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In 1882-3 Richard Strauss wrote his first horn concerto in E-flat Major (opus 11) in two versions, one for piano accompaniment and one with an orchestra (the horn part is the same). The horn concerto has become the most frequently performed horn concerto written in the 19th Century. The premier with piano accompaniment was given in 1883 at Munich. The premier with orchestral accompaniment in 1885 at Meiningen. ==Composition history== At the age of 18 whilst a philosophy student at Munich University, having recently completed his violin concerto and Cello sonata, Strauss wrote his first horn concerto. His father Franz Strauss was one of the leading horn players of his day, and the fact that Richard grew up with the sound of the horn in his house led to his exploration of the great potential of the horn as both a solo and orchestral instrument. He had previously written a short piece for the solo horn (Two études for horn TrV 15, 1873), the concerto was the first substantial piece he chose to write for the horn. The version with orchestral accompaniment is entitled "Waldhornkonzert", indicating that the concerto was to be played on the natural valveless horn (Waldhorn), which was the horn of preference played by his father (although Franz also played the valved F horn). Whilst it is technically possible to play the concerto on an E-flat natural horn,〔Johnson, Bruce. “Richard Strauss's Horn Concerti: Signposts of a Career,” The Horn Call 12, no. 3, (October 1981): 58-67.〕 in practice it would be impossible to give a convincing performance. Alan Jefferson speculates that the title might in fact be a father-son joke.〔Alan Jefferson, ''The Life of Richard Strauss''(Newton Abbot, U.K.: David & Charles, 1973.)〕 Strauss's sister Johanna wrote to the British horn player Dennis Brain that she "vividly remembered her father struggling with the solo part, which he found very tiring, even using the high B-flat crook. In particular, he seems to have found the high B-flats too daring and dangerous for performance in the concert hall".〔Norman Del Mar, Richard Strauss: A critical comentary on his life and works, Volume 1, Faber and Faber, London (1986). ISBN 978-0-571-25097-4 page 20 (the letter is paraphrased by Del Mar).〕 The early public performances would have been made using the valved F single horn, which was indicated in the score in later editions (although the orchestral horns were still specified as E-flat natural horns). In practice, all of the modern performances and recordings are played on the valved F double-horn which was developed at the end of the 19th Century. When the concerto was written, the use of natural horns was still common. For example, Brahms continued to write for natural horns in his symphonies (symphony 3 is contemporary with the horn concerto) because he deemed the sound better. Strauss himself went on to fully exploit the possibilities of the valved horn in his tone poems starting with Don Juan, written just a few years later. The concerto is in three movements (Allegro, Andante, Allegro) which are played continuously (except very rarely) and lasts about 15-18 minutes. The composition is typical of Strauss' music at this time in being Romantic in style, showing the influence of Mendelssohn. The orchestral version uses a classical orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassons, 2 horns, 2 trumpets, timpani, and strings. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Horn Concerto No 1, Opus 11 (Richard Strauss)」の詳細全文を読む スポンサード リンク
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