MEMORIAL SONATA for Horn & Piano (2020) by Chris Garland
Programme Note (by Chris Garland) I wrote "Elegy" in 1979 to play with my brother-in-law, Hugh Potts, who also performed it in concert at the Wigmore Hall in 1981. More recently I was inspired to write additional movements with the idea of a variety of styles of remembrance. A "Memorial" is, after all, a symbolic reminder of the procession of events, emotions, achievements, failures, actions and consequences that make up a life, which can be expressed in different ways. In my Memorial Sonata the "Cri de Cor", stated on horn alone, represents the heartfelt loss that underlies the six movements; "Obituary" would be a formal essay incorporating a list of achievements, as in the column you might read in a newspaper; "Elegy" could be a poem expanding personal aspects in relation to a loved one; "Corale" could be a few final words and prayers at the committal whilst "Celebration" would be an appreciation of good times past. Musically, I wanted to give the horn the full range of notes and also a chance to display some discreet virtuosity. In terms of structure, I have always appreciated classical sonata form, one feature of which is the repeated exposition which helps the listener to learn and recognise the main themes and the coda as they occur through the piece. "Obituary" follows this structure, the two main themes of the exposition being subsequently "kicked around" before leading in to a calmer Allegretto which then joins in the development section before the main themes return for the final climax. I wrote the gentle "Piangevole" ("plaintively" in Italian) to allow the piano to take centre stage for a while and to give the horn a rest: the movement leads naturally into the "Elegy" in which the two instruments take turns in stating and decorating the melody. In "Corale" I had felt that the "Cri de Cor" needed another appearance before becoming grandiose, and that a simple "Preces and Responses" form would be an ideal way to re-state it, with the piano providing an indirect harmonisation. In "Celebration" I hope the humour in the accompaniment comes across from the start and continues through the (maybe) familiar horn entry up to the revival of the Allegretto theme from the first movement. The climax brings back the "Cri de Cor" in joyful mode and then all three tunes hurtle along to the final octaves. The work was played by "Duo Sforzando": Christophe Sturzenegger (Horn) & Julie Fortier (Piano) at the Centre des Arts, Ecolint, Geneva, 17th August 2020. These two musicians have been performing together for over twenty years and are well known on the Geneva music scene. In addition to recording my Sonata this year, Christophe also set a record by being the first mountaineer to perform on Alpenhorn at the summit of the Matterhorn! As well as being a virtuoso horn player and a founder of the Geneva Brass Quintet, Christophe is an accomplished pianist and faithful interpreter of the piano works of Robert and Clara Schumann. The sheet music is published by edition db (in Leeds, UK) and I am indebted to its editor, Bob Ashworth, for much good advice on improvements I have been able to make. The audio recording was mastered by Laurent Vonlanthen at Kitchen Studio, Geneva. The subsequent video performance was filmed by Marc Bader in the Salle Frank-Martin, and processed at Grandeimage, Geneva. I added footage from locations in southern England (where my parents are buried), some filmed by my old friend Nic Holloway, and the last one from Collonge, nearer to home in Switzerland. This video was posted in November 2020, the year of COVID19 which has been a terrible year for all performing musicians. The lockdowns have deprived them of their livelihood and have deprived the public of much musical entertainment. Let us hope for a better future for cultural events next year. Keywords: #horn sonata; #french horn; #horn and piano; #remembrance; #corale; #obituary; #elegy; #celebration; #cemeteries; #duo sforzando; #sturzenegger; #chamber music.
Programme Note (by Chris Garland) I wrote "Elegy" in 1979 to play with my brother-in-law, Hugh Potts, who also performed it in concert at the Wigmore Hall in 1981. More recently I was inspired to write additional movements with the idea of a variety of styles of remembrance. A "Memorial" is, after all, a symbolic reminder of the procession of events, emotions, achievements, failures, actions and consequences that make up a life, which can be expressed in different ways. In my Memorial Sonata the "Cri de Cor", stated on horn alone, represents the heartfelt loss that underlies the six movements; "Obituary" would be a formal essay incorporating a list of achievements, as in the column you might read in a newspaper; "Elegy" could be a poem expanding personal aspects in relation to a loved one; "Corale" could be a few final words and prayers at the committal whilst "Celebration" would be an appreciation of good times past. Musically, I wanted to give the horn the full range of notes and also a chance to display some discreet virtuosity. In terms of structure, I have always appreciated classical sonata form, one feature of which is the repeated exposition which helps the listener to learn and recognise the main themes and the coda as they occur through the piece. "Obituary" follows this structure, the two main themes of the exposition being subsequently "kicked around" before leading in to a calmer Allegretto which then joins in the development section before the main themes return for the final climax. I wrote the gentle "Piangevole" ("plaintively" in Italian) to allow the piano to take centre stage for a while and to give the horn a rest: the movement leads naturally into the "Elegy" in which the two instruments take turns in stating and decorating the melody. In "Corale" I had felt that the "Cri de Cor" needed another appearance before becoming grandiose, and that a simple "Preces and Responses" form would be an ideal way to re-state it, with the piano providing an indirect harmonisation. In "Celebration" I hope the humour in the accompaniment comes across from the start and continues through the (maybe) familiar horn entry up to the revival of the Allegretto theme from the first movement. The climax brings back the "Cri de Cor" in joyful mode and then all three tunes hurtle along to the final octaves. The work was played by "Duo Sforzando": Christophe Sturzenegger (Horn) & Julie Fortier (Piano) at the Centre des Arts, Ecolint, Geneva, 17th August 2020. These two musicians have been performing together for over twenty years and are well known on the Geneva music scene. In addition to recording my Sonata this year, Christophe also set a record by being the first mountaineer to perform on Alpenhorn at the summit of the Matterhorn! As well as being a virtuoso horn player and a founder of the Geneva Brass Quintet, Christophe is an accomplished pianist and faithful interpreter of the piano works of Robert and Clara Schumann. The sheet music is published by edition db (in Leeds, UK) and I am indebted to its editor, Bob Ashworth, for much good advice on improvements I have been able to make. The audio recording was mastered by Laurent Vonlanthen at Kitchen Studio, Geneva. The subsequent video performance was filmed by Marc Bader in the Salle Frank-Martin, and processed at Grandeimage, Geneva. I added footage from locations in southern England (where my parents are buried), some filmed by my old friend Nic Holloway, and the last one from Collonge, nearer to home in Switzerland. This video was posted in November 2020, the year of COVID19 which has been a terrible year for all performing musicians. The lockdowns have deprived them of their livelihood and have deprived the public of much musical entertainment. Let us hope for a better future for cultural events next year. Keywords: #horn sonata; #french horn; #horn and piano; #remembrance; #corale; #obituary; #elegy; #celebration; #cemeteries; #duo sforzando; #sturzenegger; #chamber music.