The Quartet No. 3 was designed to be the main work of any horn quartet concert. Other than the quartets by Paul Hindemith, Michael Tippett and Kerry Turner, there is a defnite need for major, multi-movement works in the quartet repertoire. In order to avoid taxing one solo player against 3 accompanying players, the composer preferred to render all voices absolutely equal, each voice being equally virtuose, solistic, and melodic.
There are 4 movements: The Sooners, The Homesteadrs, the Ghost Town Parade, and Finale. Each movement’s title is merely an accurate description of what the composer had in mind while composing, and is not meant to have a story or programmatic idée-fixe, although it is rather clear that the composer’s thoughts are in the American West sometime in the 19th century.
- Editions Bim