Real Music for Horns
These arrangements are
The CSUS Horn Studio, Pete Nowlen, director
The San Jose Horn
Choir, Larry Osborne, director
In general, the odd numbered parts will be
written for high horn players and the even numbered parts for low horn players.
However, the 'low horn' parts will cover most of the range of the horn in order
to keep these parts interesting and help relieve the high horn players. Octet
arrangements utilize a 'double quartet' part assignment (i.e. Horn 5 is really
'Horn 1B' etc.). Some suggestions for seating arrangements are as follow:
1 2 3 4 5 6 7
1 2 3 4
5 6 7 8
Some of the larger works will have extra 'ad lib'
horn parts for beginner/rebuilding players to use in mass choir
I hope you enjoy these additions to the horn
Wagner's Tristan und Isolde is an opera in three acts based on the tragic romance by Gottfried von Straßburg. Inspired by his affair with Mathilde Wesendonck and the philosophy of Schopenhauer, is became most influential musically for its use of chromaticism and tonality.
In an orchestral setting, the Prelude is usually paired with Isolde's Liebestod, resulting in a performance time twice the length. The Prelude stand very well on its own though, and this transcription works well in a multitude of settings.
The characteristic ascending and descending sixth, that opens (ascending) the movement and introduces Isolde (descending) is given to every part at some point, so as claimed in the comments above every player really can join in the thematic material of the work. The Prelude opens with the famous "Tristan chord", a dissonance resolving in another dissonance, with the middle parts (3-6) favoured on this occasion. This is another reason why the semi-circle setup is recommended (with two rows most of the visual distribution effects get lost).
From there onwards it is sometimes a wild ride, with all of Wagner's original elements present, and some virtuosity required. One of the most difficult aspects of this transcription is the soft entering on high notes, and perhaps some of the fast scales. The works ends with horn 8, solo, in the low register.
As an appendix this publications has short program notes, also containing a list and musical examples of the themes of the prelude (Confession of love, desire, the glance, the love philtre, the magic casket). All of these can be found in this transcription, if wanted. Otherwise it's a great piece of music arranged very well for 8 horns.