and violins. This passage when completed is used as a

transition passage to part two of the development.

Theme D (Example 71, Theme n , MM 221-224) is presented by the
2 2
horn as the key changes to C-Major. Theme n2 is eight measures in
length dividing as a 4 + 4, and may be motivicly derived from theme B •
1
Fifteen "stopped" notes are used, all either the written a' or b'.
Unlike theme D , theme D ' s use of "stopped" notes requires much more
1 2
use of the hand in the bel! even though the "stopped" notes are found

in diatonic passage work. This is primarily because these notes are

Example 71, Theme n2, MM 221-224.

used in sixteenth-note passages. Five measures of transition serve

2
as a transition to part three of the development with a return to the
key of F-Major. Theme n3 (Example 72, Theme n3, MM 233-234) is six

measures in length dividing as a 2 + 2 + 2. The theme requires sorne

 142
143
Example 72, Theme n3 , MM 233-234.

virtuoso playing as seen in

Example 72. The interval of

the leaps in quick tempo

present problems as well as

the use of the written f#'.

The passage contains eight

"stopped" notes, two ftl' 's,

two a'' s and four b ' 's.

The preparation for

recapitulation begins in
measure 239, and

may be based on the extension of

theme B , measures 32 and 34.
Mea-
3
sures 241-246 contain a

sequential figure of a

whole-note tied across to a

quarter-note. The sequence

drops the interval of a

minor third

in two-measure units over six

measures. Four "stopped" tones
are used,
one �, one a', one .z!!:...., and
one f#'. The dynamic leve!
drops progres- sively from
 142
143
piano, to double piano to triple
piano to create tension

for the return of the main theme. The

preparation for recapitulation

extends eleven measures, with the horn

114
resting the last four measures.

The recapitulation begins with

the orchestra's restating the main

theme motive for two measures. At

this point severa! departures from

Mozart's concerto formare noted.

After the main theme motive is

resta the of A is dropped. This

1
ted, remaind them
Roset wish to the may be dueto
"stopped" .io tes that
ti' s avoid many would be produced

by the the theme in the minor

114The third ritornello is
omitted giving this movement
a six-
part concerto form. The final
four measures rest in the horn
before the return of the main
theme could however be considered
to perform a third ritornello
function.
 Theme A2 is returned as found in the first solo section with

its accompanying bridge passage. After the fermata at the end of the
bri0.ge2, the revurn of themes B1, a2 and e are expected, but the
3
entire B theme group is dropped, and instead, the bridge leads to part

one of a greatly modified horn "clímax." Part one. has been shortened

by one measure with the sixteenth-note figuration removed and in its

place a syncopated figure inserted, comprised of rising quarter notes,

outlining part of the d-minor scale. Part two is reshaped to resemble

part one of the preparation for recapitulation but now in minor. More

"stopped" notes are produced because of the minor tonic as can be seen

in Example 73 (Example 73, Horn "Climax"--Part Two, MM 275-276). Here

in the span of two beats a number of very difficult "stopped" notes are

used. It is noted that a descending minor scale, in d-minor, is con-

structed using the written b', a', El!:_ (raised leading tone in the

minor key), and the �- At the tempo the movement is to be played,

Example 73, Horn "Climax"--Part Two, MM 275-276.

such a passage becomes exceedingly difficult, and speaks extremely well

of Thürrschmidt's abilities as a solo performer. In measure 279, a

written a-minor (sounding d-minor) scale is required from a' to a''.

 145
144

This is one of four instances in the first movement where part of a

phrase is begun on a "stopped" pitch. Part two of the horn "clímax"

is completed with a difficult b' to c'' trill. As the interval in the

trill is a half-tone, the exact means by which it was produced is un-

clear. It is likely that the seventh harmonic, written b-flat', was

partially "stopped" to near the required b', anda whole tone lip trill

executed, "bending" the written b-flat' with the embouchure to as near

b' as possible to give the half-tone interval. Part three of the horn

"clímax" is extended by four measures giving more dramatic tension to

the conclusion of the work. In measure 283, the key changes momentarily

to B-flat-Major for five measures and returns to d-minor in measure 287.

The note values again shorten as the final cadence of the "clímax" is

approached with a growing crescendo until the horn exits with a whole-

note b' to c'' trill in measure 292.

The final ritornello is taken from measures 80 to 97 exactly.

The highly altered recapitulation may be Rosetti's solution to

recapit- ulation in the minar key to avoid "stopped" notes in the horn.

The greater length of the movement is in F-Major rather than d-minor,

probably for the same reason. Rosetti's use of concerto form contains

some elements of the concerto form of C. P. E. Bach, especially with

regard to material being deleted in the recapitulation. But Mozart's

concerto form is observed with the use of the six-part form by the

omission of thc third ritornello between the end of the development

and the beginning of the recapitulation. The movement is a fusion of

both forms to avoid the technical problems presented by the natural

1

horn in a minor key tonic.

 Because of the modulation to F-Major in the first ritornello
for the B theme group, and the return of theme B
2 after the end of
the horn "clímax" in the second ritornello, a possible explanation

for the removal of the B theme group from the recapitulation may be

found. The uature of the themes if placed in d-minor would require

an extraordinary number of "stopped" notes. By treating the themes in

this manner, Rosetti can be justified in removing them from the reca-

pitulation.

The second movement is a "Romanze" in F-Major in common time.

The movement is a ternary form of ABA codetta. The horn opens the

movement by presenting theme A (Example 74, Theme A, MM 1-4) in F-Major

over light string accompaniment. The theme's twenty-two measures divide

as a 4 + 4 + 6 + 4 + 4 with a micro form of a aba a. The dynamic

level is p_iano, and the nature of the theme is lyrical as in an art

song. Six "stopped" notes are used, three b's, two f#'s and one a'.

Theme A is set in the horn's upper middle register with the "stopped"

notes used as neighboring tones, to make their production and correct

intonation easier.

Example 74, Theme A, MM 1-4.

Hora, X111 F
 147
146

The middle section of the movement begins in f-minor as the

horn presents theme B (Example 75, Theme B, MM 23-29). In measure 27

the key changes to A-flat-Major fer the rem�icder of the section. The

horn's thematic material continues to be lyrical, over accompaniment

similar to that used in the A section of the "Romanze." The theme is

eighteen measures in length dividing as a 4 + 5 + 9. Many "stopped"

notes are required because of the change to the parallel minor key

tonic, and the Neopolitan sub-mediant key. Thirty-one "stopped" tones

are used: Twenty-five e-flat''s, two a-flat''s, two a-flat's in a

rare usage of this tone, one d-flat'', and one e-flat', in another

rare usage. Because of the many altered pitches, this section

requires great skill on the part of the soloist in proper execution.

Example 75, Theme B, MM 23-29.

The final cadence of the horn in measures 39-40 contains a trill from

written d'' to e-flat''. As has been noted above concerning half-tone

"lip" trills, considerable work with the hand is needed to produce

this trill. The d'' is.· available as a ninth partial of the harmonic

series,
 CONCERTO IN D-MINOR

FRANCESCO ROSETTI

Second Movement

Part One: Solo: A

Orch:
!-------------------

Part Two: Solo: B

Orch:
i--111--i------
(flat)

Part Three: Solo: A, c::tdenza,

Orch: Coda, Coda
!-----------------------
Form: Ternary--A B A Coda
 148
149

but the next open partial above the � is the tenth partial �· It

is probable that the tenth partial was "bent" with the hand approxi-

mately the half-tone needed to give the e-flat''. This will work at

"lip" trill speeds, for the primary note of the trill will be heard

more clearly. The trill is approached through three grace notes, the

last of which is a written e-flat'', so that this pitch is already

sol.lllded in clase proximity to the trill and the ear would continue to
hear it.

Six measures of transition containing a modulation back to

F-Major prepare the return of the first section of the movement, which

is returned without alteration. After the A theme section, a short

codetta of ten measures ends the movement. In measure 71, a cadenza

is provided for the soloist, the only cadenza in the entire concerto.

The final movement is a "Rondo" in two-four time. The form is:

ABA CAD CA. The horn begins the "Rondo" by presenting theme A

(Example 76, Theme A, MM 1-4) in d-minor. The theme contains twelve

"stopped" notes, four b's, five a's, two dll''s, and one EJJ:._. In the

last measures of the theme, four "stopped" notes are found in one
group without an open partial between. This requires skillfu�

Example 76, Theme A, MM 1-4.

control by the solo player of tone coloration to be effective. The

theme's twenty measures divide asan 8 + 12, and sub-divide as a

4+4+4+L: +4.

Eight measures of transition , ending on a half-cadence in

1
d-minor, complete the A theme group. The key changes to F-Major in

measure 29 as the horn presents theme B (Example 77, Theme B , MM

1 1
29-34). The horn's open partials, from small _g_ to�, are strongly

emphasized by the numerous leaps and broken arpeggios in the theme.

Example 77, Theme B , MM 29-34 .

1

. ...-. ---

Following seven measures of transition , the horn presents theme B

2 2
(Example 78, Theme B , MM 45-49) in F-Major. As with theme B , open
2 1
harmonics of the horn are stressed. The orchestra violins provide

harmony to the theme in thirds moving in the same rhythmic figuration

as the horn. The theme extends eight measures, dividing as a 4 + 4,

with ten measures of extension following giving a strong, definite

Example 78, Theme B , MM 45-49.

2
 150
151

CONCERTO IN D-MINOR
FRANCESCO ROSETTI
Third Movement

Part One: Solo: A,

Orch: A'
'
i-------v----
Part Two: Solo: B , Tr , B + extension,
1 2 2
Orch: Tr3
!!!------------------------
Part Three: Solo: A,
Orch: A',
i----------
Part Four: Solo: e+ extension, Tr
4
Orch:
!-----------------
Part Five: Solo: A
Orch: A'
i-----
Part Six: Solo: n , n + extension, Tr ,
1 2 6
Orch: Tr , Tr 6,
5
i----VII-----------------i--------

Part Seven: Solo: e+ extension, Tr

4
Orch:
!-----------------
Part Eight: Solo: A,
Orch: A', Coda
i-----------
Rondo-Form: ABA CAD CA Coda
cadence in the major key. No "stopped" notes are used within theme

B2, but six are used in the extension, in diatonic passages.

After theme B2 , seven measures of extension complete the B

section of the movement. Three measures of transition prepare the

return of the tonic minar key for a complete restatement of theme A.

A fermata on beat two of measure 92 halts al! forward movement. After

the fermata, both the meter and key signature change; the meter

changes to three-four time; the key signature to D-Major. The tempo

changes

to Adagio as the horn presents theme e (Example 79, Theme C, MM 93-100).

Example 79, Theme C, MM 93-100.

The theme may be derived from theme A of the "Romanze," but it is

reshaped considerably by the change in time signature. The horn's

part of the theme extends eight measures. The orchestra adds four

more, and the horn another four measures to complete the theme, giv-

ing sixteen measures, dividing as a 4 + 4 + 4 + 4. The theme's nature

is lyrical and recalls the mood of the "Romanze." There are sixteen

"stopped" notes contained within the theme, making sorne of the most

difficult hand-"stopp�ng" encountered in the work. As the key has

changed to the tonic major mode, the tonic and mediant tones will

require full hand-"stopping" to be produced. Only the dominant will

 152
153
be an open partial. Sixteen "stopped" notes are used, nine e#' 's,
three -b's , two a's, one �, and one f#'. An extremely difficult

passage of hand "stopping" is found in measures 106-107. In these

two measures only the beginning dominant pitch, �, is found asan

open partial. The remaining pitches are all "stopped" notes. The

passage is the most difficult hand "stopped" passage in the concerto.

After the completion of the sixteen measures of theme, the horn

restates the first eight measures of theme C, as found at the begin-

ning of the Adagio. The C section's micro form is a ternary forro of

aba. Four measures of extension are added to prolong the cadence

ending in five measures of transition material that prepares the

return of theme A in d-minor. The extension contains six "stopped"

notes. As has been noted above, most "stopped" notes in the Adagio

section of the "Rondo," are in diatonic passages which simplifies

their production.

After a dominant cadence which ends the transition passage,

the meter returns to two-four time and the key to d-minor. Theme A

is restated as first found at the beginning of the "Rond, o." After a

second fermata, the key and time signatures change again. This time

the key changes to F-Major and the time to six-eight. The tempo indi-

cation is "a la chasse," and is intended to recall the hunt. The

horn presents theme n (Example 80, Theme n , MM 148-151), eight
1 1
measures in length dividing as a 4 + 4. Three measures of transi-
tion material lead to theme n in C-Major (Example 81, Theme n ,
2 2
MM 156-161).
 Example 80, Theme n1, MM 148-151.

Hor# r11 F _....

Example 81, Theme n , MM 156-161.

2

Theme n is eight measures in length dividing as a 4 + 4. "Stopped"

2
notes are important in the passage. In measure 151, a difficult
figure is found in the horn because of the downward flourish of �

to c' as both the difficult f' and d' are called for. The quick

tempo makes this descending scale easier to execute as both tones

can be prpduced quickly by partial hand "stopping" rather than the

full hand "stop." The embouchure can "bend" these two tones into

place so that the ear will accept them as being correct. The passage

in C-Major contains but four "stopped" tones, two each b' anda'.
Theme n uses open partials of the horn to avoid "stopped"
2
notes. Eighteen measures of extension material follow theme n2
which serve to return the key back to d=mí.no r. Theme A is expected

to return at this point; however, after the fermata's ending the

extension, both the key and time signature change again. The key

returns to D-Major and the time to three-four, as the entire Adagio

 154

section of the movement is returned. After the four measures of transi-

tion material completing the restatement of the Adagio section, Theme A

is returned with its transition to complete th e movement.

Rosetti's solution to handling the natural horn in a minar key

is of interest. In the first movement, more than fifty per cent of the

100vement is in F-Major rather than d-minor. The horn can play the third

and sixth tones of the minar scale as open partials, but it will not

have the tonic pitch asan open tone. For this reason, much of the

writing, where the horn is playing in the tonic key, will be centered

around the third, fifth, and sixth of the tonic minar key to make the

best use of open tones. The. most common "stopped" tones are b' and a'.

Often these pitches appear together in diatonic passage work ora

neighboring tone

us�ge.

The second movement presents some of the most difficult problems

with hand "stopping" because of the modulation to the Neopolitan sub-

mediant key of A-flat-Major. In this movement the contrast of tone

color between open and "stopped" notes is most obvious, and one the

soloist must be aware of to balance open tones against "stopped" tones.

The same is true in the "Rondo" sections in D-Major. Especially diffi-

cult will be the movement from c#'' to b', to a', to fJl:..._, to f#', and

to e' in measures 107 and 198. The entire passage is "stopped" and

requires much skill from the soloist to execute properly.

An additional factor to consider is the length of the concerto.

It is one of the longer concertos for horn written during the Classi-

cal period, and must have taxed the soloist's embouchure heavily, the
 155

lighter-weight natural horn being used at that time notwithstanding.

It is a virtuoso concerto from the first solo entrance of the horn.

Rosetti has helped the soloist by keeping the remeter modu-

lations few, so that the horn has few difficult key centers to play

in. All but two of eight keys lie fairly well on the natural horn,

with some degree of hand "stopping" to complete scales giving a

fairly wide number of natural open harmonics to strengthen the

melodic line. The exceptions are the keys of A-flat-Major and

D-Major. The various modulations remain key centered for some time

to enable the soloist to definitely establish his pitches.

That Rosetti was well aware of the problems and

limitations of the natural horn can be seen in another of his horn

concertos.

,In Concerto Number 1 in E-flat-Major for Two Horns and Orchestra, key

movements are unusually restricted. In the first movement E-flat-

Major and B-flat Major are the predominant keys with only a quick

move into and out of c-minor in the development. The majar fe at ur e

of both works is the numerous themes. The profusion of themes give

Rosetti's work charm and strength. By using many themes, Rosetti

has avoided many of the technical limitations imposed by the natural

horn, especially in development sections.

 CHAPTER VIII

CONCLUSIONS

First Movement Concerto Form

The natural horn of the Classical period, asan orchestral

instrument, was primarily relegated to a harmonic role. The instrument

was limited to playing its open partials either holding notes, repeating

notes, orto playing successions of thirds, fifths, sixths, and octaves.

As has already been noted, the horn, befare the advent of hand "stopping,"

was limited to playing melodies only in its highest register, the clarino

register, where the open harmonics were clase enough together to permit

t pro ducti. on o f d i. atoni. c me 1 o d i. es. Examples of this approach to

e 115
h

horn playing may be found in Bach's Brandenburg Concerto Number !._ (1721),

Telemann's Concerto in D-Major for Horn and Orchestra <E.· 1750), Leopold

Mozart's Sinfonía di Camera, and in part of The Manuscript Kat. Wenster

Litt. I/l-17b (Universitetsbiblioteket, Lund) in concertos for the Dres-

den- court <E.· 1720-E.· 1745), by Johann Adolf Scheibe (1708-1776), Karl

Heinrich Graun, Johann Gregg Knechtel, Christoph Forster (1693-1745),

Johann Joachim Quantz (1697-1773), and Christian August Rollig or Johann

Georg Rollig (1710-1790). The horn in these works uses only open harmon-

ics from small E_ to g'' ', with most melodic passages being written from

·e" to e"' or written range of the Baroque natural trumpet. Most of these

115 11
Robin Gregory, "The Horn in Beethoven's Symphonies, Music and
Letters, ed. Fox Strangways, 33 (1952), 303.

156
 157

works may have been performed by Stadtpfiefer guild trumpeters playing

the horn as these players were trained in the art of playing in the

extreme altiseL.ro register on trumpet.116 The horn, being a lower-

pitched instrument, would be easier to play such parts on. Of the con-

certos in the manuscript Kat. Wenster Litt. I/l-17b, only one work fore-

shadows the later use of "stopped" notes and in fact may be the first

cor-basse concerto. Anton Hampl's Concerto in D-Major contains numerous

passages resembling sections from his tutor for horn, Lection pr� Cornui
(�. 1755-1760). This work demonstrates that as early as 1745 the tech-

nical problems of the natural horn were being dealt with, and solutions
117
for these problems being found by composers in concerto composition.

With Hampl's codification of the hand 11

stopping11 system, in the
1760s, the player could make wider use of the octave from �to�' for
with the correct positioning of the hand in the bel! all chromatic ínter-

vals in this octave could be produced. In some cases, the timbre of the

pitch was unsatisfactory but the pitch could be played. Mozart and his

contemporaries did not write elaborate parts for orchestral horn. The

parts were written for players of average ability, using open partials,
. . . 118
in symphonies, piano concertos, and most operati c compos1 1t ons.

116
Evenson, Brass Instruments, pp. 86-93.
117
Mary Rasmu�sen, "The Manuscript Kat. Wenster Litt. I/l-17b
(Universitetsbiblioteket, Lund)--A Contribution to the History of the
Baroque Horn Concerto," Brass Quarterly, V, No. 4 (1962), 146-148.
118
Martha Kingdom Ward, "Mozart and the Horn," Music and
Letters, 31 (1950), 318.
 158

Only in the horn concerto were difficult horn parts using

"stopped" notes composed.

The horn concertos of the Classical ¡:,criad were composed for

a limited number of especially gifted players who by virtue of their

ability to accurately hand "stop" the horn in quick and slow tempos

were able to add notes to the horn beyond the normal open harmonics.

Though notable to play notes·oeyond the harmonic series, the horn was

by no means a fully chromatic instrument. Because of the scale limita-

tion, composers of horn concertos were forced to make alterations to

concerto form to accommodate these problems; problems which were not

present in the piano concerto or concertos for instruments with a

complete chromatic scale. The nature of most alterations in compar-

ison to the overall structural features of concerto formare small

but significant.

In the five concertos for horn analyzed in this study, severa!

important features of concerto first movement formas applied to the

,born are seen. Virtually all movements of all concertos are in a

major key. The exception noted in this study was found in the

Rosetti's Concerto in D-Minor, movements one and three, a very rare

instance of the minor key tonic being used in the horn concerto. The

nature of the horn's harmonic series outlines a tonic chord with har-

monics 1, 2, 4, 5, 6, 8, 10, 12, and 16 demonstrating this (see Plate

I). The minor mediant tone, asan open harmonic, is unavailable

throughout the complete register of the horn so this prevents a minor

tonic triad. The dominant chord is represented by harmonics 3, 6, 9,

12, and 15.

 160
159

The sub-dominant chord is produced by harmonics 4, 8, 11 (too

sharp for _f' '), 13 (too flat for �), and 16. The mediant chord
uses

harmonics 3, 5, 6, 10, and 15. The sub-media�t chord uses harmonics

4, 5, 8, 10, 13 (too flat for �), and 16. The super tonic chord is
unavailable in the low range, as is the leading tone triad with only

the ninth harmonic � being the only true open harmonic between the
119
two.

The keys used for horn concertos were restricted by the use

of the natural horn solo crooks. The solo crooks were D, Eb, E, F,

and G. Of the five cor-solo crooks, four are used in the concertos

analyzed in this study. They are D, Eh, E, and F. Because of the

key limitation of the solo crooks, all horn concertos of the Classi-

cal period will be in one of these five keys. This imposes a strict

limitation for tonic tonality on the composer, a limitation that

fully chromatic instruments do not have.

The first movement in all five of the concertos is a concerto

form. The solo horn in only two concertos plays in the first ritor-

nello. In Mozart's Concerto Number !±., K.495, the horn follows the
Baroque practice in the ritornello by playing the orchestra first

horn part. The Concerto in D-Minor by Rosetti contains the first solo

entrance of the horn in the first ritornello, after a sudden modulation

to the relative majar key of F. In current performance practice the

ritornello parts of the Mozart concerto are omitted from the solo part.

119
J. Murray Barbour, Trumpets, Horns, pp. 9-10.
On the whole the ritornellos in the horn concertos are shorter than

their counterparts in the piano concertos and instrumental concertos.

This may be seen by examining the length of the various first ritor-

nellos in Table VI with the first ritornellos in six piano concertos

by Mozart. Though there are many similar features, the length of

each first ritornello in the horn concertos is generally shorter by

one-half the length of the piano, violín and clarinet concertos.

The first solo sections begin with a return of the main theme

in the horn. An exception to this is found in the Rosetti Concerto in

D-Minor, where the orchestra presents the main theme at the beginning

of the first solo section, and the horn presents a second theme in the

tonic key following the orchestra's restatement of the main theme.

The solo second subject, characteristic of the piano concerto, is

not usually found in the horn concerto. The solo does not present

its

own second subject in the Joseph Haydn Concerto in D-Major, the

Michael Haydn Concertino in D-Major, and the Danzi Concerto in E-Major.

The "climax" which ends the piano concertos is not used in two of the

horn concertos: Joseph Haydn, Concerto in D-Major, and Michael Haydn,

Con- certino in D-Major in the first movement. Thematic elements in

the first solo sections of the horn concertos are shorter than in the

piano concertos, and the complete first solo section may be compared

for length in Table VII. :he piano concertos make greater use of a

larger amount of thematic material than do the horn concertos in the

first

solo section.
 161
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 163
164
The second ritornello is composed of elements of the first

ritornello in the piano and horn concertos generally involving the

use of the main theme and transition material following the theme in

the case of the symphonic statement, and one or more of the cadential

phrases. The second ritornellos in the horn concertos are shorter

because of the shorter nature of the thematic material and closing

materials of the ritornello.

Development in the horn concerto is limited by the solo instru-

ment's inability to move far from the key in which it is crooked.

Several possibilities present themselves for dealing with this prob-

lem. The first is to entrust the development of previously presented

thematic material to the orchestra, and have the horn play such accom-

panying figures as the available notes of the harmonic series or hand-

"stopping" will allow. This is an approach taken by Franz Joseph

Haydn in Horn Ccncerto Number .!. in D-Major. The second is to have the

horn develop and ignore, within reasonable limits, the technical limita-

.tions of the natural horn as Mozart has done in Concerto Number 2 in

Eb-Major, K.417, and Concerto Number l in Eb-Major, K.447. The third

possibility is that of a development theme. This solution is used by

Mozart in Concerto Number �' K.495, Michael Haydn, in the Concertino

in D-Major, Franz Danzi in the Concerto in E-Major, and Francesco

Rosetti in the Concerto in D-Minor. This is usually accomplished by

taking either a motivic fragment or the f:�u device, and reshaping it

into a new thematic treatment for the development section. This is

done because the thematic material presented in both the first ritor-

nello and first solo sections is very near the practica! limit of
hand horn technique. The great number of "stopped" notes produced

with modulation outside the tonic or dominant keys also limits the

choice of key centers within the development section. Table VIII

shows the key centers used in the development sections of the five

horn concertos. Development in the horn concerto differs from the

piano concerto because of the limited range of modulation the natural

horn permits. As the horn cannot be considered a fully chromatic

instrument, a number of keys which the piano could use for develop-

mentare unavailable on the natural horn because of the large number

of "stopped" notes required. Table VIII shows the keys generally

available for development in a concerto for horn in a majar key. The

tonic key, super tonic, mediant, the sub-dominant, the dominant, and

the sub-mediant keys are used with the preferred keys being the super

tonic, the dominant, and relative minor. Because of the minar key,

Rosetti's development is especially troublesome, and quite restricted

because of the considerable use of "stopped" notes required if keys

other than the relative majar, and majar flat leading tone key are

used. The development section of Mozart's Concerto in D-Minor for

Pia no an d Orchestra, K.466 demonstrates a much wider range of

- - -- - '
possi-

bilities for development because the solo instrmnent is fully chromatic

throughout its entire range. In this concerto the development section

is sixty-three measurP.s in length. Because of the more extended

preparation for recapitulation, the development sections of the piano

concertos are usually twice to three times the length of the same
 165

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 166
167
section in the horn concerto. In the horn concerto the limitations of

the solo instrument require a development section of shorter length to

balance in the pToper proportions the relll8:nder of the movement.

The majar structural alteration to Mozart's concerto form is

the retention of the third ritornello in the horn concertos. Rosetti

in the Concerto in D-Minor and Michael Haydn in the Concertino in

D-Major, second movement, have omitted the third ritornello, but of

five composers, they are the only ones to do so. The remaining three

horn concertos keep the third ritornello following the development,

leading into the recapitulation which begins with the return of the

main theme by the solo instrument. Most of Mozart's concerto compo-

sition for instruments other than the piano, such as Concerto in

G-Major for Violín, K.216, Concerto in D-Major, K.218, Concerto in

A-Majar, K.219, and Concerto in A-Majar for Clarinet, K.622, also

have the third ritornello function. In the horn concerto, this

ritor- nello allows the soloist to rest the embouchure, and may be

used fer the same purpose in the clarinet concerto. In the violín

concertos, the third ritornello, because of the lower Kochel number,

may be a carry-over from the seven-part concerto form.

The recapitulations in the horn concertos generally present the

thematic material in the same order of appearance as in the first solo

section. When there 1re two themes in the B theme group, they appear

in the recapitulation in the same arder as in the first solo section.

This contrasts with the piano concertos of Mozart where the reca-

pitulations are often re-arranged with the arder of second subject

material changed and transitional with cadential material being

introduced that was not used in the first solo section. Rosetti's

Concerto in D-Minor and the second movement of Michael Haydn's Con-

certino in D-Major adhere more closely tú this approach. The one

omita the B theme group in the recapitulation and the other, because

of elements of monothematic structure, omits the beginning of the B

theme in the recapitulation.

Fourth ritornellos usually contain a coda to end the move-

ment in the piano concertos but only Mozart, Danzi and Michael Haydn

use the coda at the end of the fourth ritornello in the horn concerto.

Concerto first movement formas used in the horn concerto

functions as does •tts counterpart in the piano concerto. The horn

concerto is scaled down because of the limitations of the solo instru-

ment in its ability to modulate and because of the incomplete scale.

The five composers represented in this study have taken these limita-

tions into account and constructed for their use a concerto form

which presents material of a thematic nature for the solo instrument

free from episodic material, and limited in modulation. The themes

are relatively short, averaging from eight to sixteen measures in

length. The various sections of the movement extend from twenty to

thirty measures, as compared to sixty or one hundred in the piano

concerto.

One additiona: feature merits consideration. As nene of the

composers represented in this study were hornists, these concertos

were composed to the general specifications of a particular soloist

based on an intimate knowledge of the personal preference of the

 168
169
individual and the particular strong points of technique, range, and

performance ability of the particular player. The two concertos for

the cor-alto ?l�yers are characterized by their relatively high (�

to c''') tessitura, while the three cor-basse concertos concentrate

on the range from small .& to.&:.,:..

From the five concertos analyzed in this study, an overview

of first movement concerto formas applied to the horn emerges. This

view, taken as a generality, gives a concerto form on the following

scheme:
Part One: Solo:
Orch: A br (B , tr ) clos clos
1 1 1 1 2
!---------------------------
Part Two: A
Solo: br
2 (B2), B1 (tr2 tr3)
Orch: A br B1
2
1---v----------------------
Part Three: Solo:
Orch: br
1 + tr1 (clos1 or clos2 or tr4)
V-------------------------------
Part Four: Solo: D tr D (---prep. recap , 2,)
1 2 1
Orch:
(vi or V) (ii) (vi) (IV)

Part Five: Solo: may be omitted in some instances

Orch: tr (or clos or or tr or tr )(prep. recap)
1 1 2 1 5
v-----------·-----�---------------------1---
Part Six: Solo: A, br (B ), B (tr tr )
2 2 1 2 3
Orch: A, br B
1
2
!------------------------
Part Seven: Solo: Cadenza
Orch: tr + br, tr clos clos codetta
5 1 1 2
1----------------------------------------
The first ritornello scheme compares to Mozart's Concerto Number !,
K.495 and the Concerto Number 1, K.494 A - fragment.
Tables J through VIII show that �11 of the first movements in
the various concertos cited are concerto forms. However, with second

and third movements much more variance is noted. Table IX shows the
•
various second movements and their key relationship to the first

movement. All of the horn concerto second movements are in a major

key. This avoids the "stopped" notes required far a minar key

tonic. Most of the second movements are a rondo or ternary form. The

rondo form generally will be an ABA CA with coda, but in some

cases the coda may be omitted.

The last movements show as much variation informas the

second movements. Table X shows the various final movements compared.

The last movements of the horn concertos generally are rondo movements

in

a majar key to avoid "stopped" notes. Many of the piano concertos

also have a rondo for a last movement, but these generally are sonata-

rondo movements. In the horn concerto some of the last movements,

especially those of Mozart, Danzi and Rosetti, show traits of the pre-

vious "rondeau" formas the developmental section of this form is

dropped anda theme substituted. But the overall preference in the

horn concerto is for the "hunting call" theme for the final rondo in

6/8 time.
 170
171
TABLE IX
SECOND MOVEMENTS

Compcser Key TyPe of Form Structural Plan

Mozart Bb Rondo ABA CA Coda

F. Haydn A Concertino Concert form without develop-

ment

M. Haydn D Concerto Same as first movement form

Danzi E Rondo ABA CA

Rosetti F Ternary ABA Coda

K.459 Mozart ,,
v Concertino Concerto form without develop-
ment

K.466 Mozart Bb Rondo ABA CA

K.467 Mozart F Concerto Same as first movement form

K.482 Mozart e Rondo Al+ A2 B A3 e Al

K.488 Mozart f/1 Ternary ABA Coda

K.491 Mozart Eb Rondo ABA CA Coda

 TABLE X

THIRD MOVEMENTS

Composer Key Type of Form Structural Plan

Mozart Eb M Rondo Al A2 B A C Al Al B A Coda

1 1
F. Haydn D M Concerto Same as first movement

M. Haydn D M Menuet and

trio 11:A:ll:BA:II 1 1 : C : 1 1 : DC : 1 1

Danzi E M Rondo A B A C A B C A

Rosetti d m Rondo ABACAD C A Coda

K.459 Mozart F Sonata Rondo A+ Dev B A+ Dev B A

K.466 Mozart d Sonata Rondo A B A B + Dev A Coda

K.467 Mozart e Sonata Rondo ABA C (Dev) ABA

K.482 Mozart Eb M Rondo ABACABA

K.488 Mozart AM Rondo A B A C B A

K.491 Mozart C M Theme and

Variation theme, 8 variations, coda
 Hand "Stopping"

To observe each composer's treatment of the use of "stopped"

notes on the natural horn, the following table covering each move-

ment is given. Table XI shows the "stopped" and open harmonic

percentages for each movement. Table XII gives the number of

phrases in each movement which begin with a "stopped" tone and

Table XIII gives the number of phrases that end with a "stopped"

tone.

TABLE XI

OPEN AND "STOPPED" NOTES

Mozart 1'irst Movement Second Movement Third Movement

o 80.62% 69.16% 87.52%

+ 19.38% 31.84% 12.48%

F.Haydn

o 96.85% 96.12% 100%

+ 3.15% 3.88% -o-

M. Haydn

o 62.93% 96.65% 51.25%

+ 33.07% 3.35% 48.75%

Danzi
90. 87.36%
o 03�'
79.75%

20.25% 12.64%
+ 9.97%
Rosetti

o 79.78% 64.61%
82.25%
+ 20.22% 35.39%
17.75%
 174
173

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 Table XII shows that the use of "stopped" notes is restricted

in Joseph Haydn's concerto, possibly dueto the earlier date, while

Michael Hay dn" s use of "s topped" notes is much more liberal. But

the last movement of Michael Haydn's concerto, a menuet and trio, is

deceptive in this regard for the horn plays only in the trio section

for sixteen measures in A-Majar and E-Majar. Mozart and Rosetti

show approximately the highest overall percentages of "stopped"

notes, but neither work pushes hand-horn technique to its practica!

limit. Danzi's Concerto in E-Major is fairly conservative in "stopped"

note

usage for it is a cor-alto concerto that does not go below � which

limits the use of "stopped" notes in the lower register. Tables XII

and XIII show that composers of horn concertos in the Classical period

generally preferred to begin and end a phrase with an open harmonic.

Fewer phrases begin with a "stopped" tone théin end with a "stopped"

tone. An apparent reason for this is that the op€n partial is a

stronger tone, and helps the overall intonation of the soloist with

the orchestra. Also to be considered is the timbre of the tone. An

open partial is a stronger tone, and has a warmer, richer, more open

sound, than does a "stopped" tone which is more veiled in quality and

the aesthetic result of the use of the open partial is more pleasing.

The most frequently used of the "stopped" tones are the writ-

ten a' and b', accounting for approximately seventy per cent of the

"stopped" tones used. Least often used are the written small a, small

b-flat, and small ¿. Of the remaining possible "s t opp ed" notes,

Mozart often used.the written a-flat', but seldom used the f#'.
 175
176
Bowever, the reverse is true of Michael Haydn, who preferred the

written -f#' to the a- . Danzi did not use either pitch, while
flat'

Rosetti used both pitches in sections in d-minor of the Concerto in

D-Minor. Mozart's use of the written e#'' and d#'' was of interest
in the first movement of Concerto Number _i, K.495. In every instance
but one the e#'' rises to d'' and the d#'' to e''. This is character-

istic also of Michael ºHaydn, Rosetti, and Danzi. The usage in

most cases is a leading tone function, but it seldom varies.

Michael Haydn, Danzi an.d Rosetti are consistent with regard to the

written

f#', as the pitch rises to� in almost every instance, if not directly,

through a non-harmonic function. Rosetti's Concerto in D-Minor provided

some exceptions to this in sections of the last movement which are in

D-Major, but because the key is a majar third below the horn

cracking, more license is expected. The general rule is that a

"stopped" tone produced by a sharp will rise to the next open

harmonic. If altered

by a flat, the tone will be'. adjusted to the next lower open harmonic.

An exception to this is found with the written b-flat', which is the

seventh partial of the overtone series. Mozart generally avoided the

pitch, but when used, the note cango either to a' orto the e'' or

e#''. Haydn did not use the written b-flat', and while Michael

Haydn did his usage suggested a preference to resolve it to a''. The

same is characteristic of Danzi. Taking into accotmt the flatness of

this

harmonic, it may be used in this way becaucie of the scale tempering of

the previous era, and the flatness--because of the key center--may not

be noticed as much. Rosetti did not make extensive use of the b-flat',
but his usage was less controlled than that of the others, resolving

in either direction or away by leap.

The treatment of the written f(I'' is important. As the

eleventh partial of the harmonic series, the note is too flat for a

true f#'' and too sharp for f''. It is used for both pitches with

correction by the hand in the horn bel!. Most composers use the
.
pitch freely as the leading tone of the dominant key, but prefer
for the pitch to ascend to�· But a nearly equal number of com-
posers have the pitch descend from the f#'' to f'' ore'' as needed.

However, Danzi descends to the f#'' from � in eleven of seventeen

instances in the Concerto in E-Major.

The use of "stopped" notes and the difficult seventh and

eleventh partials reflects the concern of the composers fer giving

the necessary strength to the melodic line in the horn. In most

cases no more than two to three "stopped" notes are used without an

open harmonic being used in between. This is significant because of

the necessity of balance between solo and orchestra. The open par-

tials are needed to make the solo instrument heard clearly. If an

extended "stopped" passage is written, such as in the Rosetti Con-

certo in D-Minor, the accompaniment must be unusually light fer the

solo to be heard. This in turn dictates the use of key movement,

fer the composer must choose bis keys carefully in order to provide

a sufficient number of open partials for the solo horn. Again this

means that the concerto form must be restricted to essentially

melodic lines composed of open harmonics. Virtuoso passages such

 177
178
as found in the horn "climaxes" of the Rosetti Concerto in D-Minor, and

in the Franz Danzi Concerto in E-Major's bridge passages must becare-

fully constructed to provide a sufficient number of open partials,

especially as the dynamic leve! is increasicg in such passages.

"Stopped" tones in this context must be bracketed by open tones so

that the passage will be loud enough.

Though notan essential governing feature, the use of dynamic

levels is important with regard to "stopped" notes. Because of the

contrast between open and "stopped" notes, as the passages become

softer more "stopped" notes may be used if the accompaniment is light

enough. Conversely, as the passage becomes louder, fewer "stopped"

notes are used so the solo can be heard above the orchestra. The

five concertos analyzed in this study show the composers were aware

of this problem, especially in the horn "clímax," and they took care

to provide a sufficient number of open partials. This was seen in

the Concerto in D-Minor by Rosetti in both of the horn "climaxes."

The codification of the system of hand "stopping" for the horn

by Anton Hampl did much to expand the range of possibilities far con-

certo composition far the natural horn. But this development did

not completely free the horn from the shackles and confines of the

harmonic series of the key in which it was crooked, only the inven-

tion of the valve would accomplish this end.

 The Relationship of Composers and Hornists

Horace Fitzpatrick in The Horn and Horn-Playing and the Austro-

Bohemian Tradition from 1680 to 1830 demonstrates that a school of horn

playing developed in this region and s�read throughout Europe in the

seventeenth and eighteenth centuries. Though no direct evidence other

than places and dates supports the supposition, a link between the var-

ious composers and soloists for whom these concertos were composed may

exist. This link begins with Franz Joseph Haydn and Thaddaus Stein-

müller. As has been noted above, Haydn and Steinmüller were both

appointed to the Esterhazy orchestra at about the same time. The Con-

certo in D-Major was composed as a show piece for Steinmüller in 1762.

The link continues through Joseph Haydn to Johannes Thürr-

schmidt. In 1772, Thaddaus Steinmüller left the Esterhazy orchestra.

If the supposition of Anton Diemand is correct and the year of the

compo- sitian of Haydn's Symphonies Numbers 46, 47, and 48 is 1772, then

the connection between Haydn and Prince Kraft Ernst of Oettingen-

Wallerstein

for whom the works were composed is logical, as Johannes Thürrschmidt

was first horn of the Wallerstein orchestra.

12
º
The link continues through Francesco Rosetti who was Capell-

meister of the Wallerstein orchestra from 1773 to 1789, and composer of

twenty-three concertos for horn. It may be assumed that Rosetti knew

Haydn anda potential exchange of information concerning various horn-

writing aspects may have taken place. Rosetti composed a number of

12
ºF·itzpatri· c T Horn an d H orn- Pl ay1. ng, pp. 116 - 117 •
,k e
h
 179

cor-alto concertos for Johannes ThÜrrschmidt and five cor-basse concer-

tos for ThÜrrschmidt's son, Car!. The Concerto in D-Minor may have

been one of t.he five cor-basse concertos composed for Thürrschmidt. 121

The link again returns to the Esterhazy orchestra under Franz

Joseph Haydn. In 1763, Prince Nicolaus von Esterhazy engaged Carl

Franz as second horn to Thaddaus SteinmÜller. Car! Franz left the

Esterhazy orchestra in 1777, but not befare Haydn had composed a num-

ber of difficult eecond horn parts for him. In 1787 he was engaged

as

Cannnermusicus at the Munich Court under Franz Danzi. Danzi may have
122
composed the Concerto in E-Majar for Franz .

The final links of the thread are found first in Salzburg and

then in Vienna. Joseph Haydn's brother Michael was concert master in

Salzburg. It is known that Mozart, while still in Salzburg, worked

123
under Michael Haydn as assistant concert master. Again, there is

no direct evidence to verify the supposition, but it is possible to

draw the conclusion that an information exchange occurred between

Joseph Haydn and his brother, anda second exchange between

Michael

Haydn and Mozart. As has already been noted concerning Michael Haydn's

Romance in E-Flat-Major for Horn and Strings, and Mozart's "Romance"

to Concerto Number ¿_, K.447, a number of striking similarities exist.

Thus a conclusion may be drawn that Mozart did in fact study some of

Michael Haydn' s work .o r horn.

121
Fitzpatrick,
-The - Horn-Playing, p. 174.
Horn and

-
122Ibid., p. 196.
 179
123-fo
�arman, Mozart's Concerto Form, p. 126.
 180

The Concertino in D-Major by Michael Haydn could have been com-

posed for Ignaz Leutgeb who was first horn of the Salzburg orchestra

for sorne tÍ.11le befare moving to Vienna. Moz&rt could have studied this

work as well, and profited from it to the benefit of his own creativity

in the horn concerto. After he moved to Vienna, the four horn concertos

were composed for Ignaz Leutgeb, thus completing the final link. In

Vienna, Mozart was acquainted with Haydn, and the potential influence

on Mozart's horn concerto composition can only be supposed but the

possibilities for discussion seem likely, though again, not supported

by direct evidence. The following diagram shows the various links

between composers and hornists.

The striking feature concerning this diagram is that all of the

various threads move directly or indirectly through Joseph Haydn. The

apparent influence which he exerted on horn concerto composition may

be of primary importance to the whole corpus of the Classical period

solo horn literature. In this respect his Concerto in D-Major may

be the true beginning of the Classical horn concerto.

By the time the last of Mozart's four horn concertos were

composed, hand "stopping" was well established for concerto perform-

ance and orchestral horn usage. In a few short years horn technique

would advance to the limit of the hand "stopping" system. By the time

Beethoven composed the Quintet for Oboe, Three Horns, and Bassoon (1796)

--fragment-the natural horn was straining_ the absolute limits of hand

horn technique, a period of ten years after the composition of

Mozart's Concerto Number !t_, K.495. With Beethoven's Sonata for Horn and

Piano
 181

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 182
184

in F-Major, op. 17 (1800), the technical problems became more appar-

ent with some difficult usage of "stopped" notes in the last movement.

Tne "Eroica" symphony again points out the difficulties of

hand-horn technique, both in regard to difficult passage work, and the

limitation of modulation. Clearly an improvement was needed, both to

ease the difficulties of such passage work, and the ability to change

from one crook to another quickly to facilitate modulation. The solu-

tion was presented in 1818 by either Heinrich Stolzel or Friedrich

Bluhmel with the development of the valve.124 Though slowly accepted

by horn players this development would free the horn from the confines

of the harmonic series in which the horn was crooked and eventually

give an instrument that was fully chromatic.

The third movement of Beethoven's Symphony Number .2_ in D-Minor,

op. 125 (1817-23), contains an extremely difficult passage far the horn

in E-flat. This solo is given to the fourth horn, and in addition to

the extreme low registration of the first part of the solo, a written

A-flat-Major scale, from a-flat' to a-flat'', is required in the second

part of the solo. The scale is most difficult to execute and requires

a true virtuoso to perform it on hand horn.

Beethoven's writing for the horn is in advance of anything pre-

viously attempted. He enlarged the horizon of the horn to the greatest

extent possible befare the invention of the valve. It cannot be

. d. 125
doubted that his work pointed the way far h�s illllile i ate successors.

124
R. Morley-Pegge, The French Horn, p. 30. This date is give�
according to a patent specification in Berlín.
125R b
o in G regory, "Th e Horn in Beet h oven '
í S ymp h oni. es, " 310 .
s
 As the valve became more widely accepted by horn players,

and imperfections in its design corrected, the horn continued into

the Romantic peciod as a harmonic instrument. The era of the hanc-

horn virtuoso ended in 1830 with the growth of the Romantic period.

The improved piano reigned supreme as the major solo instrument.

The valve had made the horn fully chromatic, but players

and composers continued to treat the valve as simply a means by

which crooks could be changed quickly. Among the first to recognize

the possibilities of the new valve horn as a chromatic solo

instrument was Robert Schumann. In 1849 Schumann completed his

Konzertstück

in F-Major, op. 86, fer Four Horns and Orchestra. This work demon-

strates the potential of the valve horn, and remains ene of the most

difficult solo pieces in the entire literature for the horn. Thus,

with the final acceptance of the valve, the horn was at last free to

take its place as a fully chromatic instrument, no longer limited by

its harmonic series or the necessity to restructure forms for its

solo lite:rature.

One question remains concerning the use of "stopped" notes

on the hand horn; that of the method of production of "stopped" notes

which were as clase as possible to the timbre of open partials. In

a lecture-concert presented in Waco, Texas, in March, 1973, Barry

Tuckwell shed sorne valuable light on this aspect of hand horn. In

bis presentation he stated that "it has been assumed that the hand

position currently in use in the horn bell was the same as used by

the virtuosi of the Classical period. The present hand position is

 184
186

based on the previous position but it is not the same." The present

hand position is outlined by Phillip Farkas in The Art of French

Horn Playing:

Hold the right hand flat with the fingers held

together so that absolutely no space occurs between them •.
Pay par- ticular attention to the thumb, which should lie
along the edge of the hand, and in the same planeas the
fingers.
Now cup the hand lightly, in the same way that the hand
would be held while swimming. Again watch the thumb. It
should touch the side of the Lndex finger, but not in such
a manner as to forman opening between the thumb and the
hand.
Now hold the hand in a vertical plane, with the little
finger nearest the ground and the thumb uppermost. Do not
hold the palm upward as though you were holding a handful
of water, as this position does not permit the right hand to
J support the horn sufficiently.
Insert this slightly cupped, vertically-held hand in the
horn bel! so that only the backs of the fingers and the top
of the thumb touch the metal. This means that the hand will
be against the side of the bel! farthest from the body. The
fingers should be lightly curved and the backs of them should
hug the side of the horn bell, particularly the tips. The
curve of the hand then brings the thumb, in a natural manner,
to the roof of the bell's thi;oat. It rests against the top
of the throat so that the horn is partially supported by it.
Thus the feeling is one of holding the properly formed hand
out from �he body and up. This will enable the palm and
heel
of the hand to swing open or shut like a door, the hinges
being the knuckles of the thumb at the top and the little
finger at the bottom of the bell.126

In Tuckwell's view, the fundamentals of Farkas' description are correct.

The major change is that the hand is placed more toward the center line

of the bell than against the far bell wall as described by Farkas.

This permits a smaller amount of hand movement to accomplish the

same effect a� t�e larger amount required if the hand is against the

far bell wall. In addition, and this is the primary feature of this

126
Phillip Farkas, The Art of French Horn Playing, pp. 12-13.
change, the timbre of the open tone is changed to a darker, more veiled

quality, while the partially "stopped" tones do not have as much of the

qual1. ty characteristic of today

-1
" raspy " ' ' 'stopped" horn. The fully
s

"stopped" tones in either approach will be characteristically "edgy"

in timbre and will have more "bite" to them.127 The modification to

the original position may have come about as composers and conductors

demanded more from the valve horn in the Romantic period, particularly

in the work of Richard Strauss and Gustav Mahler, in dynamic contrast

and range.

In modern performance of the horn concertos of the Classical

period, little is said about embellishments; however this aspect does

constitute an important part of the correct performance of these con-

certos. In C. P. E. Bach's theoretical work, Versuch über die wahre

128
Art, das Clavier zu spielen, in the section titled, "Of the Embell-
ishments in General," certain guidelines are set out. Though intended

for keyboard performance, the stipulations given by C. P. E. Bach can

be applied to the horn concerto in so far as the original natural

instrument can play them. Bach's view is that proportion, observance

of key signature, proper interpretation of the embellishment indica-

tions, and good taste are needed if the embellishments are to enhance
129
the performance.

127
Barry Tuckwell, "On the Use of Echo Horn," lecture-concert,
Waco, Texas, March, 1973.
128
C. P. E. Bach, Versuch über die wahre Art, das Clavier zu
spielen (Leipzig, 1759).
129
oliver Strunk, Source Readings in Music History (New York:
w. W. Norton and Company, 1950), pp. 609-615.
 186

Qf the severa! recordings of each of the concertos analyzed

in this study, none to date have presented any of the works

performed on the hand horn. It is hoped that in the future some
enterp?�ising

artist will record these works using the hand horn so that they

may be heard again as the composer conceived them.

 BIBLIOGRAPHY

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 188
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of Southern California, 1960.

Music

Bach, Johann Sebastian. Brandenburg Concerto Number .!_ in F-Major.

London: Ernst Eulenburg, Ltd., 1927.

Beethoven, Ludwig van. Quintet in E-Flat Majar for Oboe, Three Horns
and Bassoon. [Fragment] Ed. M. Zelner. Mainz: 1954.

Beethoven, Ludwig van. Sonata in F-Major for Horn and Piano. Boston:
The Cundy-Bettoney Co., !ne. [n.d.]

Beethoven, Ludwig van. Symphony Number l in E-flat Majar, op. 55.

Hamburg: N. Simrock, 1820.

Beethoven, Ludwig van. Symphony Number 2_ in D-Minor, op. 125.

[n.p.] B. Schott & Sons, 1826.
 190
190

Danzi, Franz. Concerto in E-Majar for Horn and Orchestra. Ed.

Wolfgang Hofmann. Leipzig: Deutscher Verlag fur Husik,
1969.

Danzi, Fran¿. Sonata for Horn and Piano in Eb-Major, Op. 28. Ed.
James Chambers. New York: International Music Company,
1963.

Haydn, Franz Joseph. Concerto in D-Major for Horn and Orchestra.

Boston: Cundy-Bettoney Company [n.d.]

Haydn, Franz Joseph. Concerto for Second Horn. 1767. Ed. Max
Pottag. New York: Carl Fischer, 1941.

Haydn, Franz Joseph. Divertimento a Tre. [1767.] for Horn,

Violín and Violoncello. Ludwig Doblinger.

Haydn, Michael. Concerto_ in D-Major for Trtnnpet and Orchestra. Ed.

W. Haslke. Hamburg: M. Simrock, 1965.

Haydn, Michael. Concertino in D-Major for Horn and Orchestra. Ed.

Charles Sherman. Columbia, Missouri: Universal Edition and
University of Missouri Press, 1969.
Mozart, Leopold. Sinfonía di Camera, in D-Major fo� Horn and
Orchestra. Ed. Edmond Leloir. Amsterdam, Holland:
Edition Ka We, 1965.

Mozart, W. A. Concerto in A-Major for Clarinet and Orchestra, K.622.

París: Heugel and Co. [n.d.]

Mozart, W. A. Concerto in D-Major for Horn and Orchestra, K.412.

New York: Ernst Eulenburg, Ltd., 1952.
Mozart, W. A. Concerto in E-flat Major for Horn and Orchestra,
K.417. Wiesbaden: Breitkop f und Hár t e L,

Mozart, W. A. Concerto in E-flat-Major for Horn and Orchestra,

K.447. Wiesbaden: Breitkopf and Hartel [n.d.]

Mozart, W. A. Concerto in E-flat Major for Horn and Orchestra, K.495.

Wiesbaden: Brietkopf and Harte! [n.d.]

Mozart, W. A. rJncerto in E-Majar for Horn and Orchestra, K.494-A.

New York: Ernst Eulenberg, 1952.

Mozart, W. A. Concerto in F-Major for Piano and Orchestra, K.459.

New York: Edwin F. Kalmus [n.d.]
Mozart, W. A. Concerto in D-Minor for Piano and Orchestra, K.466.
New York: Edwin�. Kalmus �d.]

Mozart, W. A. Concerto in C-Major for Piano and Orchestra, K.467.

New YorY: Edwin F. Kalmus [n.d.]

Mozart, W. A. Concerto in E-flat Majar for Piano and Orchestra,

K.482. New York: Edwin F. Kalmus [n.d.]
•
Mozart, W. A. Concerto in A-Majar for Piano and Orchestra, K.488.
New York: Edwin F. Kalmus [n.d.]

Mozart, W. A. Concerto in C-mínor for Piano and Orchestra, K.491

New York: Edwin�. Kalmus [n.d.]

Mozart, W. A. Concerto in A-Majar for Violín and Orchestra, K.219.

París: Heugel and Company [n.d.]

Mozart, W. A. Concerto in D-Major for Violín and Orchestra, K.218.

París: Heugel and Company [n.d.]

Mozart, W. A. Concerto in G-Majo� for Violín and Orchestra, K.216.

París: Heugel and Company [n.d.]

Mozart, W. A. Konzert Rondo in E-flat Majar for Horn and Piano,

K.371. Wiesbaden: Breitkopf and Hartel [n.d.]

Rosetti, Francesco. Concerto in D-Minor fer Horn and Orchestra.

Ed. Bernard Krol. Hamburg: N. Simrock, 1959.

Rosetti, Francesco. Concerto in E-flat Majar for Horn and Orchestra.

Ed. James Chambers. New York: International Music Company,
[n.d.]

Rosetti, Francesco. Concerto Number l in E-flat Majar for Two

Horns and Orchestra. Ed. Klaus Weelink. Amsterdam, Holland:
Ka We, 1964.

Rosettí, Francesco. Concerto Number 15 in E-flat Majar for Two Horns

and Orchestra. Ed. Klaus Weelink. Amsterdam, Holland:
Ka We, 1968.

Schumann, Robert. Konzertstuck in F, op. 86, for Four Horns and

Orchestra. New York: International Music Company [n-:cf:"]

Telemann, Georg Phillip. Concerto in D-Major for Horn and Orchestra

(1750). Ed. Edmond Leloir. Locarno: Edition Heinrichshofen,
1964.