by Caiti Beth McKinney
Hello, Horn Friends!
Some of you may know of Jane Vignery’s Sonata for Horn and Piano, Op. 7—especially since it was one of the second round works for the Professional Division of this year’s International Horn Competition of America—but for those of you who do not, it is an absolute must-listen.
Born in 1913, the Belgian violinist and composer studied with several notable 20th century composers, including Nadia Boulanger and Paul Dukas. While her output of works is relatively small, consisting of several chamber pieces, songs, and works for orchestra, it seems that only her horn and violin sonatas have gained any wide recognition.
The Sonata itself is a challenging three movement work with many opportunities to feature both technical prowess and musicality. The first movement begins with a showy fanfare, somewhat reminiscent of the opening call in Richard Strauss’s Concerto No. 1, but it soon moves into a graceful contrasting theme. Fair warning: players need to be on their stopped and muted game for this piece. The second movement is an eerily chromatic Lento ma non troppo with a beautifully haunting melody. Especially noteworthy is the interplay of the piano with the horn line—many moments feel more like duetting voices than solo with accompaniment. (Personally, this is my favorite movement of the sonata…it’s just so beautiful!) The final movement is brisk and lively, featuring numerous technical passages. The perpetually moving piano underneath the horn keeps up the pace while the soloist gets to show off their stopped horn ability. Suitable for advanced college students and professionals alike, Jane Vignery’s Sonata is an absolute showstopper.
