Solo Horn
!

'Twas a Dark and Stormy Night..
211001
!
211001-l

Horn, Organ (opt. Piano)

by Kerry Turner

'Twas a Dark and Stormy Night... was composed in the winter of 1987. My inspiration came from a book of the same title. It was a compilation of short stories that were entered in a literature competition out of England. The only mandatory guideline was that the story must begin with 'Twas a dark and stormy night. After that, the world was open for whatever the imagination might bring.
I was so excited by the idea, that I decided to basically do the same thing with an equally simple and yet "open" motive. Thus the piece begins with the musical equivalent of 'Twas a dark and stormy night. The opening cadenza sets the stage, the harmonic language is introduced, and all at once, the imagination lets loose the adventure within.
I chose to compose the piece for horn and organ because I was at the time presenting quite a number of recitals for that duo. Obviously the search for repertoire was challenging. In composing 'Twas a Dark and Stormy Night..., I hoped to fill a major gap, that is, a challenging recital piece for horn and organ that shows off the best loved characteristics of each instrument, and one that is completely different from anything else that might appear on the program.
This piece can be performed with piano as well. The pedal notes for the organ are notated with the stems downwards, and can be omitted if performed with piano. There are some optional notes notated within brackets which are to be played by the piano, but not the organ. Which stops to be used on the organ is completely up to the artist.

- Kerry Turner

Sonata for Horn and Piano
211002
!
nopic

Horn, Piano

by Kerry Turner

A Three movement work which has become standard recital repertoire all over the world.

Characters for Solo Horn
211003
!
211003-l

Horn

by Kerry Turner

Scales, arpeggios, slurs, attacks, interval skips, extreme high and low register playing, and extreme loud and soft dynamics are the usual routine elements of most professional hornists' warmups. Indeed, certain schools teach a very rigorous exercising of these elements, much the same way as an athlete would maintain a vigorous workout routine every day. CHARACTERS for Solo French Horn began as an etude, a search for the most comprehensive warmup etude possible, an etude that would in a short amount of time cover the entire spectrum of modern French Horn playing.
As is typical of my own particular warmup routine, I conceived of the opening and closing as a simple melody. This was to establish the general purpose of the horn -- to make music. I then assembled a collection of exercises, each representing a different facet of my daily routine. The result, a lengthy etude of short segmented exercises, resembled the final version only slightly. Slowly, with each playing and with natural editing, a unifying of the routine took place. What appeared was an array of extreme styles and personalities, each representing a different aspect of the Horn's multi-personalitied capabilities.
The first public hearing of the work was as an encore to a solo recital that I gave in New York. It  was at this performance that the piece received the description as "Characters" by the citric; thus the title CHARACTERS for Solo French Horn.
The piece should be presented as a sort of "Pictures at an Exhibition" for solo horn. Although the performer has the liberty to play the piece freely, most sections should maintain a clear pulse. Also, certain more difficult passages have possible alternatives indicated.

- Kerry Turner

Four Easy Sketches
211004
!
211004-l

Horn, Piano

by C. D. Wiggins

Christopher Wiggins, born 1956 in England, studied composition at the Universities of Liverpool, Leeds and London. His prolific output includes educational, vocal, solo and orchestral music. He is becoming internationally well-known for his wide range of music for horn. His compositions have been performed in nearly 20 countries worldwide.  Since 1989 he has been actively involved in conducting concerts in Estonia. Recently he has worked as Education Director of the Classic Music Show of London and is currently studying for his Doctorate Degree in Composition. Other compositions for horn published by Phoenix Music Publications include a quartet for the American Horn Quartet Series entitled "Five Miniatures" and a brass quintet "First Dance Suite". He is also the featured composer in the series for variable ensemble "Passe-partout".

Sonata for Horn and Strings
219001
!
219001_000
Horn, 2 Violins, Viola, Cello

by Kerry Turner

Composers of the 1980's and 90's are striving more and more to communicate with their audiences. The modern horn player is, on the other hand, constantly searching for new music that is challenging both technically and artistically yet easily understandable for the listener. All this encompasses the language of the composer and the purpose of the Sonata for Horn and Strings. The piece offers a sound not often heard in either the string quartet or horn literature.

The first movement comprises an introduction and six major episodes which flow quickly and smoothly into one another. Each episode has it's own set of themes, passed around from player to player, resulting in a compact section. The rhythms vary in each episode, becoming highly rhythmic and then more conventional, but doing so with a certain inevitability. The central theme midway through the movement, which is stated again at the end, utilizes a melodic and harmonic style characteristic of the composer.

The second movement commences with a short introduction, stating the principal motive. This haunting motive soon develops into a melodic theme, which builds continually to a dramatic climax. An attacca into the third movement follows.

The third movement is marked "Allegro, quarter = 144". It's very beginning is a variation of the previous movement's motive, unifying the two. The form is relatively easy to follow: A(aba) B(cde) A(abc) and a Coda. It's five contrasting themes are technical, rhythmic and lyrical.

The Sonata for Horn and Strings lasts approximately fourteen minutes and exhibits every aspect of the modern horn virtuoso. The piece is entitled Sonata for Horn and Strings because it may be either performed with a string quartet or, to realise the full potential of the sonorities in the piece, a chamber string orchestra.

- Kerry Turner