Trio, Op. 88 consists of four movements, each suited to being played alone. While each horn part is quite independent and interesting in its own right, the first horn tends to be the high voice and the third horn the bass voice.
The first movement, which is traditional in structure, has an Adagio introduction followed by the main Allegro section. In the second movement, Scherzo, the optional “Ending B” may be taken if the first hornist would like to avoid the quick octave jumps up to high C’s in measures 217 and 221.
The third movement, more picturesque than the others, depicts the thoughts of someone experiencing the death of a loved one. It is basically a funeral march; however various emotions often interrupt: aimlessness (wandering harmonies), grief (loud stopped notes), and loneliness (extended solo passages). The fourth movement brings a return to cheerfulness. This hunt pays tribute to the roots of the horn.
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.