Sonata No. 1, for horn and piano
by Laurence Lowe
$35
The Sonata No 1 for Horn and Piano was written in the fall of 2003. My intention was to write a lyrical piece that exploits the capabilities of the triple horn while being playable on the standard orchestral double. The range, encompassing more than three octaves, is considerable. In addition, there are several large leaps, especially in the second movement. One of my goals was to push horn technique along just a little. These are things we should know how to do, but are not considered “idiomatic” and are therefore not usually
called for.
I wrote in the post-avant garde new romantic style of composition that I hear so often as I play for motion pictures and television. Players will immediately notice that the range of the first movement is rather high. As a part of my effort to reflect modern expectations, this just grew out of what is possible and what I think is beautiful.
The first movement is in loose sonata form. No effort was made to follow common practice rules in terms of key relationships, but the general plan of theme A, theme B, development, and recapitulation is too useful musically to ignore.
The second movement, Elegy, was conceived, in part, as a song when I was 17. My brother Allen died a month before his wedding in a car wreck. He was 19. This Elegy in his honor utilizes elements from a song I wrote after his death expressing the complicated emotions I felt at the time. Composing the Elegy was a highly emotional experience for me, as I faced life issues I had not looked at squarely for many years.
The Caccia is inspired, without a doubt, by the caccia in Verne Reynolds’ Partita. I used a loose rondo form. I want it to be wild and fun. Take it fast!
called for.
I wrote in the post-avant garde new romantic style of composition that I hear so often as I play for motion pictures and television. Players will immediately notice that the range of the first movement is rather high. As a part of my effort to reflect modern expectations, this just grew out of what is possible and what I think is beautiful.
The first movement is in loose sonata form. No effort was made to follow common practice rules in terms of key relationships, but the general plan of theme A, theme B, development, and recapitulation is too useful musically to ignore.
The second movement, Elegy, was conceived, in part, as a song when I was 17. My brother Allen died a month before his wedding in a car wreck. He was 19. This Elegy in his honor utilizes elements from a song I wrote after his death expressing the complicated emotions I felt at the time. Composing the Elegy was a highly emotional experience for me, as I faced life issues I had not looked at squarely for many years.
The Caccia is inspired, without a doubt, by the caccia in Verne Reynolds’ Partita. I used a loose rondo form. I want it to be wild and fun. Take it fast!