The English Horn possesses a velvety sound closely resembling the human voice, making it a natural choice for interpreting Lieder. Composers such as Eugene Bozza and Antonio Pasculli have skillfully captured the essence of this instrument, composing works based on Lieder or opera arias. Richard Wagner’s Wesendonck Lieder served as a sketch for the composer to create the opera Tristan and Isolde, which features one of the great solos for the English Horn. A three-minute melody without orchestral accompaniment resonates in the distance as Tristan recalls the song his mother used to sing to him as a child.
Pasculli’s two works have a highly melodic and dramatic section with arias from operas by Bellini and Verdi, and the final part is virtuosic. The audience also delights in the marvelous virtuosity achievable with the English Horn in these works.
“Au Loin, Canto for English Horn and Piano Op. 20,” Charles Koechlin.
“Fünf Lieder Op. 105,” Johannes Brahms.
1. “Wie melodien zieht es mir.”
2. “Immer leiser wird mein Schlummer.”
3. “Klage.”
4. “Auf dem Kirchhofe.”
5. “Verrat.”
“Lied,” Eugene Bozza.
“Aria,” Eugene Bozza.
“Ommagio a Bellini,” Antonio Pasculli.
“Wesendonck Lieder,” Richard Wagner.
1. “Der Engel.”
2. “Stehe still!”
3. “Im Treibhaus.”
4. “Schmerzen.”
5. “Träume.”
“Fantasia due. Sopra motivi dell’opera ‘Un ballo in maschera’ by Verdi,” Antonio Pasculli.
“Adagio in F for English Horn and Strings,” W. A. Mozart.
Quintet Op. 15, Dirk Michael Kirsch.
Quartet, Jean Francaix.
Johann Sebastian Bach:
“Arioso” (Cantata BWV 156).
“Agnus Dei” (Mass in B Minor BWV 232).
“Aria” (St. Matthew Passion BWV 244).
“Air” (Third Orchestral Suite BWV 1068).
