- Title
- Quartets volume 2
- Original Title
- Composer
- Various
- Year
- Editor
- Arranger
- Shaw, Lowell E.
- Year Arranged
- 1998
- Original Instrumentation
- Type of Arrangement
- 2
- Availability
- 1
- Publisher
- Hornists Nest
- Year Published
- 1998
- Catalogue Number
- HN 78
- Sheet Music Format
- A4, Score (10( & parts 4x4=16)
- Horns
- 4
- Additional Equipment
- Others
- Other Instruments
- Difficulty
- 2
- Duration
- 12
- Structure / Movements
- 5 pieces: I Bach, Johann Sebastian - Nun ruhen alle Walder: Andante sostenuto II Bach, Johann Sebastian - French suite no.1: Sostenuto III Bach, Johann Sebastian - Adapted from Partita II: Maestoso IV Verdi, Giuseppe - Chorus of kidnappers from Rigoletto (Act 2): Allegro V Haydn, Joseph - Achieved is the Glorious work from The creation: Vivace
- Clefs
- Treble, bass
- Meters
- C, 3/4
- Key signatures
- None, 3b, 1b
- Range
- Horn 1: g# - bb2 Horn 2: d - f2 Horn 3: g# - g2 Horn 4: G - c1
- Creator's Comments
- Having always enjoyed playing ensemble more than practicing, I admit to selfish motives when arranging or writing music. Considerations include suitability for the chosen instruments, melodic and harmonic interest, linear writing for the various voices, stylistic variety, technical challenges, music for occasions, etc. But the main objective has been to turn out satisfying material for performners, music in which I would like to participate. The transcriptions here have weathered that test. Attributed to J. S. Bach in a collection of organ music which I ran across a few years ago, Nun ruhen alle Walder is a restful piece that serves well as a prelude or interlude when a meditative mood is desired. The Sarabande from French Suite No. 1 is an excellent example of Bach’s sense of harmonic movement, and of his ability to express a sense of anguish in his music. The sarabande form served as the solemn slow movement in the classical suite, and was performed before the closing lively gigue. While the large notes in measure 14 remain closest to the original voice leading, the small notes in the first and third parts give an alternative version if the written high B flat is a problem. It would be good to agree on this choice in advance. The final movement of Partita No. 2 in D minor for solo violin, the Chaconne stands among the highest accomplishments of mankind. Hoping to avoid being accused of doing something akin to attempting to fix the smile of the Mona Lisa or of adding a picture window to the Taj Mahal, I hereby swear that my only aim was to give horn players the opportunity to participate in a few measures of this great piece. The original contains 257 measures. There are 81 of these measures that seemed to me to lend themselves quite well to the horn quartet medium. The melodic line was followed as closely as possible, generally an octave below the original, and spread among the four horns. The chordal patterns remain as true as I could make them to those outlined by the frequently arpeggiated melodic line. I have enjoyed doing this transcription, and my hope is that I haven’t offended too many purists or violinists. In Act II of Verdi’s Rigoletto, a nefarious male chorus is intent on the abduction of Gilda. The “tiptoe” quality of the music gives the quartet a chance to employ a different style. The original key is E flat, but transposition to any of several keys would be feasible. The finale of Part 2 of The Creation, Achieved is the Glorious Work, allows the quartet to prove that the horn is indeed a brass instrument. It works well as a “chaser” at the end of a ceremony. Enjoy!
- Performance Notes
- All said above.
- Credits
- Access to review score: Nancy Joy (NMSU)
- External Link
- http://www.hornistsnest.net/
- Sound
- Score