Program Note

“Concrete Jungle” (2026) is a quartet that explores the sound of the horn to its fullest extent, referencing all of the wonderful music for the instrument in varying degrees across the five movements. It is essentially a love letter to the horn, and to the music I love as horn player. This quartet is dedicated to my undergraduate horn section at the University of Houston: David Holtgrewe, Nick Silva, and Joey Troia.

I. Introduction

A reference to the opening of Bartok’s “Concerto for Orchestra”, the movement explores the genesis of sound on the horn, from breaths to a full chorale. Includes a reference to Bruckner’s “Symphony No. 4”

II. Kyrie

I am not Catholic, but I’ve always been a little fascinated with Catholicism and sacred music. The “kyrie” in contemporary masses is often the most dramatic, since it is a plea for mercy. Includes a reference to Respighi’s “Pines of Rome” as a jab at Eugene Bozza, who includes a quote from the work in all of his music for horn.

III. Till in Hell

Based on a joke I once had about Till Eulenspiegel, who after he is captured and executed in Strauss’ “Till Eulenspiegel lustige streiche” goes on to continue being annoying in hell. While in hell, Till searches for the devil but instead runs into Beethoven, who scoffs at Till for being annoying and they engage in a battle of wits. Ironically, this movement is the most straight-forward of the five and is also the most referential. It is a fun movement that pokes fun at the romantic giants but also relishes in the wonderful music they gave to horn players.

IV. In Stiller Nacht

If the first movement constructs a chorale, this is the deconstruction of one. This movement is a much needed break from the intensity of the previous two movements while ushering in a new emphasis on individual lines and how they combine to create a different kind of intensity.

V. Rondo-Finale

Every horn player has had to play a Mozart concerto at some point, and each of Mozart’s concertos ends with a Rondo-Finale. Well, this is not a rondo, and it’s not much of a finale either. This movement is a totally new sound world that obliterates everything we have learned so far.

Performances

May 2, 2026 John A. Paulson Center, New York University, Manhattan, NY. Reese Romero, Nathan Page, Itayetzy Uranga, and Adam Harrington.