Horn Concerto No. 2

And the other reason why I'm not getting anywhere on the piano quartet: I've started a new project. This is a second horn concerto, in F major, which I've barely started (actually I'm not even sure where the first movement is going). I'm trying to be a bit more idiomatic than I was with my first concerto. This might also be a bit of an "autobiographical" work... I might label it the "Pasadena" concerto or something like that.

Here's how the first two movements are starting out. Both should be considered sketches, with incomplete orchestration in some places.

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The first movement, in a few places, is already using fragments of Caltech's own Alma Mater song (probably not recognizable even to Caltech students, though). So far, the horn gets some extended solos, including unaccompanied bits that allow for some rubato. I'm still trying to figure out how I'm going to develop the motives so far. The slow introduction will definitely be used in other movements, as a sort of interruption that brings the whole piece together.

The second movement is somewhat inspired, also, by the second movement of Beethoven's 4th piano concerto. There is some conflict right from the start: though the movement is in C major, the orchestra begins the movement playing in the relative minor, opposing the solo horn playing in C.

Planned third movement: a polonaise/scherzo, ending with Gaudeamus Igitur. Will figure it out later, when I feel more inspired in that direction.


Suggestions for continuation (especially the first movement)? I feel like I'm getting a bit too Classical in my harmonic language at times.

I really enjoy your style. I'm curious to see what will become.

Hopefully this clarifies things slightly...

Further progress on movement 1. Still very much a sketch, with parts missing.

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Right at the end of this segment, the strings will continue along the same lines as where they cut off... the brass melody, while played forte, is still supposed to be in the background.

Your music seems to work best when you use sequences (quite often circles of 5ths). The more of these, the merrier.

I thought the counterpoint bit between the violins and horn was great, definitely make use of this. I look forward to hearing a more polished version.

Ummm.... *.*

you constantly develop it, (1st movement). aND I wonder where it's going. It's this air of contented ness that I ear in traditrional marches or like romantic music played at towm meetings etc, like in movies. As if, eummm, WE'RE all very happy and proud to be at Caltech, That's why I said it sounds uninspired. But it depends on how you develop of course and what you want.. Some times I think the best works have just one theme, like your symphony second movement. In this concerto you have a bit more, and so it doesn't work the same way. OR perhaps I don't understand.

So I think your first movement concerto depends on how creative you're with the development. It gets nmore interesting as you progress, so I'm curious. *.*

It's strange that this's an aytobiographical concerto. Because...an aytobiograpohical concerto has to have emotionm, I think...It becomes really nice you know when you do that..like yoursmphony...

It's interesting that you find the first movement "happy" and "proud"... I see that the emotional depth is not coming across in MIDI. The emotion I most closely associate with the first movement is actually sadness... nostalgia tinged with melancholy, really, though it is perhaps hiding behind a facade of false contentment. To me, that is quite evident without even having to listen beyond what I've already posted - if you listen carefully.

This is probably the most emotionally complex bit of music I've ever started on. I started writing the movement during a period of depression in early November, which almost caused me to drop out of medical school entirely. The events that caused this depression all happened on the Caltech campus last year, and I would rather not revisit them. While I enjoyed most of my time at Caltech, and am proud to have studied there, I now also associate the place with loss and betrayal, and this concerto is in some ways an attempt to come to terms with my mixed feelings about my undergraduate years.

Latest snapshot of progress. Still basically sketches.

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In particular: any opinions on the effect of pizzicato and bowed strings in unison in the first movement (second horn solo passage)?

Um... actually all these posts are starting to annoy me. I only said THIS ONE PIECE was sad-but-restrained... and now you're extrapolating it to everything I do.

By the way... why do you have to butcher everyone's names?

nonne's a girl?? Ah, the wonders of the internet.

Now... does anyone else have anything to say about the piece? I really didn't want this thread to get sidetracked.......

fine pieces!!!! the 1st mov is very optimistic for me! it has an overall feeling of hope and joy, and a very noble atmosphere. the 1st entry of the horn is wonderfully done and the balance solo orchestra is very fine. as the 2nd solo i feel it a bit uncertain, with little preparation and a feeble, uncontrasting start. anyway it is a very good beginning, and i look forward to see it finished!

as the 2nd mov the things change a lot. the atmosphere is drammatic and its theme is very poignant. however the bit is too much short to allow for a full critique. awaiting .......

regards!