II Intermezzo: Andante con moto
III Poco adagio ma non troppo
IV FInale: Presto
C, 5/4, 2/4, 3/4, 6/8
Horn 1: bb - c3
Horn 2: c - bb2
Horn 3: b - c3
Horn 4: Ab - g2
Horn 5: f - cb3
Horn 6: G - eb2
Horn 7: f - bb2
Horn 8: Eb - f2
Christopher Wiggins’ Suite no.2 is in four movements, all of which have a focus on technical ability. The parts are distributed according to the odd-high-even-low system, with tessitura determined by the “the lower the number the higher the notes” rule. As can be seen above though all the ranges are rather large, especially those of the even parts.
The opening movement is one of dynamic and melodic contrasts, with a loud fanfare-like opening, followed by a most lyrical, quiet, second motif. Passages like that alternate a few more times, ending In a rousing fff finale.
The second movement is constructed in reverse to the 1st one, with a quiet, staccato opening, and short fff intermissions. The final bars start off loud, then diminuendo to p to complete yhe reverse effect.
The only slow movement of the piece is a play between a legato melodic line, and a staccato octave accompaniment. Hand stopping is required, and Wiggins uses the not so often seen Italian words “chiuso” (closed) and “aperto” (open) to indicate this. The movement ends in ppp.
The final movement opens in a contrasting fff, similar in looks to the first one, however with more focus on fifths / fourths. Loud and quiet passages alternate again, and unsurprisingly the work ends with ffff and sfff.