Scenic route -- Toccata -- Beautiful journey -- A different shade of blue -- Our father -- Ascend -- Concerto for horn and chamber ensemble. / text

Cornucopia / Thomas Dunhill -- Sonata for horn and piano / Margaret Brouwer -- Souvenir / Paul Bonneau -- Of unicorns in curvet / Bruce A. Thompson -- Horn concerto / Lee Actor. / text

Nocturno, op.7 / Franz Strauss -- Alpha / Jean-Michel Defaye -- Six suites for unaccompanied violoncello / J. S. Bach -- Concerto / Reinhold Gliere -- Berceuse, op.19 / Jean-Michel Damase -- Alla caccia / Alan Abbott. / text

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Thesis--State University of Iowa. / Vol. 2 contains a full score and an arr. for piano and horn of Stich's Concerto, no. 6. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Bagatelle / Hermann Neuling -- Sur les cimes / Eugene Bozza -- Gently weep / Thomas Hundemer -- Concerto for low horn / Kerry Turner. / text

Thesis--State University of Iowa. / Vol. 2 contains a full score and an arr. for piano and horn of Stich's Concerto, no. 6. Includes bibliographical references. Also issued in print.

Among the existing solo instrumental concertos of Joseph Haydn's oeuvre are two concertos for brass instruments. These are the Horn Concerto in D Major (Hob. VIId: 3) and Trumpet Concerto in E-flat Major (Hob. VIIe: 1). In addition to their standing as the only two concertos for solo brass instruments written by Haydn in existence, the two concertos provide a unique opportunity for insight into the history of the concerto genre and Haydn's change in compositional style. This is because of their chronological position within Haydn's oeuvre; the Horn Concerto was composed in 1762 during the early years of Haydn's employment with the Esterházy family and the Trumpet Concerto in 1796 as the last known concerto written by Haydn. Significant changes had occurred during that thirty four year time-span, not only in Haydn's life, but also within the field of music. This dissertation examines some of these changes and provides a comparative analysis of these two pieces. More specifically, it employs Schenkerian analysis of the voice-leading and structure of both concertos to examine the transformation in Haydn's compositional style and show the evolution of concerto form. This evolution in style between the Horn Concerto and Trumpet Concerto is most prominently marked by a loosening of compositional constraints, including freer formal procedures, instrumentation, harmonic structures, and an increase in chromaticism (aided by the new chromatic abilities of the trumpet). This document provides an in-depth comparative analysis within an often overlooked genre of music and gives insight into changes in Haydn's compositional style and the concerto genre.