The Solo Hornist-Twelve Solos for Horn and Piano

Program Notes

Bist du bei mir is found in the second of Johann Sebastian Bach’s Notebook(s) for Anna Magadelena Bach (B.W.V. 508, 1725). As a result, this popular aria has been attributed to J.S. Bach for over a couple of centuries. Recent scholarship, however, has found that this work is actually J.S. Bach’s arrangement of an aria from the opera Diomededes (1718) by Gottfried Heinrich Stölzel. A translation of the opening line is “Be thou with me, and I will go, with joy, to my death and rest.”

Sonntag from Fünf Lieder, Op. 47. No. 3-Johannes Brahms “Sonntag” translates as “Sunday.” However, this is not a religious song; it is a love song. In the lyric text, the singer says “it has been a whole week since I have seen my love,” and that having seen her going to church on Sunday, he is looking forward to seeing her there and then.

Sapphische Ode from Fünf Lieder, Op. 94. No. 4-Johannes Brahms This is also a love song. In the text, the “dew on the roses” is compared similarly to the “dew” of the lover’s tears.

Feldeinsamkeit from Sechs Lieder, Op. 86. No. 2-Johannes Brahms This is a song of peace and solitude. The singer tells of resting in the tall green grass, and looking up at the beautiful white clouds, dreams that he has been dead and is floating through the eternal heavenly space.

Dalla Sua Pace from Don Giovanni-Wolfgang Amadeus Mozart is a different type of “love song.” In this aria, the character Don Ottavio sings in support of his fiancé Donna Anna: “On her peace, mine depends.”

Pie Jesu from the Requiem, Op. 40-Gabriel Fauré This seemingly simple movement for solo soprano sings with a depth of emotion that stands in profound contrast to those from other comparative works. Where the Dies Irae of Verdi’s Requiem shouts of the “Day of Wrath, “ the Pie Jesu of Fauré’s Requiem sings “Pious Lord Jesus give me eternal rest.”

Einsamkeit from Winterreise, Op. 89-Franz Schubert Einsamkeit can be translated as “loneliness.” When Pearl Winter, the wife of his good friend , Jim Winter, passed away, Marvin Howe made this arrangement of Schubert’s Einsamkeit-and sent it to Jim. In Schubert’s setting of the poem by Wilhelm Müller, this song depicts the emotions of a person whose heart wanders in loneliness-after having lost his life’s love.

Lament from Poetic Tone Pictures, Op. 85 No. 6-Antonin Dvořák This Lament is taken from Dvořák’s Suite: Poetic Tone Pictures, Op. 85. The title of this sixth movement is also sometimes translated as “Sorrowful Reverie.” Regardless of the translation of the title, this piece has a special beauty, charm, and emotion that is unique among the solos in this collection. The dedicatee of this arrangement was Marvin Howe’s friend-Brian G’Froerer-a Hornist from Vancouver, Canada.

Sicilienne-Gabriel Fauré This Sicilienne has gone through several versions-before this arrangement for Horn and Piano by Marvin Howe. The original version was written as part of theater music that was unperformed. Then, in 1898, Fauré made an arrangement of this piece for cello and piano, and it also was used as part of his suite of incidental music to the play Pelléas et Mélisande. As a result, this melody is often heard being played by the cello or by the flute. This arrangement builds on both of those concepts.

Die zwei blauen Augen from Lieder eines Fahrenden Gesellen-Gustav Mahler (The Two Blue Eyes of my Sweetheart) is taken from Gustav Mahler’s song cycle: Songs of a Wayfarer. Mahler also made significant use of this melody in his First Symphony. In this recording, Thomas Jöstlein, who has a great affection for the performances of the tradition of the great singers of German lieder, performs some passages in the higher octave.

The Tourney of King John-Camille Saint-Saëns This song, composed by Saint- Saëns-in 1852 when he was only seventeen years old, is a setting of an extended poem by Victor Hugo. A short synopsis of this poem tells of a jousting tournament. The opening section depicts the excitement of anticipation of this war-game-with the banners on the castle and the honor of fighting for the king and the ladies. The middle section is a sober reflection on the danger of the combat, the possible demise of the participants, and prayers for the fallen. The final section is the return to the manor where the friar notes the knight’s deeds of valor.

Qui Sedes Ad Dexteram Patres from Gloria-Antonio Vivaldi This tenth movement of Vivaldi’s Gloria RV589 is a solo for an alto singer that translates to “You, who sit at the right hand of the father, have mercy on us.”

Performance Notes

In creating these arrangements for Horn and Piano, Marvin Howe’s intention was to produce accessible editions of some great music for Hornists. In addition to providing hornists with lyrical recital pieces that could be used in schools and colleges, these works were also intended for use when performing at services and ceremonies in community and church venues. Marvin Howe performed many of these pieces in his own church, continuing his practice of “Singing smooth melodies on the Horn” for many people in many locations. Therefore, it should be noted that these are practical performance editions where performers and listeners may experience these great melodies. Consequently, to make them more accessible for the hornist, some of these works are in a different key and or register from the original.

Most markings in the score and parts should be self-explanatory. Nevertheless, the following notes about the following works should be noted by the performers.

Lament, Op. 85 No, 6-Antonin Dvořák

This Lament taken from Dvořák’s Suite: Poetic Tone Pictures, Op. 85. The title of this sixth movement is also sometimes translated as “Sorrowful Reverie.” Regardless of the translation of the title, this piece has a special beauty, charm, and emotion that is unique among the solos in this collection.

Earlier editions of this work by Dvořák are for violin and piano in addition to the one for solo piano. This edition for Horn and Piano incorporates concepts of these earlier editions. However, a few adjustments have been made to make this work friendlier for the hornist. For example, the hornist may wish to note the following: In measures 37-40 and 45-48 piano cues are provided. Then, from the upbeat to measure 49 through measure 51, the passage may be optionally performed an octave basso. Likewise, the similar passage from the upbeat to measure 58 through the first note of measure 61 may be optionally performed in the lower octave. The dedicatee of this arrangement was Marvin Howe’s friend, Brian G’Froerer-a hornist from Vancouver, Canada.

Die zwei blauen Augen (The Two Blue Eyes of my Sweetheart-Gustav Mahler

Taken from Gustav Mahler’s song cycle: Lieder eines Fahrenden Gesellen  (Songs of a Wayfarer), this song cycle is often sung in recitals with piano-as well as with the full orchestration in concert. Mahler also made significant use of this melody in his First Symphony.

In his arrangement of this “mysterious and sad” melody, Marvin Howe used a comfortable and effective middle register of the Horn throughout this song. However, hornists with a particular affinity for the higher register and who have great affection for the performances of the tradition of the great singers of German lieder may choose to perform some passages an octave higher-as Thomas Jöstlein does on his recent recording. These passages are marked with an asterisk (*) and include the following: the upbeat to measure 9-through the first note of measure 10, the upbeat to measure 45 through the last note of measure 46, and the upbeat to measure 53 though the first note of measure 62.