Horn 1: d1 - a2
Horn 2: g - e2
Horn 3: a - a2
Horn 4: G - g1
Horn 5: b - g2
Horn 6: G - g1
Horn 7: a# - e2
Horn 8: f# - a1
The original setting, in the oratorio “Elijah”, is for Alto solo accompanied by flute and strings. The present arrangement was first done for use as an offertory for Alto and six-part church choir. Having done that, it was only a matter of time until I rescored it for horn octet. Obviously, the result is somewhat removed form the intent of the composer, but it does make an effective ensemble piece. All players should be aware of the moving voices throughout the arrangement and should resist the urge to become Wagnerian.
I like a touch of piu mosso at C, with still more at D, and then slowing back down into E. Make a conscious effort to save the climax of the piece for the measure after letter F.
This is a good arrangement of a beautiful piece, in the original key, and with all the voices having something interesting to play. The work is well known, and many recordings can be found, so it should suffice to point out several interesting arranging aspects: the whole piece is written in double the note length (meaning it looks half as fast on paper), so the shortest note value is a crotchet (quarter note). This ensures that the parts look less busy, and instill a calmness in the performer that might not have been present had it looked rather busy on the page. It is also interesting to note that the bass players are horns 4 and 6, and not 4 and 8 as usual in most Martinet arrangement, which gives the effect of a central bass instrument, rather than two of them further apart. The rest of the players are divided in the usual orchestral sections, with 1, 3, 5 and 7 high, and the rest low players.
A really very beautiful and effective arrangement.