Klaus, I have all in E, in Eb, in D & in C. It can be done as a piece for two horns also. (no voice).
###################################################### Am 26.08.2010 um 06:43 schrieb Klaus Smedegaard Bjerre: > The original performance and the text point towards a male voice being > intended. I think there is one more factor pointing even stronger in the same > direction, namely the setting of the music. > > I am not going to write a finished text on this topic, as it would take far > more work power and time than I can divert from other projects, but maybe my > hypothesis and suggested work form might let you get the idea. > > My hypothesis is that Schubert treats the vocal line like a horn part with > roughly the same range as the horn and roughly the same availability of > chromatic flexibility. > > The two “horn” lines are interwoven in dialogues. Both play the lead, but > most often the real horn plays the role of the 1st horn. > > Just a few hints in this direction: > > The horn opening could be the main theme of the 1st movement of a horn > concerto. This opening ends on a full tonic ending (despite the appogiatura). > Right thereafter the vocal starts with a typical 2nd horn figure. > > In the ending the vocal ends on the third of the tonic chord in a position > equaling the 5th partial of the horn, if the vocal line is sung by a male > voice. The piano doubles the normal ending chord of a horn pair in octaves. > The horn should have played its 8th partial, but Schubert uses the horn as > the bass, because of the relatively bright bass strings of the Hammerklavier. > If the Hammerklavier and the horn were well in tune, the relatively strong > horn sound would induce a lot of resonance from the keyboard strings strongly > mimicking a full horn chord. > > To support my hypothesis about the vocal line being treated like a horn part, > I should rewrite the vocal line transposed to written C major as if it was > sung by a voice in E. That would illustrate my point or counter-prove it. > However I am too lazy to do that. If somebody having this music available in > a Finale file, I would like access and wouldn’t, of course, abuse the edition > copyright by making a bootleg edition. Even better if I got access to a > version in C. > > Another point to research would be whether the vocalist being a male would > keep the solo lines within the range of the piano’s chordal range, and > whether a female vocalist would take the vocal line up in a more open and > unsupported range. > > And there of course is the possibility that my ideas are just so obvious that > at all mentioning them is utterly redundant and just a waste of your time. > > Klaus > > --- On Thu, 8/26/10, Steven Ovitsky <[email protected]> wrote: > >> From: Steven Ovitsky <[email protected]> >> Subject: Re: [Hornlist] Auf dem Strom >> To: "'The Horn List'" <[email protected]> >> Date: Thursday, August 26, 2010, 5:38 AM >> One reason that there are >> performances and recordings with soprano is >> because there are many more competent lyric sopranos than >> there are >> competent high tenors. > > > > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
