Michael, Hans, Thanks for putting your weights behind my semi-conjecture that possibly Ludwig von was giving the principal a breather in the Sanctus. I still find it less that resoundingly conclusive, though, given a lack of documentation of feedback from horn players and the existence of other scores by him, equally taxing, where he does not resort to this tactic. As for the fact that it is a late work, from what I understand, his deafness, as it progressed, required him to communicate almost exclusively in written form and that there are extensive notebooks from the last part of his life filled with just the sort of conversation on the page that I assume would have taken place if his horn players were trying to get him to give them a break. I guess that it is time for me to start searching the indexes (RILM, RIPM, etc.) to see what sort of analysis has been done in this area. I'm not saying that it doesn't make sense for B to have done what he did for just the reason you claim; I just don 't see anything that proves it at this point.
As to my other comment about the F-sharp, I wasn't saying that it would have been particularly difficult to use lip and/or hand to bring the harmonic down a half step (in fact, I tried this at the rehearsal and I don't think anyone even noticed), just that Beethoven's orchestration at this point gives this note heightened prominence when he has the other horns suddenly lay out while it is played the first time. I certainly found the sound of the note "bracing" and the harmony surprising. I bet the audiences in the early 19th c. did, too. Regards, Peter Hirsch >From: Punto <[email protected]> >Subject: [Hornlist] Beethoven Missa solemnis Sanctus 2nd horn part >To: [email protected] >Message-ID: <[email protected]> >Content-Type: text/plain; charset=ISO-8859-1; format=flowed > >Does anyone know of any writings on Beethoven's choice to give the >second horn the lead part in this movement while the first lays out for >about 74 bars? It is not in any way similar to the 4th horn writing in >the 9th symphony or 2nd horn solos in Fidelio or elsewhere since it >clings to the high horn tessitura from beginning to end. In no way does >it appear to be a late classical/pre-romantic second horn part. If it >weren't Beethoven, I might just think that it was an attempt to give the >principal player a rest, but he never showed any evidence of doing that >anywhere in his writing for any instrument (or voice, for that matter). >One other interesting touch in the second part; several exposed written >F-sharps (horn in E), below the staff, in the Agnus Dei. > >A very intense piece of music and he clearly was trying out a lot of >adventurous ideas in it. I hope that someone can point me to some >authoritative study on its orchestration. I just played (and quite >enjoyed) second on a rough and tumble performance of this with meager >forces and an even sparser audience and it would be nice to benefit from >the common knowledge out there on this if there be any. > >Peter Hirsch > >>This was written fairly late in his life. He had already written his first 8 >>symphonies. Surely whoever played first on the premier of number 6 would >>have >>expressed in one way or another how much work it was, and perhaps Beethoven >>was becoming more sensitive to that issue. As noted, he was not shy about >>trying new things, so I think we can reasonably believe that he could have >>orchestrated it this way himself. >> >>I wonder where the original manuscript is. >> >> >>Michael >> >>>Dear Michael, >>> >>>this first publication of Beethovens Missa solemnis op.123 had used >>>the first proof copy (F.Ries ?), authorized by Beethoven himself. >>> >>>You are right absolutely, that Beethoven wanted to give a rest to >>>the first horn. >>> >>>There is no other reason, as the first horn changes the crook back & >>>forth as do the other horns. The use of semitones is about the same in all >>>horns. >>>No strange right hand action at all. Just the pitches tuned down for >>>1/2 step. >>>The f# below staff is also very easy and can be produced by use of the right >>>hand ("gedaempft" or muted or "half stopped") or "lipped down" (better result >>>if louder than mp). "Half stopped" is a rather unclear term. >>> >>>The first horn definitely has "tacet" marked. >>> >>>The autograph is preserved at the Staatsbibliothek Berlin except the Gloria. >>> >>>Hope that helps. >>> >>>Regards >>> >>>Hans _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
