Horn 1: c - c3
Horn 2: F# - f#2
Horn 3: c - c3
Horn 4: F# - f2
Horn 5: e - b2
Horn 6: F - e2
Horn 7: f# - b2
Horn 8: F - f#2
Horn 9: f - g2
Horn 10: F - e2
Creator's Comments
All of your horn players will undoubtedly be familiar with this Strauss masterpiece. But it is rare that you actually get a chance to play it in orchestra. Now you can just gather nine other hornists (and perhaps a conductor) and play this wonderful music any time you desire. This transcription contains every measure of the original tone poem.
Tempos may sometimes need to be slightly slower than those traditionally taken by orchestras; remember, we play horns, not violins. Due to the complex rhythms, using a conductor is recommend, at least until all the players learn how the parts fit together. The odd-numbered horn parts generally play high and the eve ones low, though a wide range can be found in most parts. The use of mutes is essential as they give varying tone colors, help with balance, and occasionally allow for "safer" high notes.
Performance suggestions: Though not marked, the tempo should relax from rehearsal number 6 to the fifth of number 9. During the first eight bars of umber 27, the third horn should take plenty of time. In the four bars before number 38, the fifth horn may use flutter tongue if it helps this note sound more like a drum roll. While all the horn parts have difficult sections, some of the hardest ensemble passages are at number 7 (for six bars), number 11 (for two bars), getting into number 17, and the seventh of number 23 to 24. It may be prudent to rehearse these passages prior to reading through the piece. I hope you enjoy playing this transcription.
Performance Notes
Great piece, great arrangement. If you want to play Till Eulenspiegel with 9 friends, this is definitely the edition to buy!
That said, there are quite some compromises in this transcription, in order to make it accessible to a larger number of players. While still difficult, many of the string passages have been abridged, register changes have been introduced (and so the relations between the sections compromised), and some phrases split. There is another arrangement by Armin Terzer, for 12 horns, with every single
note from the piece and a more extended range. It is however much more difficult to play than Goldfaden's and that is the latter's strength: It has ten great parts that put together, result in a fantastic array of sounds. And the best bit is: it's "only" difficult.