The Quartet, Opus 92, consists of four movements and is traditional in nature. The first movement is quite lively throughout and should be kept light. Movement two consists of a theme and variations, with especially interesting variations appearing in the third and fourth horns. The third movement is a Minuet. Pay special attention to the rhythms in the middle section, such as at rehearsal number 3 in the first and second horn parts. There should be only a short pause before beginning the fourth movement, the opening serving as a bridge between the Minuet and the fourth movement Allegro. Of course, the most important goal is to have fun playing this quartet as that was my goal in writing it.
Scattered throughout the four movements you may hear the famous seven-note theme of Liszt’s First Piano Concerto. At times it may be hidden, at other times more obvious. Some of the places where the motif can be heard in the first movement are at two bars before number 2 (Horn 1) and two before 22 (Horn 4); in movement two, the motif is heard at rehearsal 1 and at the third measure of number 12. In the third movement, it is used for the main theme, but with the last three notes inverted. The fourth movement seems like it is going to open with a direct quote from Liszt, but once again the last three notes are inverted. The main Allegro uses the seven notes as its main theme, but played very quickly. There are numerous other examples.
Richard Goldfaden currently is a member of the Horn section of the Charlotte Symphony Orchestra. Previously, he held positions in the Toledo Symphony Orchestra as well as several orchestras in Mexico City. For several years, he taught horn at the University of North Carolina at Charlotte. He received his Bachelor of Music degree from the University of Michigan in 1978. He studied horn with Louis Stout and Eugene Wade.
Mr. Goldfaden is also a natural horn enthusiast. In this capacity, he was awarded Second Prize in the 1979 Heldenleben Horn Competition, Hand Horn division, and received the Award for Outstanding Musicianship from the Detroit Waldhorn Society. His instructor in the art of natural horn playing was Lowell Greer.
While in junior high school, Richard Goldfaden began composing brass quartets he could play with his friends. He continued writing numerous compositions and arrangements for various gatherings of musicians. Understandably, most of his works feature the horn. His music is often light hearted and usually traditional in its harmonies. His goal is to make every part interesting and fun to play, though this often makes them challenging. He has transcribed numerous orchestral masterpieces for large horn ensembles.