Abstract:
My concerto for horn and chamber orchestra explores the timbre of the horn and orchestra and challenges the technical skills of the soloist. The basic pitch material used in melodic and harmonic structures at the beginning of the piece derives from the F harmonic minor scale. Additional pitches from the F harmonic and melodic minor scales are added to enrich the sonority of those structures. A descending half-step motive, Db-C, in the horn at m.46 establishes articulations and dynamics that become central characteristics of the entire work. Rhythmic variation and pitch transposition also are applied to the motive. As the work progresses, the primary motives and harmonies become increasingly chromatic from the middle to almost the end of the work. However, F minor triads with additional pitches reappear in the last four bars to conclude the work.
