Themed University Horn Class Recitals
by Richard Seraphinoff, Indiana University
For the past several years, I have been organizing my horn class recitals at the IU Jacobs School of Music according to a theme or featuring a specific composer, and I wanted to share this concept with teachers everywhere simply because of the fun we have had doing it. Choosing a single composer or theme has made our class recitals into more of a project rather than a potpourri of unrelated pieces with no underlying relationships. “The Franz Strauss Project” has a nice ring to it, and the preparation for a collaborative endeavor makes everyone feel like they are equal participants in the event.
When I started looking, I was surprised how many composers had written enough music for horn that a dozen or more students could have their own individual piece or movement. So far, with a class of about a dozen horn majors, we have done concerts featuring Mozart (there are 11 concerto movements, the concert rondo, and the unfinished fragments…and to make it even more fun, we have also done them with four-horn accompaniment), Gliere (three concerto movements, four short pieces plus four more transcribed from op. 35), Alec Wilder, Franz Strauss, Antonio Rosetti, Jan Koetsier, the Otto Nicolai duets, Bernard Heiden, and Randall Faust. For this last one, Prof. Faust came as our special guest.
On November 20th this fall, our class project was the music of James Naigus with James present as our special guest. James played piano for his music, and everyone was excited about getting to perform their piece with the composer.
Aside from specific composers, we have done other themes, like pairing up horn students with IU composition students to commission a piece for each student, or performing pieces by past IU composers, or preparing a concert in which students searched out underrepresented composers for a diverse concert of works by composers who deserve more attention. A particularly enjoyable concert was one in which each student did their own transcription of a piece written for voice or for another instrument.
These recitals also give students the opportunity to say something about the piece, the composer, and any other relevant information that would be of interest to the audience. This is great practice for doing research, for collecting their thoughts to talk for a minute or so before they play, and to actually speak. It is also a good dry run for generating program notes or talking to the audience before degree recitals—in which we would like for students to connect with their audiences in addition to providing background on the compositions.
So far, we have not run out of prolific composers of horn music or themes on which to base a concert. The list of future projects is long enough to go for several years without repeating anything.
Try this idea for your next class recital. It will transform it into a memorable, even newsworthy, event.
Rick Seraphinoff, Professor of Music, Indiana University Jacobs School of Music, https://www.seraphinoff.com
Pedagogy—Expanding Your Horn Vocabulary
by Aliyah Danielle, IHS 57 Featured Artist
Can you imagine stopping your vocabulary growth after learning just the basics of a language? This is essentially what happens when we focus too narrowly on one style of performance. As horn players, much of our work revolves around the classical tradition, mastering works from the orchestral and solo repertoire. But today’s music industry demands more. Expanding your “horn vocabulary” means developing the stylistic and technical tools required to play any type of music authentically and with confidence. In a diverse and ever-evolving musical landscape, versatility isn’t just an asset—it’s a necessity.
Expanding your horn vocabulary opens doors to new performance opportunities and creative collaborations. It allows you to connect with a wider audience and express yourself in ways that might otherwise be limited in a classical setting. For a long time, I felt like there was a wall between the horn etudes, excerpts, solos, and ensemble music I was studying at school and the soul, gospel, funk, and R&B music that I listened to otherwise. Exploring genres outside of the classical tradition on horn has amplified my artistry in a way I never thought possible, and it has been so meaningful to see the way that my small action of stepping away from the beaten path has inspired others to do the same. This column is a crash course in what I’ll cover in my workshop at this summer’s International Horn Symposium, where we’ll dive even deeper into how you can incorporate these ideas into your own teaching and practice.
Foundations
When I was in middle school, I attended a week-long summer band camp program at the Wisconsin Conservatory of Music. In addition to private lessons, we also had chamber and large ensemble sessions, music theory, rhythm, and harmony lessons. One of my teachers there, the late percussionist Cecilio Negrón, Jr., used to always repeat the phrase: “If you can say it, you can play it.” The bottom line in achieving a solid foundation is to develop your ear. Active listening and mimicking the greats is a practical first step to developing a solid foundation, and a good handle on aural skills will make this process feel more like play and less like a chore.
Start by immersing yourself in the music you want to learn. Whether it’s pop, folk, lo-fi, or rock, create playlists, study recordings, and transcribe solos to internalize the nuances. Be sure to sing these in addition to playing them on the horn! It is also important to consider variations in tone and articulation. Different genres call for different approaches, and experimenting with tone colors and phrasing can help you adapt and become comfortable with performing what may be deemed in the classical world as “uncharacteristic sounds.” Finally, embrace improvisation. Start small, like improvising with a major scale over a drone. You can slowly expand to different scales, patterns, and chord progressions as you find a comfort zone in realizing your own ideas and breaking free from the page.
Practical Tools and Resources
There are several practical tools and resources that make this exploration more approachable. There are many method books and play-along tracks that are tailored to specific styles, and you can find many of these online for free or at a very low cost. Some resources I’ve found helpful are Blues, Bossa, Bebop, and Beyond by Steve Schaughency and Darmon Meader, 12 Jazzy Etudes for Horn by Ricardo Matosinhos, The Modern Hornist by Giovanni Hoffer, From Classical to Jazz by Joshua Pantoja, and Thesaurus of Scales and Melodic Patterns by Nicolas Slonimsky.
You can also set up a jam or practice session with people who play other instruments or specialize in other genres. In grad school, I had the privilege of taking private lessons from a saxophonist, and it is by far the most impactful experience I’ve had in developing my musicianship. Working with people proficient in other genres gives you insight into stylistic authenticity that you can’t always get from reading sheet music alone. A good place to start branching out is by listening to musical theater, film and video game or pop music, as these genres typically bridge classical and contemporary techniques. Some of my favorite composers are Quincy Jones, Natalie Holt, Terence Blanchard, Ludwig Göransson, Stephen Schwartz, Ennio Morricone, and Alan Silvestri.
An Educator’s Perspective
I’ve heard from many colleagues that they have students who would be interested in playing music outside of the classical realm, but they don’t know how to help. Integrating diverse genres into your pedagogy can prepare students for a broader range of musical experiences. Even something as simple as expanding which scales and harmonic settings your students study is a great start. Play improvisation games in your studio classes and lessons. Analyze the stylistic and theoretical elements of a piece in a different genre. Try learning new songs by ear. Being vulnerable to try new things and model flexibility yourself will give your students permission to approach new ideas with curiosity and enthusiasm. Remember that the goal is not perfection—it is to explore and discover new ways of expressing a full range of musical ideas through our instruments.
Exploring beyond the classical realm challenges us to grow as musicians and opens the door to limitless creative possibilities. I encourage you to start small—choose one new genre to explore this month and see where it takes you. We will dive even deeper into this topic at the Symposium in June, and I hope to see you there!
Chamber Music Corner—Anton Rubinstein’s Quintet in F Major for Piano and Winds, Op. 55 (1855)
by Layne Anspach
Hello musicians!
Continuing with piano and wind repertoire, we will focus this month on Anton Rubinstein’s Quintet in F Major, Op. 55. Rubinstein was a Russian pianist, composer, conductor, and teacher. He was an exceptional pianist, and his recitals were big events. In 1862, he founded the St. Petersburg Conservatory. As a composer, Rubinstein wrote for a wide variety of genres: opera, symphony, concerti, songs, and chamber works.
The Quintet in F Major was written in 1855 while Rubinstein was on a solo tour. He also composed a piano quartet version, Op. 55a. The first movement, Allegro non troppo, starts with a call and response between winds and piano. The clarinet takes on the first melody with piano accompaniment. The horn and piano pass the second theme between each other before the rest of the winds join. The development is fragmented between winds and piano, although the piano part is present throughout, driving the section forward. The recap is accentuated with piano figurations, added to the return of the chordal winds. The movement ends with a flurry from the piano with chordal support from the winds.
The first theme of the second movement, Scherzo: Allegro assai, is carried melodically by the piano. After the winds present the second theme, the piano waits to adopt it until the end of the scherzo section. The trio features bassoon and horn melodically with piano accompaniment. The scherzo returns unedited.
The horn, with piano support, is heard with a lyrical solo beginning the Andante con moto. The melody is passed from horn to the other winds as the movement continues. As expected, the piano takes a more prominent role as the movement progresses. Building up to a piano cadenza, the rhythmic pulse fluctuates through a forward push of the tempo. The opening theme is reprised by the piano leading to the soft conclusion.
In the final movement, Allegro appassionato, the piano begins alone, but shortly the clarinet joins with melodic content and remains the focus, only relinquishing to the horn for a short time. The second theme is characterized by a staccato style and dotted rhythms. The development is introduced by the piano with soft repeated chords which continue with fragmented wind commentary. The recap is worth a special listen, although it sounds as if it arrives too early! The key areas are still modulating with the first theme appearing in A-flat major, rather than the expected F major. F major is not restored until the second theme of the recap, which continues to build to a dramatic climax but is interrupted by the soft chords from the development. A final Presto brings the work to a typical rousing conclusion.
The reference recording is from Consortium Classicum’s album Anton Rubinstein: Octet, Op. 9 and Quintet, Op. 55 (Orfeo). The hornist on the album is Jan Schroeder.
Student Column—New Year’s Resolutions from Quotes
by Inman Hebert
Greetings to all horn players, and happy 2025! As I pondered my New Year’s resolutions, making a horn-specific list struck me. Looking back at famous quotations that inspire me, I came up with a few key ideas that should make any horn student’s New Year’s list.
First and foremost, as horn students, we resolve to practice and commit to our instruments. Through the whirlwind of college and personal life, we can never lose sight of our desires to improve. We must commit to consistent, dedicated work on the instrument to achieve our goals. As the 16th president of the United States, Abraham Lincoln, said, “Your own resolution to success is more important than any other one thing.”
The ability to block out the distractions of everyday life and concentrate on the instrument underlies our resolve to succeed. American author Kurt Vonnegut once claimed, “The secret to success in any human endeavor is total concentration.” When we play the horn, we must be reminded to block out the outside world and give the instrument the full mental attention it necessitates.
In our ongoing quests to improve on the horn, moments of doubt, or even failure, will undoubtedly occur. Instead of being discouraged, we can ameliorate these occasions and use them as learning experiences. As the Chinese philosopher Lao-Tzu avowed, “Failure is the foundation of success, and the means by which it is achieved.” Our response to adversity can propel us to the improvement we seek.
The manner in which we approach and maintain our goals in 2025 can determine the success and productivity of the year. I encourage all students to consider their commitment to practice, their focus, and their approach to failure to help them navigate the new year.
Pedagogy Column—Air IN/Air OUT
Ideas that have helped me over the years*
by Mauricio Soto, IHS 57 Featured Artist
One of the most important aspects requiring attention when playing a brass instrument is the use and control of air.
Air IN:
We must breathe consciously: bringing air in (as opposed to simply allowing air into our bodies, unconsciously). When practicing, I always try to inhale to my maximum capacity. I try to think of numbers figuratively: trying to fill 90% of my lung capacity every time is my goal. Although I use the numbers figuratively—I don’t know exactly what percentage of capacity my students or I are using—over time, this will give me a frame of reference and make me very aware of the difference between a shallow breath (let's guess 30%) and a full one (let's guess 90%).
AWARENESS is the first step. I consciously try to breathe to my maximum capacity each time (and if I don't do this consciously, the intake of air will drop to the TV).
What is TV?
Tidal volume (TV) is the amount of air you move through your lungs each time you inhale and exhale while your body is resting. Tidal volume typically measures around 400 to 500 milliliters, which is considered to be 10% capacity of an average female/male respectively. So, this is the air amount that we exchange unconsciously, while at rest. This quantity is not enough to play an instrument which is approximately 12 feet long.
I always enjoy watching horn players trying an alphorn for the first time (at workshops, festivals, etc.) because almost invariably, they will [1] put the mouthpiece in the instrument, then [2] look at the far end of the instrument, realizing how long it is,and [3] take an exaggerated breath, sometimes making comical body movements while doing so.
The point is that since our instrument is rolled up on itself (to save space, among other things), it looks much smaller than it actually is, making us believe that a little air (TV) will be enough to play it, but that is not the case.
Rule-of-thumb when breathing: all movements in your body should be caused by the incoming air displacing or moving it, not because you are intentionally engaging a set of muscles.
So, let your shoulders rise a bit if needed, let your rib cage expand in all directions ("let your chest rise up and forward, like a pigeon," as a teacher used to tell me), and let your stomach protrude, etc., as long as all movement is caused by the inhalation.
When thinking of air, first check your posture: be as tall as you can be, but make sure your shoulders are relaxed. (I recommend reading about Alexander technique; it will lead you to know your body better.)
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As always, working daily with a metronome will improve our overall sense of rhythm and train the flow of the alternation between breathing and playing. Try this simple exercise to give you a pattern. First, set your metronome to 60 bpm and imagine a bar of 4/4 time: count 1, 2, 3 (set), 4 (breathe), and 1 (play). This will train your coordination, the determination to start a particular note, and allow you to be aware of how much air you inhale on the 4th beat of the preparatory bar. Repeating the pattern allows us to better analyze the variables of the process.
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Air OUT:
For me, the most important part of playing is what happens inside the body, in terms of how much air is used, the accuracy of the compression we create within the body, and how fast we can get to that compression/air speed needed to obtain to a particular note.
When I do harmonic series exercises, I try not to regulate the air so that it lasts longer. Instead, I concentrate on using all of the air as quickly as needed in order to produce a good sound.
Leaning forward against the instrument while blowing helps to keep my throat open—as opposed to bringing the instrument up to my face (which, for me, tends to close the airway).
In general, the better you compress the air inside your body, the less movement you will need outside (on the embouchure, for example).
Air attacks (starting notes without tonguing) have helped me to get rid of unnecessary tension in my embouchure as well. These also teach us to achieve the exact air compression needed inside your body…no less, no more.
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Sometimes, simple ideas are useful: it has been helpful for me and my students over the years to start each day thinking about blowing air forward—to reinforce the idea—as if blowing a pinwheel. We are not thinking in terms of going “up” or “down” but, rather, of [1] high register = fast air forward; and [2] low register = slow air forward.
This has proven useful because the concept of change of velocity in the air while blowing favors the flow (the continuity of the moving air column), another very important concept for me. Remember to minimize the movement of the tongue as well while playing, so as not to obstruct the path of the air as it leaves your body.
Finally, the most important thing is to be efficient, that is, to obtain the best result with the least possible effort (yet we will use lots of energy, certainly).
When trying new ideas regarding technique, always remember that you are working:
- to understand the concept; and,
- to train your body to incorporate the idea into your playing and be able to repeat it on a daily basis. These are two separate and completely different things.
Be patient and understand that when we make changes in the process (for most people, anyway), the results will most likely get worse before they get better (since we are leaving behind a process to which we had become accustomed, whether it was efficient or not).
Finally, the most important concept to remember every day: the embouchure reacts to the air, not the other way around.
*These are ideas that have been useful to me and my students over the years. This is not intended to be a scientific article on horn playing technique, but I hope someone may find it useful.
“Basta, basta!” . . . Fiddling with Mozart
“Basta, basta!” . . . Fiddling with Mozart
by Alec Frank-Gemmell
A former teacher of mine said of their recording of the Mozart horn concertos, “I’m not really sure why I bothered.” Said recording is excellent, so they were probably just being excessively modest. Nevertheless, every new version of these pieces does beg the question, why do we need another one? I was lucky enough to be offered a contract with the record label BIS ten years ago on the understanding that I would definitely record Mozart’s horn concertos, among other things. It has taken me this long to get around to it. My experiences making discs on period instruments, of transcriptions and even of fairly obscure repertoire, have all informed my decision-making with this recording.
There are brilliant interpretations of “The Mozarts” on old and on modern horn. The recordings by Dennis Brain with Karajan and the Philharmonia remain, at least on the scene in which I grew up, the ultimate versions with valves. This is perhaps partly due to the history of these recordings and that player: they did more than anything else to establish the horn as a solo instrument, at least since Giovanni Punto and Josef Leutgeb were around. It was not my intention to give a nod to those recordings, but it just so happened that the instrument that suited me best was a gold brass Alexander model 90, the same type of horn that Brain used on that LP. (I actually recorded the Brahms trio on Aubrey Brain’s piston horn, but the engineering on that disc means you can’t hear much difference, alas…or do I mean “I’m not really sure why I bothered!”).
Among my favorite recent releases of the Mozart concertos are those played on natural horn. There is so much in these concertos that makes sense when you hear the different shadings necessitated by hand-stopping rather than valving. It was my plan to record on a “nat,” but having made a disc of baroque concertos called Before Mozart with Nicholas McGegan and the Swedish Chamber Orchestra, it was too tempting to get the band back together for this disc. Nic is both a hilarious person and also a pioneer in period performance. So, we were never going to ignore historically-informed practice. One of the aspects of natural horn playing I most admire is that the horn seems to relate so much more strongly to its roots as a hunting instrument. The sound of the hunt is ever-present in the Mozart concertos, especially in the finales. Thus, with the odd bit of wildness and some fun hand-stopping thrown in, I’ve tried to compensate a bit for using the valves.
Finally, to this disc’s USP (unique selling point). It is impossible to record “all” of the Mozart horn concertos without making choices about editions and completions, which fragments to include and which to leave out. I always found it interesting that (perhaps thanks to Brain) we think of Mozart’s four horn concertos. No. 1, K. 412, was not only completed by Süssmayer but Mozart never wrote a slow movement for it. Another interesting phenomenon is the numbering, whereby No. 1 is actually the last one Mozart wrote. Modified for an ailing Leutgeb, it is considered “the easiest.” (One rarely gets booked to play a two-movement concerto with orchestra without any flashiness.) For this disc I took a deep breath and with the help of the amazing Stephen Roberts, transcribed the slow movement of Mozart violin concerto K. 211 to make a complete piece. Transposed down an octave, much of the solo line is playable on horn. There is also something reminiscent of a horn concerto slow movement in the lilt of the original. And if the demands on the horn player are greater than could be expected of the elderly Leutgeb in K. 412, at least it now means we earn our fee!
For the puritan, of course, any transcription is wrong-headed. I imagine that my versions of cello and violin works by Brahms for horn were quite unpopular in some quarters! However, I like to think that our version of Mozart’s Concerto No. 1 is certainly fitting. The great master would never have taken bits of a fiddle concerto and bolted them onto an unfinished horn concerto. But equally, he probably wouldn’t have minded us doing so—writing for his friend, this is hardly Mozart in the serious vein of the Requiem (written the same year). And although he did not finish the orchestration of the finale, he did find time to write some amusing abuse above the horn part. As well as calling Leutgeb “Cazzo” (which I won’t translate), he writes at the end “Basta, basta!” or “Enough, enough!” I think that’s my cue.
Research to Resonance—On Pointe: Insights from The Nutcracker Stage
Research to Resonance—On Pointe: Insights from The Nutcracker Stage
by Katy Carnaggio
In every hall where a performer stands, there’s often a story the audience will never fully know—a life outside the spotlight filled with challenges, losses, and triumphs, all carried onto the stage. Yet when the music begins, that weight transforms into something extraordinary: a connection bridging the performer’s unspoken truths with those held by the audience.
This transformative power of performance is something Sarah Wroth, Professor of Music in Ballet and Chair of the Ballet Department at Indiana University’s Jacobs School of Music, understands deeply. A former professional dancer with the Boston Ballet and an accomplished performance educator, Sarah brings a visionary perspective shaped by over 560 personal Nutcracker performances and a career dedicated to nurturing artists. As we enter The Nutcracker season, Sarah’s reflections remind us why this tradition endures: it embodies humanity, community, and the potential for growth, both on and off the stage.
For many musicians, The Nutcracker is often appreciated more for its holiday income than its emotional expression. But Sarah sees its stronghold within the classical repertoire as an invitation to explore the deeper principles of performance. Whether you’re playing the sweeping lines from The Waltz of the Flowers for the first or hundredth time this season, the task remains the same: to interpret. “We’re interpretive artists,” Sarah explains. The notes, emotions, and story are just the foundation—the fuel for bringing everything together on stage with your unique style, presence, and grace.
“You’re performing; you’re giving of yourself,” Sarah adds. “Be the best version of yourself for your audience.” This emphasis on generosity strengthens the connection that makes music so impactful; it’s what allows the audience to feel seen without saying a word. While the score remains unchanged, the performer evolves, entering each performance with subtle shifts in mindsets and emotional palettes. This constant evolution offers an opportunity to approach every rendition with true presence and a commitment to interpretation, continually refining the art of storytelling. Sarah points out that the recurring nature of The Nutcracker makes it a unique benchmark for personal growth: “It comes every year,” she notes. “You can measure your growth against the chart of the work.”
Beyond individual growth, The Nutcracker exemplifies community. It gathers musicians, dancers, and audiences to celebrate the season, highlighting moments of kindness and connection. “The Nutcracker is what brings people into the classical arts with regularity…with seasonal regularity,” Sarah emphasizes. “You can feel like you’re doing the good, accessible mission work of your art form.”
Collaboration also plays a vital role in its magic, with each performance offering a chance to honor the humanity and artistry of those across disciplines. Sarah recalls Boston Ballet dancers eagerly peeking into the orchestra pit during rehearsals to hear the music come alive. “The best collaborations happen when both entities appreciate each other,” she reflects. “We are the embodiment of you.” This mutual respect transforms live performance into something greater—a shared act of storytelling that bridges music and movement.
Musicians can draw inspiration from the way dancers bring music to life through physical storytelling. Observe how they translate dynamics, tempo, phrasing, and emotion into movement, aligning their gestures with musical contours. This precision and intention can elevate your own phrasing, articulation, tone, and sense of meter. Notice how the dancers' movement flows continuously, creating phrases that rise, fall, and resolve naturally. Let these arcs inspire smoother phrasing and breathing in your own performance. By approaching The Nutcracker as a virtuous cycle of co-creation, musicians can reimagine a familiar tradition as a dynamic artistic experience.
While The Nutcracker season often brings a whirlwind of rehearsals, performances, and holiday commitments, Sarah offers a grounding reminder: the stresses and pressures of performance don’t come from the instrument or the art form itself. Reflecting on her relationship with ballet, Sarah speaks to its inherent purity: “I always thought of ballet as my therapy. Ballet itself is this pure, wonderful thing—it was the things surrounding it that frustrated me. When I felt sad or overwhelmed, I’d go to the Boston Ballet School and take a class. It would just be me and that pure art form. I’d think, ‘I love the way my arm feels moving to the music.’ That practice realigned me with my joy.”
Like ballet, the horn is innocent. Music is a pure art form that can become a refuge during challenging times. “The best-case scenario for you as an artist,” Sarah explains, “is that your art form becomes your therapy.” By separating external pressures from the simple joy of playing, you allow music to sustain and ground you, even in the busiest and most stressful seasons. Taking time for practice becomes more than a task on your to-do list—it’s a way to care for yourself. Whether it’s a warm-up that feels good, fun improvisation, or a few moments of mindful playing, these small acts can help you connect with the enjoyment that first drew you to the horn.
If Sarah’s insights resonated with you, I’d love to invite you to experience her educational work in action. This holiday season, join us for The Nutcracker at the Jacobs School of Music. You can watch it for free online at IU Music Live, or visit us in person to see Sarah’s teachings come to life on stage—a celebration of artistry, tradition, and community that continues to inspire year after year.
Chamber Music Corner—Tiffany Johns’ Vignettes from a Village, Op. 27 (2023)
Chamber Music Corner—Tiffany Johns’ Vignettes from a Village, Op. 27 (2023)
by Layne Anspach
Hello musicians!
This month, CMC will focus on American composer Tiffany Johns’ Vignettes from a Village, Op. 27, scored for flute, clarinet, bassoon, horn, and piano. Johns’ is a composer and brass multi-instrumentalist based in Los Angeles, California. She performs in a variety of ensembles and styles, including funk, jazz, opera, and even the Disneyland Band. Johns has performed and recorded with several world-renowned artists, including Bernard Purdie, Bootsy Collins, and Jason Derulo, to name a few. Heard on many recording projects, she has performed on two Grammy-nominated albums, Intercambio by the Wayne Wallace Latin Jazz Quintet, and Canto América by La Orquesta Sinfonietta. An active arranger and composer, her works can be heard across the US and abroad.
Vignettes from a Village, Op. 27 (2023) is a work that I commissioned for a concert series in the summer of 2023. It is a three-movement work in which each movement’s descriptive title places the audience in a different scene. “At Dawn” opens with the winds only as the flute presents the melody. After an emphatic scale set by the winds, the piano enters with the second theme, supported softly by clarinet and bassoon. This melody is passed among the winds prior to a short cadenza for the horn. The movement then ends with a return to the opening material, but now as a stronger statement.
“A Shepherd’s Mind Wanders” begins with solo piano in a tender adagio. The melody is repeated but with the winds adding additional support. The clarinet plays a short solo before the bassoon takes over the melody. The opening returns with flute, horn, and piano presenting the melody, but in a new key and with the full ensemble. The movement closes with the soft fragments of the theme in the winds.
The horn and bassoon begin “Under Siege” with a unison melody over a timbral trill effect between the flute and clarinet. The texture continues to build until the section climaxes with repeated sixteenth notes in winds and piano and a horn call. The opening theme returns, set softly in the piano, followed by fragments in the rest of the ensemble. The clarinet then proceeds alone to open a fugue. A calmer moderato follows this with reduced volume and activity. Prior to the return of the opening material, we hear the horn call again but in a suppressed manner. The A section returns almost identically to how it began, but instead of another fugue, a flute solo emerges, paving the way for an energetic conclusion.
The reference recording is by Ivory Winds at Indiana University’s Jacobs School of Music. Anyone interested in purchasing this music may contact the composer directly at her website.
