Konzertstuck for Horn and Piano

A little three-movement piece for Horn and Piano. In fact, more Sonatina than Konzertstuck :D

Not being a brass player, let me know if there are any scoring inconsistencies for the instrument!

The range is dealt with well. Other things: your muted sound will not sound like this. It's very difficult to produce a muted sound that's as big as you want it and consistently, since the air flow is much less focused splitting around the mute. Also regarding the mute, taking it out and putting it back in at the speed you want is also gonna be a challenge. 
Maybe put a bit more noticeable breathing room in slow parts, and even some fast parts; eighth rests for experienced players will be okay but some will not take that quite as lightly, perhaps.
Glissandos will also not sound like that. Pitch bending can only so far and it'll sound like a warped run at your tempo. Don't expect trombone slides here.
There are a few times in here where I feel like the piano and horn are doing their own thing, so detached from each other, especially in slow parts. It just didn't seem unified.
Overall, pretty good work, again.

Thank you for your always detailed commentary! 

21 minutes ago, Monarcheon said:

Also regarding the mute, taking it out and putting it back in at the speed you want is also gonna be a challenge. 

I was thinking to a palm-mute but, seeing some examples at http://www.music.indiana.edu/department/composition/isfee/ , I now understand your point. In future writing for the Horn, I'll definitely use mute more sparingly.

In m. 59, that leap up to high C seems treacherous to me. I would never write a note that high without a more comfortably prepared way up to it. I just fear that not many players would be able to get the kind of intonation you want there. Some of the staccato leaps like in m. 91 would also be really difficult, but not quite as bad. All of the notes higher than C above the staff (m. 100, m. 175-182) are typically possible for professional players, but aren't generally considered part of the standard range and are rarely written. Not that any of this is technically impossible, but these few things will be very demanding on any horn player. Otherwise, range is good.

I would advise you to use the + symbol anytime you want palm-muting, even for long muted passages. Most horn players will automatically think of an actual mute when they see the word "mute", even if they don't reasonably have time. The distinction is significant since hand-stopping and actually muting produce rather different timbres.

Anyway, that's just some nitpicking from a horn player, otherwise I like the work a lot!