Why not ? Were a comfortable solution for the Bb-players, but not for the orchestra. The problem is, that it "horns" too much in many (Bb) horn players brain ...... hoho.
######################################################### Am 14.03.2011 um 14:37 schrieb [email protected]: > Fingerings could be worse - and there are always alternatives and things > you can do to alleviate the problem (including practice). But those that > don't wish to play the piece in E - do they ask the entire orchestra to > transpose so they don't have to deal with E parts in Brahms 4? > > -William > > > In a message dated 3/14/2011 9:32:57 A.M. Eastern Daylight Time, > [email protected] writes: > > Birdalone produced a facsimile of the old print. I own the old print. By > the way, > I provided them with the third part of the Dauprat Horn methode, which > they produced > as a big folio format volume with all 3 parts, a wonderful new edition, > including the > English translation. > > yes, William, the Krufft Sonata sounds better in E, but the notoric > B-flat-players > fear to break their fingers when playing in E. Hahaha ! If one has studied > violin, > this is no problem. If one places the fingers on the keys like wurstel, > the problems > are perfect as they are when throwing the fingers up or spreading them in > the air. > > ################################################################### > Am 14.03.2011 um 14:00 schrieb [email protected]: > >> Birdalone in the US (I think) published an E version, but the piano part > >> did not have the Horn accompaniment. I prefer it in E. To me it just > sounds >> better. Maybe I have synthesesia, but certain keys have different > 'flavors' >> for me. >> >> -William >> >> >> In a message dated 3/14/2011 8:38:34 A.M. Eastern Daylight Time, >> [email protected] writes: >> >> Yes, it is. I have rewritten it to my iMAC & have two versions now > ready, >> in F or in E-flat. >> Could also make it in E, the original tonality, but this is published > by >> Billaudot in >> Paris, I guess. I have the two versions ready now. >> >> #################################################################### >> Am 14.03.2011 um 13:25 schrieb [email protected]: >> >>> This reminds me of the Krufft Sonata. In some ways the piano part is >> just >>> as difficult as the Beethoven. At least, as I've been told by > pianists. >>> >>> -William >>> >>> >>> In a message dated 3/14/2011 6:43:42 A.M. Eastern Daylight Time, >>> [email protected] writes: >>> >>> Thanks, interesting reading on this cursed day. (If you are outside >> the >>> US, >>> it's the first work day of Day Light Savings Time. So instead of >> getting >>> up >>> at 5 AM, it's 4 AM masquerading as 5 AM by act of Congress.) >>> >>> -----Original Message----- >>> From: [email protected] [mailto:[email protected]] On >> Behalf >>> Of Gary Greene >>> Sent: Sunday, March 13, 2011 9:07 PM >>> To: Horn-List >>> Subject: [Hornlist] Accompanied Sonatas >>> >>> >>> On 13 March 2011, [email protected] wrote regarding the >> Beethoven >>> Sonata "I had always assumed that this work was for solo horn with > piano >>> accompaniment. I was listening to it yesterday and recalled what Hans >> has >>> said about the Mozart work for string and horn, the horn was part of > the >>> ensemble. Is that the case the Beethoven that it is a work as much > for >>> piano as it is for horn?" >>> >>> The Beethoven sonata, along with his sonatas for cello/piano and >>> violin/piano are part of the last gasp of a tradition sometimes called > >> the >>> "accompanied keyboard sonata." In the middle of the 18th century, >> keyboard >>> sonatas were often given an "obligato" instrument which accompanied > the >>> keyboard. That is, these were, as Hans points out by given us the >> original >>> title of the Beethoven horn sonata, keyboard sonatas accompanied by >> another >>> instrument and not sonatas for a solo instrument accompanied by the >>> keyboard >>> (which is how we conceptualize them today). These were different > from a >>> parallel tradition that involved a solo instrument accompanied by >> keyboard, >>> in which latter case the keyboard part was often simply a > thoroughbass >> line >>> that the keyboardist was expected to realize. Two different views of > a >>> sonata involving keyboard and solo instrument existing side by side > in >> the >>> 18th century. >>> >>> Having said that, let me add the expected musicological waffling! :-) >>> >>> 1. That a work might be entitled something like "sonata for piano > with >>> horn >>> accompaniment" does not mean that the piano part could be played > minus >> the >>> horn as a solo sonata. The horn part is obbligato (obligatory). >>> 2. "Accompaniment" did not then carry the negative weight of being a >>> lesser >>> or merely supporting role. The term would have suggested a >>> partnership--chamber music. >>> 3. Performers today playing such sonatas therefore should not > relegate >>> their keyboard players to the background reflexively; it's a joint >> effort. >>> So, [email protected], the answer to your question is "yes." >>> 4. But in some cases, the musical content DOES indicate a > subordinate >>> relationship of one performer in favor of another, so...it's not a > joint >>> effort. >>> >>> So be aware of these traditions but also look at the music to see if > the >>> composer is communicating a partnership or a lead actor with a >> supporting >>> player...and be aware that the supporting player is not necessarily > the >>> keyboard. >>> >>> One other lesson here: all of this points up the need to know what > the >>> composer wrote. We usually think of this in terms of pitches and >> rhythms, >>> but what a composer calls a piece is very often a clue to his intent. > >> An >>> 18th-century sinfonie concertante and a concerto for multiple >> instruments >>> might strike us today as seeming like pretty much the same thing, but > a >>> composer then was likely thinking of two different kinds of things > when >> he >>> labeled the pieces as two different genres. Same way when Wagner has > >> an >>> oveture for Rienzi but a prelude for Lohengrin--both are instrumental >>> pieces >>> that open operas, but the terms overture and prelude signal different >>> conceptualizations. >>> >>> Hope these comments are helpful. >>> >>> Gary Greene, Ph.D. >>> >>> _______________________________________________ >>> post: [email protected] >>> unsubscribe or set options at >>> >> > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/bgross%40airmail.ne >>> t >>> >>> _______________________________________________ >>> post: [email protected] >>> unsubscribe or set options at >>> >> > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com >>> >>> _______________________________________________ >>> post: [email protected] >>> unsubscribe or set options at >> https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com >> >> _______________________________________________ >> post: [email protected] >> unsubscribe or set options at >> > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com >> >> _______________________________________________ >> post: [email protected] >> unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
