Gurlitt’s “Hunting Song,” Op. 101, No. 19 is a lively Romantic character piece in E-flat major, written in 6/8 time and marked Vivace. The music has the energy of a hunting scene, with horn-call style figures, dotted rhythms, quick repeated notes, accented chords, sudden dynamic contrasts, and a fast compound-meter pulse. Students should focus on keeping the 6/8 rhythm steady, playing the accents clearly, and making the piece sound bold and energetic without becoming rushed or heavy.

Measures 1–6 introduce the hunting-call character. The right hand begins alone with a bright, leaping figure, while the left hand rests at first and then enters with low supporting notes. The strong f dynamic gives the opening a confident outdoor sound.

Measures 7–12 continue with more excitement. Both hands play repeated chord patterns and short rhythmic figures, then the lower voice takes over with a running answer. The music stays lively and clear, with the hands trading activity instead of always moving together.

Measures 13–18 bring back the opening style with stronger contrast. The right hand returns to the hunting-call idea, while the left hand supports with low leaping notes. A crescendo leads into a bold ff moment, making this section one of the strongest points on the first page.

Measures 19–29 develop the main material with more repeated patterns, accented notes, and chordal motion. The right hand moves through short melodic figures while the left hand adds strong bass support. The music grows through cresc. molto, leading to a powerful arrival at the end of the page.

Measures 30–40 continue the energetic hunting character on the second page. The hands answer each other with accented notes, broken figures, and short rests. The marking cresc. ed accel. asks the performer to grow louder and gradually speed up, creating extra drive before the music relaxes.

Measures 41–48 form a contrasting section marked tranquillo. The dynamic drops to p, and the left hand plays a softer repeated pattern while the right hand rests briefly and then joins. This section gives the piece a calmer middle moment before the final return of the stronger march-like energy.

Measures 49 to the end bring the piece back to a fuller sound. The right hand plays a more active rising figure, while the left hand supports with stronger chords and bass notes. The final measures use fuller harmony and firm dynamics, ending the piece with a bold, confident finish.

Interesting fact: The German title of this piece is Jagdstück, which means “hunting piece.” In 19th-century piano music, hunting pieces often used 6/8 meter, lively rhythms, and horn-like melodic shapes to suggest the sound of outdoor hunting calls.