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I have been working on the final Trio section from Bach’s Brandenburg Concerto No. 1, not for a specific performance but rather as an exercise for technical improvement in tonguing, the high range and endurance.
While working on this excerpt I remembered a neat performance trick – one that can be very helpful to a first horn player (more on that later).
For the woodshed
Since this passage is written with a blank key signature and no accidentals it is excellent fodder for transposition study. Adding in creative articulation and rhythmic variations offers additional levels of technical challenges.
My own cyclical practice on this excerpt began slowly and without the written repeats. Gradually and over time the repeats were added in while the tempo gained momentum and speed. My worst key is concert D-flat major. The high A-flat on my horn is a little slippery on the octave skips.
Decomposing Bach
Like the bonus notes in Dvorak’s 7th symphony, this is one of those traditions that gets spread by word-of-mouth. I can’t remember where I learned this little performance trick but I imagine that it is common knowledge among many, if not most, seasoned pros.
It provides a small respite for the principal horn, the tiniest amount of breathing space in what is otherwise a workout on the chops. The good news too is that even with a score and a pair of great ears, most conductors will not notice.
The trick I speak of involves a little re-orchestrating of notes between the two horns, in two specific spots:
- mm. 13 – 14
- mm. 29 – 30
This is a trick geared for performance situations and of course, it would not pass muster at an audition (unless it is specifically asked for).
Measures 13 and 14
The original passage.
This passage can be taxing on any principal player and on the second repeat especially, the one-octave c2 to c3 jump might start to feel a little taller than usual.
When re-orchestrated:
This re-orchestration offers the first horn player a tiny bit of security and ease, in that:
- The one-octave c2 to c3 leap is eliminated.
- The peak high note arrives through a steady succession of ascending quarter notes.
Measure 29 and 30
The original passage.
The same passage re-orchestrated.
Once again a simple re-arranging of existing notes eliminates a potential tipping point for the first horn. All the advantages stated in the first example hold true here as well, and with a little practice no one will be the wiser as to what is going on.
Plan in advance
This is a great trick to know about and for myself it was very helpful in pulling off a successful performance. That being said, strong consideration must be given to the second horn player. This trick – as clever as it is on paper – presents that player with more notes to play than what is printed. It also takes away a few breathing opportunities.
Be sure to discuss this passage well in advance of the first rehearsal. It is a team effort that requires a good spirit to execute effectively.
BB1 at hornexcerpts.org
For more on Bach’s Brandenburg Concerto No. 1 take a look over at Daren Robbin’s Orchestral Horn Excerpts site.
Of particular interest to myself were the audio samples in this excerpt. Many of them are done with period instruments and comparing tunings, tempos and articulations is particularly interesting. In at least one recording it seems apparent that the players utilized the same trick as spelled out in this article.
*All examples are excerpted from the IMSLP web site under the auspices of fair use.
