With the addition of valves in the early part of the nineteenth century, the French horn suddenly evolved from the cumbersome, bugle-like accompanist it had been to a fully capable, full range solo instrument. And while many composers were taken with its range and unique tone, Reinhold Glière captured its full power and virtuosity in the concerto format. Written for Valeri Polekh, the solo horn player at the Bolshoi, his Concerto in B flat is unprecedented in both length and difficulty. Long at nearly 24 minutes and constructed without regard for the natural conveniences of the horn itself, it was inspired by and modeled after the barbarically difficult Tchaikovsky violin concerto. The result is a stirring piece in three movements, full of the sort of epic sweep and orchestral grandeur which Glière at his best could bring off as well as any Russian. Nearly as long as the other two movements combined, the first movement allegro begins with an orchestral tutti which brings on the soloist, who launches into a bright, singing theme. Although not complex, the movement provides for a cadenza which bridges to a more complicated second theme. The movement ends with an orchestral reprise of the tutti opening and without the horn itself. The second-movement andante sounds deceptively simple, but in it may be heard the chromatic complexity of the valved horn and the demands on the player are considerable. The movement ends on a sustained, muted high E flat. The finale is thoroughly Glière, with driving romantic energy, high drama, and satisfying cadences. The chromatic and dynamic demands on the player become greater and greater and at last a great, headlong, triple-tongued rush sweeps to the conclusion.

© All Music Guide