KS2: Wolfgang Amadeus Mozart - Horn Concerto No. 4 (3rd movement)

Wolfgang Amadeus Mozart was an Austrian composer and performer who could play and write music from the age of four!

A concerto is a piece for a solo instrumentalist and orchestra. A concerto shows off the skill of the soloist.

Mozart’s friend Joseph Leutgeb was a famous horn player. Leutgeb inherited a cheese shop in Vienna and might have become a cheesemonger if Mozart hadn’t written such fabulous concertos for him to play!

Horns of the time were very difficult to play because they didn’t have valves (buttons) to press. Mainly horns were used to play hunting fanfares but being a horn player on a hunt was hazardous - you had to ride a horse and play at the same time!

Listen out for: The times when the orchestra 'answer' the horn by repeating the same tune.

Katy B introduces Mozart's Horn Concerto No. 4 (3rd movement).

Wolfgang Amadeus Mozart

BORN: 1756 / DIED: 1791 / NATIONALITY: Austrian

Mozart was taught music by his father. He began composing at the age of 5, wrote his first symphony at 8 and his first opera at 11! As a teenager he and his sister were famous all over Europe; they travelled around with their father performing piano and violin duets to royalty. Their special trick was to make up the music on the spot! Mozart was an absolute genius. He wrote every kind of piece and was brilliant at all of them. He was also a lot of fun to be around. He loved to play practical jokes on people and he often got into trouble for doing so.

He had a celebrity lifestyle with the best clothes, and most lavish houses and a lot of parties. Unfortunately he didn’t always have enough money to live like this and so had to say yes to every request for music that came along. By the age of just 35 he died of exhaustion leaving several important pieces unfinished and not enough money for a proper funeral. It was a very sad end for a man who changed music forever and is still regarded as one of the greatest composers who ever lived.

Watch a full orchestral performance of Mozart's Horn Concerto No. 4 (3rd movement).

MP3: Listen to or download the music

Download the Horn Concerto No. 4 (3rd movement) MP3

You can also download the Horn Concerto No. 4 (3rd movement) orchestral backing track

Or download the Horn Concerto No. 4 (3rd movement) piano accompaniment

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Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart

Lesson Plans

Download lesson plans for six weeks of learning and activities for Horn Concerto No. 4 (3rd movement) as Powerpoint presentations or PDFs.

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Primary lesson plans:

Lesson plan by Rachel Leach

Suitable for:
Key Stage 2 in England and Wales
Second Level, P5-P7 in Scotland
*Key Stage 1/Key Stage 2 in Northern Ireland

Arrangements: Play the piece with simplified parts

All parts have been designed to work together to enable mixed-ability groups to perform together

Combined score

Figurenotes

Figurenotes are graphic scores specifically designed to help those with learning support needs to read, play and perform music - find out more about Figurenotes

Ocarinas

This ocarina arrangement is designed for use with English 4-hole and 6-hole rainbow ocarina - find out more about ocarinas

Arrangements: Background notes

From the arrangers:

Notes on pre-Grade 1 and Grade 1-3 parts (Written by from Andrew Smith)

All the beginner and Grade 1-3 arrangements are short excerpts of the work named in the title and complement the Grade 4-5 arrangements. This enables you to involve players of different abilities in one ensemble, all performing the same piece.

Where as the Grade 4-5 arrangements are around 3 minutes each, the beginner parts are between 60-90 secs, allowing for the stamina of a young musician who is used to playing pieces of similar duration.

The beginner and intermediate arrangements have been orchestrated for many different instruments, from flute to ukulele, however many different combinations of instruments can be used, even if your school has one or more that is not listen in the score!

The standard of playing for the beginner parts is based around the first few notes I'd expect the musician to learn, and basic semibreve, minim, crotchet, quaver rhythms. As much as possible, I have also tried to move to adjacent notes/strings, thus avoiding big leaps. The standard of playing for the intermediate parts is based around ABRSM Grade 1-3.

In most cases, the Grade 4-5 optional piano accompaniment parts will fill in any gaps, and will be useful for rehearsals or even in performance alongside an ensemble performing entire beginner and/or intermediate parts.

Notes on Grade 4-5 parts (Written by arranger Gareth Glyn)

All the arrangements present a short (3-minute) excerpt or abridgment of the work named in the title, and have been conceived in such a way that many different combinations of instruments can be successfully employed in playing them, even if your school hasn't got one or more of the instruments shown on the score.

The standard of playing necessary is about ABRSM Grades 4/5, though some parts may be marginally easier or trickier in places. Alternative notes have been provided for some more challenging situations.

In most cases, the optional piano accompaniment will fill any gaps, and may well be useful for rehearsals, though in most cases it would be best to do without it for performance, if possible.

Notes on orchestration

Below, in bold print, are the instruments named on the score, followed in bold print by other instruments which can play the same part.

Flutes - This line can also be played by violins. Because of the range of the flute, violinists attempting this line will find themselves playing in the higher positions. Violins also have their own dedicated part, so it's suggested that that part should have sufficient instruments on it before any are put on the flute line.

Oboes - Any mid-range C instruments (i.e. instruments which play the written pitch) can play from this stave. This would include violins, recorders and flutes (especially if there is a surplus, after having placed some on the dedicated flute line).

Clarinets in B♭ - Other than soprano saxophones, which are highly unlikely to be found in a school orchestra, there are no obvious contenders to join the clarinets on this line. The writing, and the range, will generally be unsuitable for at-pitch B♭ instruments such as the trumpet or cornet; and lower B♭ instruments such as the euphonium shouldn't use this part as the sound will be muddied by the lower octave.

Bassoons - Cellos can play from this part (though in the first instance they should use their dedicated part).

Horns in F - This being a demanding instrument, rather rare in the school orchestra, it is generally doubled in the arrangements by the tenor horn in Eb, which has its own stave and part (see below).

Tenor Horns in E♭ and alto saxophones - These play from the same part, which generally doubles the part of the F horn (see above). There is, if required, a part for 2nd Horn in F, which duplicates that of the Tenor Horn.

Trumpets in B♭ - Their part can be played by cornets.

Trombones - The trombone part is available in two notations - bass clef at pitch and treble clef (brass band notation). The former part can also be used by cellos (though they have their own dedicated stave too); the latter by euphoniums and baritones (ditto).

Euphoniums and Baritones - Any spare trombones may be allotted this stave. A part in bass clef for this line is also provided; it's called '2nd trombone'.

Bass in B♭ - The part for this instrument is also provided in bass clef, for the orchestral tuba. A separate part is provided for the smaller E♭ bass; the music is identical in pitch, except for the odd occasion where an upwards octave transposition has been necessary.

Percussion - The name for this varies from piece to piece, but it is generally for any kind of large drum. If the part is called 'timpani', then of course those tuned drums should ideally be employed, but any percussive instrument will usually be quite effective. The percussion parts of all the pieces can be executed by one player, except for the Adams, which has a quick change in the middle; however, in this case, the instrument used at the start can just as well be used right through.

Violins - This part could be doubled by flutes or oboes if there are enough of them to go around. Players who aren't comfortable out of 1st position should consider an alternative (see below).

Violas - These aren't particularly prevalent in school orchestras, so a special violin part is provided. It's called 2nd violin, and is identical to the viola part except for passages which go below low G – these are either omitted in the special part or transposed upwards.

Cellos - Their part can be played by bassoons, though they should in the first instance be placed on their dedicated line.

Double Basses - Any other bass-clef C instrument (bassoons, cellos and the like) playing from this part will be doubling it an octave higher; this will do no harm at all, and often it would be better to have something on this line than nothing at all.

Mozart: Horn Concerto No. 4 (3rd movement) - Ocarina arrangement