Originally written for violin & piano; arranged for horn & piano

“Chanson de Nuit” (Night Song) & “Chanson de Matin” (Morning Song) were written as companion pieces

Beautiful lyrical and technical passages

5 settings originally for voice & piano; arranged for horn & piano

“Frühlingslied”, “Herbstkummer”, “Mein Herz und deine Stimme”, “Im April”, & “Wie bist du, Frühling, gut und treu”

Originally written for voice & piano; arranged for horn & piano

Set to text by Mary Folwell Hoisington & part of Price’s “Five Art Songs” collection

Originally written for soprano, alto, & piano; arranged for horn & piano

Set to text by Johann Gottfried Herder & Wilhem Müller

Includes “Weg der Liebe, I. Fassung”, “Weg der Liebe, II. Fassung”, & “Die Meere”

Originally written for alto, baritone, & piano; arranged for horn & piano

Set to text by Joseph von Eichendorff, German folk song, Joseph Wolfgang von Goethe, & August Heinrich Hoffmann von Fallersleben

Includes “Die Nonne und der Ritter", “Vor der Tür”, “Es rauschet das Wasser'“, and “Der Jäger und sein Liebchen”

Originally written for soprano, alto, & piano; arranged for 2 horns & piano

Set to text by Claus Groth, Hermann Hölty, Carl Candidus, & “aus des Knaben Wunderhorn”

Includes “Klänge No. 1”, “Klänge No. 2”, “Am Strande”, “Jägerlied”, & “Hüt du dich!”

Originally written for SATB; arranged for 4 horns

Characteristic of Brahms’ beat displacement through varying time signatures

Collection of Brahms’ “14 Deutsche Volkslieder, WoO 34” &‍ “12 Deutsche Volkslieder, WoO 35”

Originally written for SATB; arranged for 4 horns

Features variation in tempi & repetition of multiple musical motives

Originally written for TTBB; arranged for 4 horns

Set to text by Joseph Christian von Zedlitz

I. Fassung is Calm & peaceful setting, while II. Fassung features a 4/4 time signature with lyrical, frolicking motives

Originally written for SATB; arranged for 4 horns

Features imitative and independent voice writing styles

• Highlights the characteristic nature of Italian church music during the 17th & 18th centuries

Originally written for SATB; arranged for 4 horns

Set to the text and traditional tune from Hebrew folk song

Originally written as a series of traded antiphons; arranged for 4 horns

Utilizes numerous characteristic cadences

Offers a great glimpse into early church choral music.

Originally written for SATB; arranged for 4 horns

Secular piece set to text by Joseph von Eichendorff

Provides opportunities for part independence & features motives set in pairs

Originally written for SATB; arranged for 4 horns

Part of Hindemith’s collection of “Four Part Chorus for Mixed Voices”

Composed of 6 movements:

• I. La biche (The Doe)

• II. Un cygne (A Swan)

• III. Puisque tout passe (Since all is passing)

• IV. Printemps (Springtime)

• V. En hiver (In Winter)

• VI. Verger (Orchard)

Originally written for canto, quinto, altus, tenore, & basso; arranged for 5 horns

Part of Gesualdo’s “Madrigals for Five Voices, Book VI”

Juxtaposes love and hate resulting in a grieving state longing for death

Originally written for cantus, quintus, altus, tenore, & basso; arranged for 5 horns

Part of Gibbons’ “First Set of Madrigals and Motets”

Heavily influenced by his mentor, William Byrd

Originally written for SAATBB; arranged for 6 horns

Set to text by Clemens Bretano, Wilhem Müller, & Johann Gottfried Herder’s character “Ossian”

Includes “Abendständchen”, “Vineta”, & “Darthulas Grabegesang”

Originally written for low brass ensemble; arranged for 8 horns

Offers a variety of lyrical and choral-like settings that strongly encourages part independence and ensemble skills

• Sections featured include a Gregorian chant-like motive as well as a growing, bloom-like motive that brings flowingly energy to the piece

Originally written for SATB; arranged for 12 horns

Features three horn quartets that exchange and combine in musical motives and expression

Originally written for SATB; arranged for 12 part brass choir (3 trumpets, 3 horns, 3 trombones, & 3 tubas)

Features three quartets of trumpet, horn, trombone, and tuba that exchange and combine in musical motives and expression throughout the piece