for Horn and Piano, edited by Henri Kling

“Multiphonics” in the early 19th century? It is possible that Carl Maria von Weber truly did notate these multiple sounds for the first time in 1815 in the present Horn Concertino op. 45. The concert piece, whose form is designed totally freely, is regarded as one of the most demanding works for horn and orchestra of all. While the “con fuoco” passages following the slow introductory sections are of breakneck difficulty, the soloist later finds himself in the center of the work with the „cadenza in the form of a recitative“ at the end of which the famous (infamous?) multiphonic passages occur.