Music For Horns

Rachmaninov's Symphony no.1 is an
often overlooked work of the Russian symphonic tradition, very much in
the line
of Tchaikovsky and Borodin, however in the composer’s very own voice.
Initially
a failure with audiences due to various reasons, the work was
rediscovered in
1944, and subsequently featured more often in concert performances as
well as
recordings.

The first movement consists of a brief introduction, which avid movie
goers, or
fans of film music will instantly recognise: it is James Horner’s
infamous
4-note “danger” motif, a succession of two semitone upward steps,
followed by a
semitone step downwards. The mood is dark but fierce, very fitting for
the
following theme based on Dies irae. This
also has become a favourite among film composers (for movies with
apocalyptic
religious background).

With an original duration of about 14 minutes and a somewhat repetitive
movement, Usselmann opts for several major cuts, most notably omitting
some of
the larger tutti passages. This reduces the timing to about 6 minutes,
which is
easier to program, and more likely to hold the attention of the
audience.

In terms of the usage of the voices, there are some curious differences
to most
other arrangers. Most of the piece is divided into 3-2-3 or 2-3-3, which
creates an unusual fourth horn 4 part. In fact, as can be seen from the
range
indication above, horns 1-5 all operate within a similar range, with
horns 1
and 4 containing most of the main melodic lines.

The key is original (D minor, meaning A minor in horn pitch), so the
lack of
accidentals in the key is correct. There are however a fair number of f,
c and
g sharps in the movement, as would be expected in a minor key (raised 6th and 7th, and a dominant with 3 sharps). In combination with
the occasional
high entry (around a2), this may put the arrangement beyond the reach of
some
intermediate ensembles, but as the voice leading is well done, it is
recommended to at least give it a go.

It is interesting to see and hear works done by young and upcoming horn
players
and arrangers, and this arrangement is a very positive discovery of a
new, promising
name. While there are some curiosities in regards to arranging technique
present
in this work, there is no doubt Usselmann will refine his style further
in the
future, and contribute greatly to the repertoire available to horn
ensembles
around the world.