Haydn: Horn Concerto No.2 in D major, Hob.VIId:4 (Baumann)

00:00 Allegro Moderato
05:57 Adagio
11:31 Allegro
Performed by Hermann Baumann and the Academy of St Martin in the Fields.
I'm continuing to follow the contours of IMSLP's "difficulty rating" to discover new pieces. This has been labelled a "Level. 12" in difficulty-the most difficult-for the French horn.
Note, that the score differs slightly from the recording in various places-most obviously at 14:22. Unfortunately, there is not much I can do about this other than to edit out the "additional" bars and skip directly to the cadenza. Unfortunately, I couldn't find the edition that this recording seems to use.

[@crystalzhang73]

bro this goes crazy

[@jan-jaapbrokkinghoorn5274]

heel fijn dit stuk zo! ik ga hem volgend jaar spelen, maar nu vast mee beginnen... fijn om een handleiding bij dit stuk te hebben!

[@westminster860]

One of my favorite pieces to play. But not a fan of the vibrato even though the fantastic Bauman doesn't use such a wide one here. ❤

[@sarabenassi1981]

They wrote it in real notes the horn score. Why? It's such a stupid udea

[@il_david]

That's how horn scores are written! Think of a score written for an Eb trumpet; it's "easier" to play it with an Eb trumpet instead of a Bb, since you don't have to transpose. The same principle applied back when valves hadn't been invented: horn parts were written in the key matching the piece and so the crook the player is supposed to use. Instead of transposing, the player simply changes crook, which is necessary because with a natural horn you can only play harmonic series. This traditional notation persisted even after the invention of valves until the end of the 19th century and in some cases was still used in the mid-20th century. The same convention was often adopted for trumpets: even Mahler often wrote for F trumpets. In conclusion, if you are a horn or trumpet player and want to play certain repertoires, you need to be able to read in any key!