Trainwreck, for horn octet
by Eric On
$25
Trainwreck was composed over the course of Christmas Break in 2024. The title has no deeper meaning beyond reflecting my state at the time—I was battling COVID during a season meant for rest, family, and celebration. Unable to play my instrument, I channeled my energy into writing this piece, capturing the experience of feeling simultaneously exhausted, feverish, and interrupted by relentless coughing fits. In fact, it was my own mother who took one look at me and declared, “You look like a trainwreck.”
This piece was written for Florida State University’s (FSU) Horn Choir and officially premiered at the National Music Festival 2025 during its Brass Festival Concert, featuring that year’s Horn Apprentices.
Performance Notes
To ensure the stability of the pulse, I highly recommend placing your strongest low horns on Horns 6 and 8, as they carry significant rhythmic responsibility throughout the piece. Dynamic contrast is key, so I encourage performers to embrace the full range of the horn’s expressive extremes and, above all, have fun.
For ensemble setup, I recommend an arch formation to prioritize the low horns. However, a two-row layered setup may be preferable if Horns 1-4 struggle to project clearly against Horns 5-8.
Additionally, if performed with a conductor, the final note should serve as a “fake-out” for the audience—as the composer, I give full permission for a dramatic cue that contrasts the subito piano ending, making it all the more impactful!
Thank you for indulging in this Trainwreck—now go make some noise!
One Movement 117 mms.
duration: 4:40
This piece was written for Florida State University’s (FSU) Horn Choir and officially premiered at the National Music Festival 2025 during its Brass Festival Concert, featuring that year’s Horn Apprentices.
Performance Notes
To ensure the stability of the pulse, I highly recommend placing your strongest low horns on Horns 6 and 8, as they carry significant rhythmic responsibility throughout the piece. Dynamic contrast is key, so I encourage performers to embrace the full range of the horn’s expressive extremes and, above all, have fun.
For ensemble setup, I recommend an arch formation to prioritize the low horns. However, a two-row layered setup may be preferable if Horns 1-4 struggle to project clearly against Horns 5-8.
Additionally, if performed with a conductor, the final note should serve as a “fake-out” for the audience—as the composer, I give full permission for a dramatic cue that contrasts the subito piano ending, making it all the more impactful!
Thank you for indulging in this Trainwreck—now go make some noise!
One Movement 117 mms.
duration: 4:40