Horn 1: a - bb2
Horn 2: f# - f2
Horn 3: g - g2
Horn 4: A - e1
Creator's Comments
Performance Notes
Graz Galop, or spelled in the original German, Grazer Galopp, is one of Schubert’s later works. Schubert visited Graz in 1827, and apparently had a good time, as he mentioned upon his return to Vienna that he couldn’t seem to get back into his usual life. Judging from the lively, quirky little piano piece he wrote in honour of the city, he must have had a very good time indeed.
Piano pieces are not usually the easiest works to transcribe for horns, especially not the fast ones. This one is definitely fast, and definitely not easy. With the original in C major (G major in horn pitch), and the top tonic required often (super G), that is certainly not the key to go for. Lynsdale-Nock decided on B flat major (in horn pitch), using the very familiar fingerings of horn in E flat. This makes (almost) any tempo accessible, and ensembles of different standards can choose different speeds. Possibly a version for horn in E flat would even be better (thus making the notated pitch C major, which then can easily be transposed to a number of keys).
There are some interesting additions to the main tune, mainly passing notes and appoggiaturas that enhance the quirky style of the piece. These are a testimony to Lynsdale-Nock’s arranging skills, even though the interrupted rhythms that don’t land on the downbeat (in this case dotted quaver followed by a semiquaver, without the downbeat on the next beat) are perhaps not the easiest thing to play.
The piece itself is in three sections, with an exposition, imitation and recapitulation in the first one, a somewhat contrasting trio, and a recapitulation (without the repeats). The division of parts is the standard 1-3-2-4, with most of the technical work in horns 1 and 3, quite an easy gig for horn 2, and a bit of fast low playing in the low part. The whole arrangement stays within the standard limits of pedal B flat to high B flat though, so there is nothing out of the ordinary there.
While it is hard to give a precise technical difficulty rating (as that would depend on the tempo this piece is played at), this arrangement is so well done in terms of the key chosen, voice distribution, and voice leading, that it will be accessible to a wide range of ensembles. Due to its short duration and lively character, it is perfect as an encore to an ensemble concert, or if a quick change in mood is required. At the price it is sold at, its more than worth checking out.
Credits
Provision of review score: John Lynsdale-Nock (Corniworld)