Klaus Wallendorf´s Willisabethan Sarahnade is a real piece of my life history – and Klaus is my favourite duet partner of all time (Klaus Wallendorf pictured above with Sarah Willis) – and the Mason Bates Mainframe Tropics is a very cool piece which challenges both musically and technically. It is such an honour to have a piece written especially for me, and what a piece it is! David Riniker´s Romantic Trio arrangements are good for the soul and suit the horn sound perfectly and they are all pieces everyone knows and loves. The bluesy Song of a New World by Richard Bissill is a real technical challenge but so much fun to play.
I was sure the horn world would be happy to include them in their repertoire. I would love to be able to say that there is some deep philosophical meaning why I chose all these pieces to record together, but the truth is that I wanted new pieces and was lucky that I love all of these. So there was only one thing for it: find new pieces! My job in the Berlin Philharmonic is "low horn" and we are the supporters, not the soloists, so making another CD wasn't really on my to-do list… But people kept asking when the next CD was coming out so I thought, why not? Deciding what repertoire to record wasn't easy: there are very few pieces out there specialising in the range I like to play in all the horn highlights have already been recorded many times by amazing horn players and also I like to be a bit unpredictable and different. SARAH WILLIS: It wasn't a conscious decision – it just developed.
Why the decision to commission a lot of new music for the horn? Despite the fact that you're still in a trio with a violin and piano, this is a hell of a leap away from that. JASPER REES: Your first CD was the Brahms Trio. The horn chamber literature is thus expanded in several different directions, but the main direction is downwards, as Sarah Willis explains to theartsdesk. There is also a sprightly set of horn duets composed by and performed with Willis's Berlin colleague Klaus Wallendorf. Horn Discoveries migrates from blues to classical contemporary, stopping off in light romantic territory on the way.
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