CONCERTO IN A MINOR, OP 28, Kurt Atterberg (1887-1974)
Swedish composer and civil engineer Kurt Atterberg is a lesser-known figure, yet his Horn Concerto in A minor, Op. 28 stands out as a rare and captivating work in the horn’s solo repertoire. I discovered this piece by accident through YouTube’s autoplay feature while I was studying. The moment I heard the opening horn call, I was completely drawn in, stopped what I was doing, and just listened to the piece. Atterberg’s writing combines his Nordic roots with influences from composers such as Johannes Brahms (whom he often cited as one of his greatest inspirations), along with the colorful character of Russian folk music. Together, these influences create a sound that feels both powerful and heartfelt.
Composed in 1926 for Swedish horn virtuoso Axel Malm, who premiered it the following year. The concerto highlights both the heroic and lyrical sides of the instrument. The first movement captures the bold and declamatory power of the horn, while the Adagio offers a beautiful contrast, in which the performer must sing through the horn with warmth and sensitivity. Together, these two movements showcase the horn’s versatility to command attention and convey deeper emotions within the same work.
CONCERTO
NO. 2 IN E-FLAT MAJOR, K. 417, Wolfgang
Amadeus Mozart (1756-1791)
Composed in 1783, Horn Concerto No. 2 in E-flat Major is one of the four completed horn concerti written by Wolfgang Amadeus Mozart for his close friend Joseph Leutgeb, who was a Viennese horn player known for both his remarkable skill and sense of humor. Mozart and Leutgeb shared quite a playful friendship. If you look in Mozart’s original manuscripts for these concertos, you can find many teasing remarks and expletives that Mozart included at Leutgeb’s expense. Even while performing some of the most challenging passages that the horn had in the Classical era, he was not free from Mozart’s friendly jabs.
Like many concertos of the Classical period, the work follows the traditional three movement structure. The first movement is typically fast (Allegro Maestoso), slower lyrical middle movement (Andante), and a lively Rondo to finish out the work! This piece has truly stood the test of time, the first movement of this concerto is asked on nearly every major orchestral audition for the horn and is considered one of the most standard pieces in the Horn’s Repertoire. The Rondo captures Mozart’s trademark wit yet again, as it is built around a playful recurring theme. The movement dances through a series of bright and cheerful passages before reaching Mozart’s clever “fake out” moments near the end. I find it so beautiful how the joking nature of this over 200-year-old friendship has been so tastefully preserved through the Mozart Horn Concerti.
PROGRAM REFLECTION
When programming this recital, I found it wonderful having these two pieces side by side, as it highlights just how much the horn and its music has evolved over time. Mozart’s concerto, written for the natural horn of the 18th century, embraces clarity, balance, and elegance within the compact Classical form. Atterberg’s concerto, written nearly 150 years later for the modern valved horn, expands on the instrument’s expressive and technical range. Together, these concerti celebrate the horn’s timeless voice capable of brilliance, lyricism, humor, and heroism.