French horn music

Solo French horn - unaccompanied
A DAY IN THE CITY “7 Vignettes” (1986) for solo horn by Howard J. BussThese colorful musical scenes from the city are excellent study and recital pieces. Each movement is given a title which depicts an occurrence which the composer experienced one day in 1982 during a visit to New York City. The movements are Another Sunrise (based upon an early morning excursion to Central Park to witness the rising of the sun over the buildings); Off to a Busy Day (driving in heavy traffic, zigzagging around to avoid "crazy" drivers); The Lost Key Episode (the composer lost his car keys, but the key of the music is lost too); The Waitin' in Line Blues (an actual blues progression during which the performer alternates between playing with a straight tone and a heavy, obnoxious "corny" vibrato to show frustration at being stuck in a slow-moving line); Romantic Interlude (a beautiful, melodious and flowing waltz); Sudden Storm (getting caught up in a raging thunderstorm); and Out on the Town (has a cheerful Latin feel and breaks into swing as it reaches its climax). "Tonal, charming and imaginative! The low purchase price and the incisive approach of a skilled composer make this a piece worth seeking out.”- PMEA News (10’) Grade IV.

PARTITA FOR HORN for solo horn by Roger C. Vogel was written for David Pinkow in 1977 and revised and re-notated in 2011. In this composition the term “partita” is used in the sense of “suite” as it was used in the 6 partitas in Bach’s Clavier-Übung. This audience-friendly concert piece is cast in five short movements: Fanfare, Nocturne, Scherzo, Song and Toccata. It is a “must” for advanced performers! (10’) Grade V-VI. Partita for Horn Sound Samples: Excerpt_movement_1.mp3 (709KB), Excerpt_movement_2.mp3 (786KB), Excerpt_movement_3.mp3 (1.1MB), Excerpt_movement_4.mp3 (1.1MB), Excerpt_movement_5.mp3 (1.3MB)

Horn with one other instrument

BALLAD for horn and piano by Howard J. Buss. This beautiful piece radiates a sensuous lyricism and a nostalgic mood. The structure of the work is A-B-A-Coda, the A section is melodious, flowing, and expressive. The B section is more animated and has a playful nature. This is a “must” for your next recital or competition. (6’) Grade IV-V.

DISCOURSE by Edward Troupin, version for flute and horn. Edward Troupin (1925-2004) enjoyed an international reputation as a composer of instrumental music. Throughout his long and illustrious career as a professor of music at Ithaca College and later the University of Florida, he inspired numerous young composers. Mr. Troupin received his bachelor’s degree from Harvard University with a major in mathematics. Later he earned his master of music degree from the University of Michigan, where he studied with Ross Lee Finney. Troupin’s sound-world is dramatic and full of vitality. This entertaining duo is cast in five short and entertaining movements: Assertion, Reflection, Eulogy, Fantasy, and Comedy. The colorful and contrasting sections combine in charming balance to make a memorable concert feature. (8') Grade V. B706 $10.00

FABLES FROM AESOP (2001) for violin and horn by Howard J. Buss in 5 entertaining movements: The Dog Who Chased a Lion, The Astronomer, The Camel Who Wanted Horns, The Crow and the Pitcher, and The Rabbits and the Frogs. Each movement begins with a performer reciting the corresponding fable. The colorful and engaging music is idiomatic and sophisticated, yet it is accessible because of its strong programmatic nature. This piece is a hit with all types of audiences, including those comprised of children! It makes a great concert feature and also is highly effective on out-reach concerts in the schools. (13’) Grade V. Fables from Aesop score samples (transposed score):
Excerpt, Movement 1.pdf (2 pages, 196KB); Excerpt, Movement 2.pdf (2 pages, 200KB);
Excerpt, Movement 3.pdf (2 pages, 260KB); Excerpt, Movement 4.pdf (2 pages, 256KB);
Excerpt, Movement 5.pdf (2 pages, 284KB)

FOUR MINIATURES (2011) for 2 horns by Howard J. Buss is a vibrant and colorful sonatina This picturesque composition is divided into four movements: Aggressive, Contemplative, Buoyant, and Energetic. The playful, yet sophisticated character of the music makes this an entertaining, audience-friendly work. (9’20”) Grade V.

IN MEMORIAM (2006) for horn and piano by Howard Buss is a sonic tribute to the millions of soldiers who have made the ultimate sacrifice in time of war. The 2 movements of this captivating and powerful work are loosely programmatic and reflect the sentiments poems penned in response to “the war to end all wars” (WWI): In Flanders Fields and In Flanders Fields (An Answer). The music covers a wide range of moods, from lyric nostalgia to aggressive forcefulness. (11’) Grade V-VI.
In Memoriam Sound Samples: Excerpt, Movement 1A.mp3 (1MB); Excerpt, Movement 1B.mp3 (the ending) (812KB);
Excerpt, Movement 2A.mp3 (the beginning) (940KB); Excerpt, Movement 2B.mp3 (1MB);
Excerpt, Movement 2C.mp3 (the ending) (872KB)
In Memoriam Print Samples:
Score sample (in C), movement 1.pdf (2 pages, 368KB): Score sample (in C), movement 2.pdf (3 pages, 608KB);
Horn part sample (in F), movement 1.pdf (1 page, 124KB); Horn part sample (in F), movement 2.pdf (1 page, 136KB)

NIGHT TIDE (1995, 2012) for horn and marimba by Howard J. Buss was inspired by the New England coastline at night and features an evocative interplay between turbulent and serene sections. ‘The Evening’s highlight, Night Tide was a stunning portrait of the sea’s ebb and flow.” - The Maine Sunday Telegram (8’30”) Grade V.
TIME CAPSULE for 2 horns by Howard J. Buss is an entertaining sonatina in 4 movements: Daybreak, Chorale, Rendezvous, and Homeward Bound and is both fun to play and listen to. Daybreak has a frolicking and optimistic character. Chorale breaks with the traditional structure of the chorale in that each phrase gets a measure longer. The harmonies of the second movement contain some spicy dissonances as well. Rendezvous, is in a lilting 6/8 and really "works up a lather" as it progresses to an exciting climax. Homeward Bound, begins with a fanfare-like passage that gives way to a spirited dance with an intriguing interplay between the 2 instruments. (7’) Grade III-IV.

TWO TO TANGO (2012) for clarinet and horn by Roger Vogel in 5 movements: Tango 1, Foxtrot, Quick Step, Waltz, and Tango 2. This charming suite of dances is a significant concert work written in an accessible modern style. The movements may be played individually, or any grouping. (18’) Grade V.

Horn ensembles:

New! AQUARIUS (2013) for three horns by Howard J. Buss showcases both the agility and the beautiful, sonorous tone of instruments. It was written during the spring of 2013 and is the second in a series of works by the composer inspired by aspects of the signs of the Zodiac. The two movements are At the Glow of Dawn (3’5”) and Ocean Blue (3’50”). Aquarius explores a variety of sonic atmospheres and moods. The sophisticated musical language coupled with soaring melodies and intriguing rhythms makes this composition an accessible concert work as well as an impressive contest piece. (7’) Grade V. B440H $15.00

AVE VERUM CORPUS by Wolfgang Amadeus Mozart, arranged by Howard Buss for four horns, was one of the last works composed by this Classical master. An exquisite addition to any recital, it is especially effective in a church setting. Each part may use multiple performers to create a larger ensemble. (3’30”) Grade II.

CANZONA by Florentio Maschera (1540-1584) arranged by Howard J. Buss. for four horns. This uplifting composition is written in the imitative style from the exciting period bridging the Renaissance and Baroque eras. It is a stirring addition to any recital, and is especially effective in a church setting. Multiple performers may be used on each part to create a larger ensemble. (2’15”) Grade II.

DRY BONES, the well-known African American spiritual (the foot bone's connected to the leg bone, the leg bone's connected to the...), arranged by Howard Buss, makes a memorable concert feature as well as a rousing musical offering in church. Multiple players may be used on each part to expand the ensemble. This arrangement is hugely influenced by jazz. The composer wrote an extended two-part introduction which begins hymn-like, and then breaks out in a jubilant jazzy section. This is followed by a more traditional rendering of the spiritual; however, as the music reaches its climax, the jazz "licks" from the introduction are brought back as counterpoint against the main melody of the spiritual. The result is exhilarating, and for a bit of humor, just as the work ends, there is a "tongue-in-cheek" plagal cadence. (2’30”) Grade IV.

PRELUDE AND INTRADA for 4 horns by Howard J. Buss. This attractive quartet features lyrical writing, and spirited rhythmic drive. The Prelude combines fanfare and lyrical sections as well as tonal and polytonal harmonies. The festive Intrada is in an ABA-Coda format and features crisp, energetic rhythms and lyrical contrapuntal writing. This is a memorable feature number or an impressive contest piece. Multiple players may be used on each part to expand the ensemble. (5’15”) Grade V.

RICERCARE by Andrea Gabrieli (1510-1586) transcribed for 4 horns by Howard J. Buss. Written in the imitative style of the late Renaissance, this cheerful work makes an excellent concert feature or a stirring offering in church. Particularly memorable are the metric modulations, a feature common in the dance music of the day. Each part may use multiple performers to create a larger ensemble. (2’30”) Grade III.

Horn in chamber music (including brass trios, quartets, quintets, and brass choir)

AVE VERUM CORPUS for brass quartet (2-1-1) by Wolfgang Amadeus Mozart, transcribed by Howard J. Buss. This sensitive rendition of one of Mozart’s most sublime works makes an outstanding feature number for a recital as well as a wonderful musical offering in church. (3’30”) Grade II-III.

BROM BONES for 10-part brass choir by Howard J. Buss musically depicts the character and exploits of Washington Irving’s dashing prankster in The Legend of Sleepy Hollow. The musical ensemble consists of 4 Bb trumpets (an optional Eb part is included for trumpet 1), one horn, 3 tenor trombones, one bass trombone, and tuba. This entertaining composition is cast in five movements, the first two are interconnected:
                 I. Overture   (2:00)
                 II. The Smoke Out    (2.40)
                 III. The Schoolhouse Caper (2:00)
                 IV. Ichabod’s Romance    (3:40)
                 V. Night Encounter   (3:10)
Following the energetic and heroic Overture, in The Smoke Out tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, The Schoolhouse Caper, combines very aggressive and topsy-turvy passages with humorous, plodding interjections. Ichabod’s Romance begins as a beautiful unaccompanied ballad which is abruptly disturbed by a cacophony of muted brass, suggesting the whining of Brom’s mocking dog. Beautiful hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful solo. The intense final movement, Night Encounter, depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise. (14’30”) Grade V-VI.
CANZONA by Florentio Maschera (1540-1584) for brass quartet (2-1-1 or 2-0-2) part 3 of the music can be played by either a trombone or a horn, transcribed by Howard J. Buss. This late Renaissance work is written in a stirring imitative style. It makes an outstanding feature number for a recital as well as a wonderful musical offering in church. (2’30”) Grade III.
CASCADES for brass quintet (2-1-1-1) by Roger C. Vogel. Musical “cascades” rush forth from one another throughout in this exciting new work. Cascades is divided into three main sections. A fast energetic opening eventually gives way to a slower section before the opening mood returns in increasing intensity to the rousing conclusion. This accessible composition makes an outstanding contest piece, feature number, or because of its character, a dashing encore. (4’) Grade IV-V. Cascades sound sample: Excerpt.mp3 (1 MB)

CHROMATIC FANTASY (1997) for brass quintet (2-1-1-1) by Howard J. Buss was composed for the United States Air Force Brass Quintet. This exciting and engaging“tour de force” is a riveting excursion through driving ostinati and sparkling chromatic flourishes. Chromatic Fantasy was premiered by the U.S.A.F. Brass Quintet at the Eastern Trombone Workshop hosted by the U.S. Army Band in Ft. Meyer, VA. (8’) Grade V-VI.
Chromatic Fantasy Sound Samples: Excerpt 1 (the opening).mp3 (1MB); Excerpt 2.mp3 (984KB)

CONCORD (1990) for brass quintet (2-1-1-1) by Howard J. Buss teems with the vitality of youth. Lyrical passages are juxtaposed with fanfare-like sections to create a dramatic and festive atmosphere. Written for the opening of a performing arts high school in Florida, this exciting composition was winner of the 1991 “Erik Satie Award” of New York City. This significant work makes a great contest piece or rousing feature number. (6’) Grade V.
Concord Sound Samples: Sample 1.mp3 (1MB) Sample 2.mp3 (1.2MB) Sample 3.mp3 (412K)

DIVERTIMENTO (1969) for trumpet, trombone, and horn by Edward Troupin. Troupin’s sound-world is dramatic and full of vitality. His Divertimento for trumpet, trombone, and French horn was composed in 1969. In this entertaining and delightful brass trio the beautiful and lyrical Andante is surrounded by brilliant, energetic movements. The colorful and contrasting sections within each movement combine in charming balance to make a memorable concert feature. (9’) Grade IV-V.
DRY BONES, the well-known African American spiritual (the foot bone's connected to the leg bone, the leg bone's connected to the...), arranged by Howard Buss, makes a memorable concert feature as well as a rousing musical offering in church. Multiple players may be used on each part to expand the ensemble. This arrangement is hugely influenced by jazz. The composer wrote an extended two-part introduction which begins hymn-like, and then breaks out in a jubilant jazzy section. This is followed by a more traditional rendering of the spiritual; however, as the music reaches its climax, the jazz "licks" from the introduction are brought back as counterpoint against the main melody of the spiritual. The result is exhilarating, and for a bit of humor, just as the work ends, there is a "tongue-in-cheek" plagal cadence. (2’30”) Grade IV.

FIVE STARS (2004) for wind quintet (flute, oboe, clarinet, horn, and bassoon) by Howard J. Buss was composed for the Pegasus Wind Quintet. Each of the five picturesque movements features a different member of the ensemble: I. Into the Maelstrom (3’03”) features the flute Sound Sample Mov.#1.mp3 (780K), II. A Distant Glow (4’20”) features the French horn Sound Sample Mov.#2.mp3 (1008K), III. Orbits (3’20”) features the oboe Sound Sample Mov.#3.mp3 (892K), IV. The Message from the Eternal Sea (3:15) features the bassoon Sound Sample Mov.#4.mp3 (1MB), and V. Dance of the Stars (3’10”) features the clarinet Sound Sample Mov.#5.mp3 (896K). This exquisite work is sophisticated, yet audience-friendly. It is a “must” for the advanced quintet. Total performance time @ 17’10” Grade V-VI.

FUGA VII from the Well-Tempered Clavier, Book 2, BWV 876, by Johann Sebastian Bach for brass quartet, [two B-flat trumpets, horn (an optional trombone part is included as a substitute for the horn on part 3), and trombone] transcribed by Howard J. Buss. Rather than intending to elicit a strong emotional response from listeners, this elegant music is designed to showcase compositional craftmanship and stilulate the intellect. This outstanding transcription makes a wonderful addition to a concert and is especially appropriate for performance in church. (3’) Grade III.
IMAGINATIONS (2012) for horn, trombone and piano by Howard J. Buss showcases the agility and beautiful, sonorous tone of the horn, trombone, and piano ensemble. Ranging from lyric tenderness to powerful (and sometimes fiery) technical displays, the 2 movements, Contemplative and Auspicious, explore a wide range of sonic atmospheres and moods. The sophisticated musical language, coupled with the soaring melodies and intriguing rhythms, make this a significant, audience-friendly concert work. Imaginations was composed for Gene Berger, horn; John Seidel, trombone; and Elizabeth Seidel, piano. (13’) Grade V-VI.
Imaginations sound samples: Movement 1, excerpt 1(1.6MB); Movement 1, excerpt 2 (1.2MB); Movement 2, excerpt 1 (1.8MB); Movement 2, excerpt 2 (1.5MB)

INTRODUCTION AND DANCE (1964) for wind quintet (flute, oboe, clarinet, bassoon, and horn) by Edward Troupin (1925-2004). Mr. Troupin enjoyed an international reputation as a composer of instrumental music. Throughout his long and illustrious career as a professor of music at Ithaca College and later the University of Florida, he inspired numerous young composers. Mr. Troupin received his bachelor’s degree from Harvard University with a major in mathematics. Later he earned his master of music degree from the University of Michigan, where he studied with Ross Lee Finney. Troupin’s sound-world is dramatic and full of vitality. His Introduction and Dance for wind quintet was composed in 1964. In this entertaining and delightful composition the colorful and contrasting sections combine in charming balance to make a memorable concert feature. Because of the character of the music Introduction and Dance also makes a rousing encore and an effective contest piece. (5’) Grade IV. Introduction and Dance Sound Sample: Excerpt.mp3 (1.2MB)

JAZZICAL #4 (2012) for horn, trombone, tuba and piano by Howard J. Buss . The composer states, “It was not my aim to create a specific hybrid style by synthesizing jazz and modern classical music; rather, my intent was to systematically strip away the fundamental elements of jazz to explore at what point the music ceases being jazz and becomes classical. The style of this work is the resultant this procedure. Because the subject of what constitutes jazz (there are so many kinds) is so complex, depending upon the background and views of the listener, the music will sound jazzy (in varying degrees) to most, and mostly classical to others. (12’45”) Grade VI. Jazzical #4 Sound Samples: Excerpt_1.mp3 1.5MB); Excerpt_2.mp3 (1.8MB); Excerpt_3.mp3 (2.4MB); Excerpt_4.mp3 (2.3MB).

NIGHT WINDS (1994) for flute, clarinet, oboe, bassoon, horn & alto sax by Roger Vogel. This highly dramatic work is suggestive of the dark and somber quality of the themes and textures used throughout. The alto saxophone has been added to the traditional wind quintet and is treated as an integral member of the group. This composition is cyclic in form and is cast in a multi-sectional single movement: there are three slow sections that alternate with two faster ones. Night Winds was completed in 1994 and is dedicated to the musicians that premiered it: by Ronald Waln, flute; Dwight Manning, oboe; Theodore Jahn, clarinet; Jean Martin horn; William Davis, bassoon; and Ken Fischer, alto saxophone. (12’30”) Grade V. Night Winds Sound Samples:
Excerpt 1 (the beginning).mp3 (1.1MB); Excerpt 2.mp3 (1.1MB); Excerpt 3 (the ending).mp3 (962KB)

PASSAGE TO EDEN (2001) for clarinet, horn, and piano by Howard J. Buss. This dramatic and colorful work is cast in 4 continuous movements. The mood of the first is of ominous significance, as if one was preparing to embark on an arduous journey. The music is lyrical, yet contains an undercurrent of tension and anticipation. The second movement is characterized by a contrapuntal dialogue between the clarinet and the horn over a driving ostinato in the piano. This section is hugely influenced by jazz. The lyrical and animated counterpoint sounding over the running bass line and chord punctuations in the keyboard gradually give way to a section of turbulence which serves as a transition to the relative calm of the following movement.The third movement, in 6/8 meter, has an easy flowing vitality. There is a silvery brilliance to the music with a hint of nostalgia. The interweaving melodic strands grow increasingly romantic in quality and then, quite suddenly, give way to a developmental passage which builds in intensity and expectation. The finale is spirited and jubilant in character. The atmosphere generated is one of a triumphant proclamation which grows increasingly exultant as the work culminates in a rousing coda. (12') Grade V-VI
Passage to Eden Sound Samples: Excerpt 1.mp3 (1MB); Excerpt 2.mp3 (1.1MB);
Excerpt 3 (the ending).mp3 (507KB)

RICERCARE ON C by Andrea Gabrieli (1510-1586) for brass quartet (2-1-1 or 2-0-2) part 3 of the music can be played by either a trombone or a horn, transcribed by Howard J. Buss. This late Renaissance work is written in a stirring imitative style. Particularly interesting are the meter changes involving metric modulations, a trait found in much of the dance music of the day. It makes an outstanding feature number for a recital as well as a wonderful musical offering in church. (2’30”) Grade III.
SONATA K. 380 by Scarlatti, Domenico for brass quintet (2-1-1-1), transcribed by Howard J. Buss. This delightful work was originally composed for keyboard by Domenico Scarlatti around the year 1754 and was entitled Sonata in E Major K. 380 (Longo 23). This transcription for brass quintet preserves the essential traits of the composer’s unique style, including his compositional use of register with florid treble parts and a strictly functional, supportive bass. (6’30”) Grade IV.

SONIC FABLES: “Lessons from Aesop” (1991) for brass quintet (2-1-1-1) and one percussion by Howard J. Buss. Entertaining musical representations of six of Aesop’s famous fables are presented between a Prelude and Postlude. The text of the fables is printed on a preliminary page to the score and may be used as written program notes. Each fable may also by recited by a member of the ensemble or a narrator prior to performing the accompanying movement. Because of the programmatic subject matter and the colorful spirit of the music, Sonic Fables works well with all types of audiences, including those of children. It is frequently used as a feature number by professional ensembles on school programs. Percussion: 2 suspended cymbals, temple blocks, snare drum, tomtom, triangle, tambourine, wind chimes, xylophone, and tam-tam. The total duration is about 17 minutes; however, the 8 movements may be performed in smaller groupings if so desired by the performers. (18’) Grade V-VI. Sonic Fables Sound Samples:
Prelude.mp3 (excerpt with the beginning of narrator's lead-in to the first fable) 844KB
The Hawk and the Nightingale.mp3 (excerpt) 916KB
The Middle-Aged Man and His Two Mistresses.mp3 (excerpt) 1MB
The Cat and the Rooster.mp3 (excerpt) 1.2MB
The PipingFisherman.mp3 (excerpt, with the beginning of narrator's lead-in to the next movement) 940KB
The Fox and the Leopard.mp3 (excerpt) 1.1MB
The Lion and the Bear.mp3 (excerpt) 764KB
Postlude.mp3 (excerpt) 1.2MB

TWO MODERN MOTETS (2005) for wind quintet by Peter Rothbart was written while he was intensively studying sixteenth century motets. Intrigued by the contrapuntal nature of the genre with its simultaneous interconnectedness and independence of the lines, the composer wrote the first movement, alla Stile Antico, with this in mind. The second movement, alla Stravinsky, was influenced by Rothbart’s long-time fascination with Igor Stravinsky’s neo-classical works. In particular, he was inspired by Stravinsky’s extraordinary sense of balanced form, combined with modern rhythms and melodies. The two movements of this exciting quintet complement one another beautifully. Two Modern Motets makes a brilliant concert feature as well as an impressive contest piece. (4’30”) Grade V.
Two Modern Motets sound samples: Excerpt, Movement 1.mp3 (1.2MB); Excerpt, Movement 2.mp3 (1.1MB)

WARP! (1994) for brass quintet by Robert J. Frank. The title was inspired by the term from Star Trek where warp engines would bend time and space to propel the ship at incredible speeds. Exploring relationships between time and space in a musical sense, this work begins with motives and fragments free-floating in space. These gradually build in energy and motion until coming into phase with one another. After this cadence, a motor section expands and develops the previous free-floating motives over driving, repeated patterns. As the speed increases, these motives fade in and out of phase with each other until the motives come back into phase at "warp speed" in the exciting conclusion.Warp! is a fun and exciting concert feature! (3') Grade V.
Warp! sound sample: Excerpt.mp3 (966KB)

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