- Title
- Ein Heldenklobber for 8 horns, harp & stringed bass
- Original Title
- Composer
- Hyde, George W.
- Year
- 1992
- Editor
- Arranger
- Year Arranged
- Original Instrumentation
- Type of Arrangement
- Availability
- 1
- Publisher
- Cortett Music
- Year Published
- 1992
- Catalogue Number
- Sheet Music Format
- A4, Score (20, wide) & parts (8x4=32, plus harp, 11 & bass, 4, total=47)
- Horns
- 8
- Additional Equipment
- Straight mutes
- Others
- Other Instruments
- Difficulty
- 2
- Duration
- 7
- Structure / Movements
- One movement.
- Clefs
- Treble, bass
- Meters
- C, 4/4, 3/4, ¢, 3/2
- Key signatures
- None
- Range
- Horn 1: d - c3 Horn 2: Bb - f#2 Horn 3: Bb - a2 Horn 4: G - g2 Horn A: Bb - a2 Horn B: Bb - g2 Horn C: Bb - a2 Horn D: F# - f2
- Creator's Comments
- Ein Heldenklobber – (having met with great success at the Horn Society’s Tallahassee Workshop) – an irreverent setting (for 2 four-horn sections, harp and stringed bass) of several “heroic” quotations from the symphonic horn literature, - a piece, while verging upon sacrilege, s alive with unbridled humor and surprising wit, as it entertains both performers and audience alike… (- as introduced at the 1993 Tallahassee Horn Workshop): I suppose we’ve all had dreams where familiar things and happenings in our lives have returned to us in some sort of distorted, twisted, even grotesque, form… Suppose this happened to a famous horn player, - one who had spent 35 or 40 years as principal horn of several great symphony or opera orchestras; - he’s played all the great and familiar horn solos in the literature. And suddenly in this dream his career comes back to him; and, in reminiscing, some of these solos return to him, but in a strange and even weird shape. He starts, for example, to play a very famous Tchaikovsky solo, - but before he can play, it suddenly becomes Ein Heldenleben and Don Juan, - in the form of Bassa Nova! – Or, as he plays the Siegfired Idyll solo, he discovers it’s suddenly a jazz waltz, - and sounds very much like an old pop tune titled “Exactly Like You”. And, as he tries the Siegfried Horn Call, it comes back as an upside-down fugue of some kind; - even Till Eulenspiegel is taken over abruptly by the harpist (the harpist who had always insisted on “correcting” his missed notes.) -And so on and so on… “When,” he asks, “will this nightmare end?” - stay tuned…
- Performance Notes
- There is little to add to the above. Has to be heard to be believed.
- Credits
- Access to review score: Nancy Joy (NMSU)
- External Link
- Sound
- Score