Chamber Music Corner—Robert Spittal’s Prelude and Scherzo

by Layne Anspach

Hello musicians!

This month’s Chamber Music Corner features Prelude and Scherzo (1996) by Robert Spittal (b. 1963). Spittal is a composer, conductor, and teacher residing in Spokane, Washington. He is a Professor of Music at Gonzaga University where he teaches conducting and music theory in addition to directing the Wind Symphony and Chamber Wind Ensemble. He also serves as the conductor for the professional brass ensemble, Clarion. Spittal received his DMA in conducting from Cincinnati College-Conservatory of Music, his MM from Baylor University, and his BME from The Ohio State University. His compositions range from band and orchestra to many permutations of chamber music to musical theater. 

Prelude and Scherzo was written for the Mosaic Chamber Ensemble (Spokane, Washington). The instrumentation is for standard wind quintet plus cello and bass. As the title indicates, the work is divided into two movements which are, as the composer indicates in the program notes, “a slow, plaintive prelude followed by a whimsical scherzo…indicative of the structural and stylistic contrasts which exist throughout the piece.”

The opening of the Prelude passes a sixteenth-note motif between the voices, culminating in a unison statement in m. 12. The oboe and cello begin the melodic material at m. 17 where the other members of the ensemble support with slow moving chordal material. The flute takes over the melody leading into a cadence played by all members. The ensemble continues the plaintive mood, building to a more articulate section in mm. 41-43 which are followed by a quasi-cadenza from flute and cello. The final few measures harken back to the section at m. 17 which then leads attacca to the Scherzo.

The Scherzo begins with string pizzicato followed by the quintet cascading in new, lighter material. The opening section starts and stops as the strings interrupt with the pizzicato material, and the movement finally moves on after the third interruption. The strings continue with eighth-note pizzicato building with wind support until the flute introduces a new melody in m. 42. The clarinet assumes the melody with all players adding to the jovial mood. The section continues in a similar fashion between the winds but moves through several tonal centers which adds a new dimension. The mood switches again with a supportive 3-note rhythmic motif passed between clarinet and horn followed by syncopated repetition among the upper winds. This section culminates with the motif passing through each voice. The movement slows to Meno mosso then to Adagio to conclude in a serious-yet-bright mood, contrasting the whimsical nature of the rest of the Scherzo.

by J. Bernardo Silva, IHS Vice-President

• Can you tell us a little about your musical background?

I came from a family of musicians. From an early age, my parents encouraged me to sing and perform. According to them, I was able to memorize a song after listening to it maybe once or twice, an ability that I have, sadly, lost. One of my earliest musical memories from my childhood was singing patriotic songs in front of a large group of adults, bringing most of them to tears. I must have been a sight to see, shouting my lungs out at the age of 3, about freedom and liberty.

From the first years in school, I received intensive training with violin and piano. Later in life, I picked up classical guitar too and made it a habit to explore other instruments. I didn’t become the greatest violinist Romania has ever had, as my parents wished, but I became quite familiar with a lot of string instruments, which comes in handy as a composer.

• As a violinist, what is your relationship with the horn? How did it start and what is your connection?

I had a romantic affair with the French horn in high school. Some kids would go behind the school to smoke a cigarette while I would be making buzzing sounds with a rusty mouthpiece. I owe everything I am, musically at least, to my parents. However, when they discovered that I wanted to make a switch to the French horn, they were extremely upset. Until this day, I still make fun of them for reacting so dramatically. But since then, I had a special affection for the horn, even though I have never played a single note on an actual horn. The violin (with its family of strings), the piano, and the horn are closest to my heart.

• What type of compositions/arrangements for or with horn can we find in your catalog?

To this day there are about 200 arrangements made for a variety of horn ensembles, from duets to 16 horns. Almost every new composition of mine has a horn part. Everything ranging from classical to folk to jazz to pop music can be found in my catalog, and I aim to infinitely expand it.

• What motivates you to compose for horn? Does anything about the horn particularly captivate you?

I always found the sound and range of the horn closest to a human male voice…and sometimes, the cello would give me the same sense. So, I compose for horn as if for a voice without lyrics. Sure, there are many technicalities that could give any inexperienced composer anxiety, but when writing for the horn, whether a solo part or ensemble part, I tell myself, “If it comes naturally to sing it, the horn player will like it too, even when it is difficult.” This doesn’t come to me as innately with other instruments, but I could be biased. I aim to make each part of any arrangement as enjoyable to play as possible.

• Can you tell us a little about your creative process? How do you select the works for your arrangements? What kind of criteria do you follow?

I like to think that if you do creative arrangements, any piece is fertile for exploration and experiments. Because I was “brainwashed” with classical music my entire life, that is usually where I select new pieces, but I like to explore musical folklore too, and I encourage my fellow horn players to give me pop, rock, jazz, and film music challenges. When I am commissioned for a certain piece, I would like not only to make a transcription but would also add a touch of my composition into it. Some musicians appreciate these small variations or surprises; some would very much prefer the original version.

• What was the basis for the Justforhorns page? Can you tell us a little about what we can find there?

My long-term goal is to create a vast collection of music for horn or including horn. When searching the internet, one can easily find scores for violin and piano. Why not for the horn, too? I would encourage other composers and arrangers to publish their works on Justforhorns, too, because to me, it is most important to have passionate people join me in the quest of making music accessible to everyone.

• What are your projects for the future? new challenges?

To compose and to arrange more music. One of my goals for 2024 is to finish a horn concerto and have it premiered (at least in a horn-and-piano format). It is written and dedicated to my dear friend Ionut Podgoreanu, to whom I owe most of my success and recognition in the horn world.

Another personal goal of mine for 2024 is the launch of a practice app, with carefully selected content for beginners to professionals which includes warmups, etudes, orchestral excerpts, standard concertos, etc. We are very close to launching it, but every good product requires great care, and we do not want to disappoint.

• Any message you want to leave to the horn players?

Be (more) patient with young composers.

by Inman Hebert

A Constructive Approach to College Auditions

Horn students will be facing the college audition period over the next few months. Whether applying to undergraduate or graduate schools, auditions are crucial to the next step in a student’s education. Concern over this can cause stress. For horn students stressed about the upcoming audition season, learning to trust your preparation and your ability can ensure a successful series of auditions.

Going into auditions with the right mindset can help alleviate stress. Many students feel as if college professors expect them to be perfect. Because of this, some go into auditions focusing on hiding their weaknesses. As much as we wish our weaknesses could disappear, focusing on them during an audition scenario is counterproductive. Often, by thinking about what we want to avoid, we make the very mistakes we dread.

So, what should auditionees think about? Focusing on being ourselves is a much more productive mindset. Every horn player has strong suits, from specific registers on the horn to technical facility to musicality. In an audition, we should ensure that professors hear the strengths in our playing rather than worrying about our weaknesses. Approaching an audition with that mindset enables a player to perform with more confidence and offers professors a more accurate portrayal of who we are as a player.

While audition expectations vary, many professors do not expect their prospective students to be polished. After all, the whole point of being a horn student is to focus on improvement. In an audition, by showing off one’s strengths on the horn, professors can hear an auditionee’s potential, which is far more important than their present overall skill level.

While college auditions can be stressful, the best way to navigate them, as difficult as this may seem, is for students to be themselves. In doing so, students play with a confidence which illuminates their strengths, giving professors an accurate representation of who they are as musicians and whether or not a student would be a good fit in their studio. Even if the answer is no, students can be assured that they are being accepted into environments that will most support their improvement. By being ourselves in the college audition process, we put ourselves in the best position to achieve our potential.