Reinhold Glière: Romance for Horn and Piano, Op. 35, No. 6 | Trevor Nuckols · Linda Avery

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Romance for Horn and Piano, Op. 35, No. 6

Reinhold Glière, composer
Trevor Nuckols, horn
Linda Avery, piano
Seann Avery, sound engineer

Recorded on August 13, 2025

Dedicated to my mother & father for their 43rd wedding anniversary.

This performance features my custom B♭ Alexander horn (1950), a beautifully balanced instrument whose singing tone and responsiveness I have long relied upon in both solo and chamber repertoire.

Reinhold Glière (1875–1956) stands as one of the last prominent representatives of the great Russian Romantic tradition. Born in Kyiv to a German father and Polish mother, he studied at the Moscow Conservatory under such figures as Taneyev, Arensky, and Ippolitov-Ivanov, later returning to teach a generation of Soviet composers, among them Prokofiev and Miaskovsky. Glière’s output is remarkable in its breadth, encompassing symphonies, ballets, concertos, and a substantial body of chamber music. His music often unites the expansive lyricism of the nineteenth century with an interest in national styles drawn from the many regions of the former Russian Empire.

The Romance, Op. 35 No. 6, was composed in 1908 as part of a collection entitled 11 Pieces for Different Instruments and Piano. Conceived as recital and teaching works for advanced students, the pieces are miniature character studies, each tailored to the idiom of its chosen instrument. No. 6, assigned to the horn in its earliest publications, occupies a special place in the repertoire for its seamless marriage of melodic breadth and technical accessibility. Its vocal line sits comfortably within the natural singing range of the instrument, and its writing demonstrates an instinctive understanding of the horn’s capacity for sustained cantabile.

Structurally, the work follows a ternary design. The principal theme unfolds in poised, arching phrases over a gently undulating piano accompaniment. A central section introduces a more animated harmonic profile, providing contrast before the return of the opening material. The closing measures reprise the melody with quiet dignity, ending in a manner that suggests not conclusion so much as repose.

In the wider context of horn literature, the Romance reflects a tradition of early twentieth-century salon pieces which, though modest in scope, have achieved enduring popularity. For students, it offers an ideal study in legato phrasing, breath control, and tonal purity. For audiences, it provides a concise but eloquent example of the horn’s lyrical powers, framed in music of immediate charm and lasting grace.