Re: [Hornlist] Le Chasseur Maudit
Hi Rick, There are two good US recordings; the immortal Charles Munch with the Boston on RCA (I cannot give you the number as my copy is Japanese bought in Germany); more recently, Muti and the Philadelphia on EMI Classics Red Line 7243 5 73235 2 9 - how about that for an incomprehensible number? And my favourite, on Supraphon 11 0613 - 2011, The Czech Phil under Jean Fournet. The problem in this piece is an acoustic one. Its OK for 1st 3rd but 2nd and particularly 4th have answering phrases at a lower pitch, below the stave, which must sound as loud. See Farkas on how to develop the sound in the nether regions! Ralph R. Hall (brasshausmusic.com) On 25 Aug 2009, at 20:38, bspence2 wrote: The Oklahoma Community Orchestra is performing Le Chasseur Maudit on our October concert. Anyone have experience with this piece? Advise, suggestions, hints? Who has a good recording out? Rick Spence ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/ralph%40brasshausmusic.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR Healthcare in Europe
Hornlisters, Although now living in Germany, I am British and take a keen interest in what is happening back home. At least it means I have a more objective view of the travails of the NHS and a comparison to make between my experiences at home and those I have come across in Germany. The NHS is now a dinosaur. It is top heavy, being overloaded with bean counters who are beholden to government policy and dictats. The UK is besotted with 'targets'. So, in the health service there are a certain number of operations to get through in a given period, a number of hours in a week beyond which doctors cannot work and a number of hours in Accident and Emergency within which a new patient must be seen. This latter has given rise to serious accident cases being left in car parks outside the hospital until the way is clear to admit them within the specified period. I could go on (and I'm sure somebody will) but the model which served immediately after WW2 does no longer. It has become a political football. Today's news is a survey which reveals that on a daily basis 45,000 NHS employees are absent on sick leave. Irony or a symptom of a very sick health service? My experience of the German model is profoundly different. No waiting times, no risk of catching a virus because of poor hygiene, the very latest equipment and a friendly staff not stressed out through overwork and trying to reach impossible targets imposed from above by people who don't know what they are talking about. Whereas the NHS is a bottomless pit into which the Government pours billions of taxpayers' pounds, in Germany I have private health insurance which is cheap by UK standards and alleviated by factors such as unemployment, retirement and disability. My own view, for what it is worth, is that there should be a specific health insurance tax (either private for the wealthy or public for the less well favoured), commensurate with earnings, which is ring-fenced for health care and and topped up by government. Otherwise you end up with the ridiculous situation of an accountant/chief executive sitting behind a desk only being able to meet his imposed budget by heavy car park charges which then leaves a distraught parent marooned behind the barrier and unable to return home because when his child was bleeding to death, he neglected to pick up his wallet on his way to hospital. It has happened. The NHS was launched in the atmosphere of goodwill which was a legacy of the war and when the UK Government was disinterested enough to put party politics to one side and be philanthropic for the good of the country. I suggest none of these apply today. Ralph R. Hall (brasshausmusic.com) On 19 Aug 2009, at 04:10, Milton Kicklighter wrote: Hey Guys, It might be interesting to discuss some of these health issues here on the list. Since I have a condition that pushed my retirement up a little, knowing about how other systems in the world work might be helpful to all of us. Up to you guys though --- On Tue, 8/18/09, Anne Megenity amegen...@comcast.net wrote: From: Anne Megenity amegen...@comcast.net Subject: Re: [Hornlist] NHR Healthcare in Europe To: The Horn List horn@music.memphis.edu Date: Tuesday, August 18, 2009, 7:02 PM Would appreciate also receiving that info, TIA. amegen...@comcast.net - Original Message - From: Luke Zyla lz...@suddenlink.net To: Horn List horn@music.memphis.edu Sent: Tuesday, August 18, 2009 6:47 PM Subject: [Hornlist] NHR Healthcare in Europe Those of you outside the US may know of our debate on the issue of healthcare in the US. Is there someone from the UK that could answer a few questions on the UK healthcare system? Please contact me off list if you could. Thanks, Luke Zyla lz...@suddenlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/amegenity%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/kicklighgter%40yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/ralph%40brasshausmusic.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Audition help!
Mathew, Late I know but holidays intrude. The Shostakovitch is to be found in Orchestra Excerpts for Horn, Volume 2, International Music Company, New York. The Ravel appears in Philip Farkas's Orchestral Passages for Horn from the French Repertoire. I'm surprised that anyone going in for an audition who must be studying with an acknowledged player has not access to this sort of material, if not by himself, at least from his teacher. Milton Kicklighter is dead right; when I was in the City of Birmingham Symphony Orchestra it was always the unison bass clef passage that we chose to give to any aspiring candidate. Occasionally, if we suspected a stamina issue, we also asked for the fff Largamente section from the same movement. At no time, in British auditions, are the candidates notified of what to expect in the way of sight reading. In Germany it is different; the choice is always from the Ritzkowsky/Spach Test Pieces for Orchestral Auditions, Edition Peters. All the above are worth the investment. Ralph R. Hall (brasshausmusic.com) On 19 Jul 2009, at 18:02, Mathew James wrote: Hey everyone, I am in need of some help, I need to track down the second horn part to Shostakovitch 5 (1st mvmnt) and the Ravel Piano Concerto in G 2nd horn part. I have exhausted local resources and am curious if anyone can lend a hand. Thankyou, -- Mathew James ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/ralph%40brasshausmusic.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] (Czech) recordings
Hi Dave, At the age of only 61, Zdenek Tylsar died on August 18th 2006. I had the sad privilege of writing his obituary for 'The Horn Player', the organ of the British Horn Society. Up until his death, he was the Solo Horn of the Czech Philharmonic since 1968. It is safe to say that most of the 'Horny' recordings from the orchestral repertoire feature Tylsar on 1st Horn, including a complete Mahler cycle with Vaclav Neumann. No 3 is particularly good but, disappointingly, no 5 not so as the slow tempo in the Scherzo over emphasises the characteristic Czech staccato. One of my favourite orchestral recordings is of the two Brahms serenades with the CPO and Jiri Belohlavek (Supraphon 11 1992 - 2 o31). This is perfect playing from the whole orchestra without losing any of the characterisation for which they are famous. 2 solo/duet CDs were immediately issued by Supraphon in memoriam. Both Strauss concertos, the Franz Strauss Concerto and Mozart 2 on Supraphon su - 3892 - 2 and all the double horn recordings with his older brother, Bedrich on Su 3902 - 2. This includes the Haydn Double which has not been available for some time, featuring some quite exquisite work in the slow movement. On Naxos 8 - 550393 there is Telemann, Vivaldi and the Ludwig Mozart Sinfonia da Caccia. On Point Classics 2672392 Tylsar plays Haydn 1 in D and, again with Bedrich, a superb account of the Haydn Octet. I became acquainted with the Czech Horn tradition as a youngster in the 50's when an agent for Supraphon came into my father's music shop with one of their early LP efforts as a freebie - Rossler - Rossetti's double concerto no 5, played by the Tylsar brothers' predecessors, Miroslav Stefak and Vladimir Kubat. Absolutely amazing playing and I am just transferring it from LP to CD. Not for sale - sorry! Ralph R. Hall (brasshausmusic.com) On 27 Jun 2009, at 19:25, dpm...@juno.com wrote: Hello Hornlisters - As I am sure many of you do, I was pawing through my library of recordings the other day and stumbled across two CD's I absolutely love and had forgotten about. I HIGHLY recommend you all listen to Antonio Rosetti: Horn Concertos with Zdenek Divoky, and Czech Horn Concertos with Bedrich and Zdenek Tylsar. These guys are fabulous players, and I am just floored every time I hear these recording. Anyway, I am also writing to ask if anyone can recommend other good recordings from any of these great players. I am afraid I don't have many recordings along the Czech horn tradition - and while it's maybe not exactly the sound I want, you cannot help but be engulfed in these guys musicianship and dazzled b their technique. Ok, enough sounding like a salesman, I am just trying to say you all should listen to these if you haven't, and I'd love to hear of other recordings Divoky or the Tylsar brothers have made. Maybe this thread will expand into recommending any good, maybe-not- as-well-known recordings, which I am always interested to hear about too. Dave Meichle Lawrence University Click now to get professional help collecting child support! http://thirdpartyoffers.juno.com/TGL2131/fc/BLSrjnsO0MewjEeLIXjRaykBRN5cbewtC9ynrmtBwGj1iwxGa2yvhZUMT6o/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/ralph%40brasshausmusic.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Playing under a ceiling fan-not too horn related
Vin, I did realise that it was myself vibrating, not the TV! However, your point is well made about high and low notes. Having always been a low player, my experience of 'frizzy' pictures in the high tessitura are pretty limited! Ralph R. Hall, brasshausmusic.com On 29 May 2009, at 22:45, Vincent Duval wrote: Ralph Hall wrote: As a side issue, playing whilst watching TV makes the picture appear to 'frizz' and vibrate. Actually, Ralph, if I'm not mistaken, that is the result of your eyeballs shaking around in their sockets. I'm not kidding. It doesn't have anything to do with the soundwaves generated by your horn effecting the electrical appliances in the room. Ask someone else in the room to look at the television and they won't see the frizz that you're seeing as you play. Try playing a tuba and the distortion will appear greater (I've done this.) Bigger eyeball shaking. The phenomenon can also very noticeable if you're looking at a computer screen as you play. I just took a break from writing this response to verify what I wrote above. There was no noticeable distortion on my computer screen as I played a few long tones on my horn. I went into the other room and turned the TV on to the TV guide channel so I would have some text to look at. Again, no noticeable frizz until I started rattling some low register notes. The text on the TV seemed to be vibrating - to me. My son saw no change to the screen whatsoever. This is not something that I've ever noticed with print on paper. However, I first noticed it on a computer screen one day at school while playing tuba with my students, and it looked to me as though my entire computer screen was undulating (I was about twenty-five feet away). At first I thought it *was* the computer, but when I pointed out the monitor to my kids, they didn't see what I was talking about. My tuba student played some notes and immediately understood what I was referring to - but when he did, *I* didn't see any change in the screen. I think that ambient lighting, distance from the screen, and even how tired one is may influence the degree of shaking that one perceives (in addition to the amplitude and the frequency of the vibrations that one is creating). FWIW. Which may not be much. I'm sharing this because I just remember being surprised and amused when I realized that something which I originally took to be an external phenomenon (Look! the soundwaves from the tuba are causing some kind of interference with the computer monitor!) turned out to be a physiological one (Oh! I guess my eyes are rattling around in my head!) Vin Duval ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/ralph%40brasshausmusic.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Playing under a ceiling fan-not too horn related
Francis, In my experience, it's usually before the big solo I have to count the bars rest. No names (and you are an honourable exception) but I have several times had good first horns turn to me and say, Where are we? I take my job seriously enough not to resort to facetious replies like, The Festival Hall, or,The Albert Hall or even,The Philharmonie. Apropos, I used to find myself as a school boy nodding off on the bus home after a hard day, and jerk awake counting,Seventy one, two, three; seventy two, two, three etc. What a sad childhood. Ralph Ralph R. hall, brasshausmusic.com On 30 May 2009, at 19:37, Francis Pressland wrote: On 30 May 2009, at 10:16, Ralph Hall wrote: my experience of 'frizzy' pictures in the high tessitura are pretty limited! Its just a sort of red haze really, as I'm sure you notice when you end up having to count bars for Principal horn players after the big solo! Francis -- Francis Pressland Solohorn, Niederrheinische Sinfoniker Krefeld/Moenchengladbach ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/ralph%40brasshausmusic.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Konzertstuck
Horn Listers, My former colleague and good friend John Brownlee - late of the Royal Scottish National Orchestra, the Tonkunstler in Vienna and the BBC orchestra in Wales - is performing the Schumann very soon. He has sent me some questions for the programme notes which I am unable to answer. Maybe someone out there in the ether (the good Prof. perhaps?) will be able to answer the following: The first performance was a read through with composer and the `Dresden players but, publicly, it was the valve hating Leipzig section who claim the premiere. Why not the Dresden players? When and where was the second performance? What was the reaction of critics and players? What instruments did they play? Might they have been made by Isaak Eschenbach? There's a tester for you all! In anticipation, Ralph R. Hall (brasshausmusic.com) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Ifor James playing Neruda
Lawrence, I don't think I implied that cornet then horn playing are universally linked. I was not making a general point, but I do think in Ifor's case the link is significant. Here are two reasons: firstly, the occasional, detectable vibrato in Ifor's playing I'm sure has its antecedents in his cornet grounding. Secondly, when John Bimson (one of the earliest of Ifor's British pupils to achieve great success) came to the Royal Manchester College of Music, his astounding technique and stamina he attributed to Ifor's insistence on his playing all the way through Arban on the horn. Ralph R. Hall (brasshausmusic.com) On 27 Apr 2009, at 23:11, Lawrence Yates wrote: Whilst it's true that he started out as a cornet player I'm not sure that the two things are inextricably linked - there are players with similar facility in the high register and a great deal of technical ability who were not cornet players and there are a great many ex cornet players who do not achieve the standards Ifor achieved. I'm sure that what he learnt as a cornet player will have helped him but I suspect that his facility in the high tessitura and his technical ability stemmed from bl**dy hard work. Cheers, Lawrence 2009/4/27 Ralph Hall ra...@brasshausmusic.com Hornlisters, One of the reasons for Ifor's facility in the high tessitura is because he started out as a cornet player in British brass bands. It is also a reason for his technical ability. -- Lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/ralph%40brasshausmusic.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Ifor James playing Neruda
Hornlisters, One of the reasons for Ifor's facility in the high tessitura is because he started out as a cornet player in British brass bands. It is also a reason for his technical ability. Hence, he was the dedicatee and first performer of the Edward Gregson concerto for French Horn and brass band, although not a great piece in my opinion. He was versatile in other fields - he was offered terms as a professional footballer. These skills I have seen him exhibit on any excuse, one such outside Brecon Cathedral with a ping pong ball just before rushing in to perform Strauss 1. Ralph R. Hall ( brasshausmusic.com) On 27 Apr 2009, at 04:23, Robson Adabo de Mello wrote: Is there any other horn player that record Neruda on the original octave? I'm saying that because once I listened a CD that was recorded 1 octave lower than what Ifor James played. Robson P.S. Ifor's recording is amazing...the more I listen the more I want to listen! What a Player! 2009/4/25 Prof.Hans Pizka h...@pizka.de Hey folks, you seem all not having any idea about these baroque époque the horn pieces of that time, nor about the playing technique of that period. The high f3 written for the E-flat horn was a regular note for any high horn player, just a normal peak note. And it was much easier reachable than on modern horns or modern descant or modern super-sopranino-sport- models. The 22nd harmonic note cannot be (useable) reached on the descant horn, yes the same pitch can be achieved, but would be just the 11th natural pitch on a descant-Eb. But the 22nd natural pitch OFD the descant horn cannot be achieved. So the highest note in the Neruda be the same as the high Eb in Webers concertino. It is a solo concerto for the real soloist not for the want-to-be-soloist-at-home. Punctum. It has to be said, if people out there critic one of the masters of our instrument. It does not matter regarding clean technique, if you use a high F, a high Eb or a high Bb-soprano. It is a brain thing, just brain gymnastic. It is horn players daily business (transposing, no matter what kind of noise making instrument you put at your lips !). That´s for the trumpeter asking about the Neruda piece. Surely, if the embouchure is excellent light (according to soloist standards not the average tooter), you can play this piece on a modern single Bb, but it would sound much better (lighter) on a combined Bb-high F. If one critics Ifor, one has to remember, at what age he recorded this piece. It was in the later period of his life, when he suffered on the same illness, which killed him finally. It happen eventually, that I had one of the many of our long phone conversations just two days or one day before he left us forever. Anyhow, I keep his recordings as treasures, as they are full of great musicianship. And playing the Neruda be very hard ? Why ? It has to be played very light. I once recorded four of these kind baroque concertos within a three hour session for the Austrian Radio (two concertos by Knechtel, Foerster no.2 Molter, all four going up to the stratospheres, with the limit of the written g3. But that is not for people, who struggle playing written g2 (F-horn notation) twice in a row, BUT PERFECT. = = = = = = = = === -Ursprüngliche Nachricht- Von: horn-bounces+hans=pizka...@music.memphis.edu [mailto:horn-bounces+hans horn-bounces%2Bhans=pizka...@music.memphis.edu ] Im Auftrag von Robson Adabo de Mello Gesendet: Samstag, 25. April 2009 20:32 An: The Horn List Betreff: Re: [Hornlist] Ifor James playing Neruda What did you find in your research? Did you find something else to listen? If it can be played on a Bb trumpet it also can be played on a Bb soprano horn, but could it be played on a regular high F descant horn (or maybe a high Eb descant horn) with clean articulation as he played? Robson 2009/4/25 valkh...@aol.com I did some more research (and some more listening) and what I think it has to be is a valved Corno da Caccia - why? Because it's obviously a short instrument, and second because the timbre is very close to a Flugelhorn to my ears. -William **Access 350+ FREE radio stations anytime from anywhere on the web. Get the Radio Toolbar! (http://toolbar.aol.com/aolradio/download.html?ncid=emlcntusdown0003 ) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/robson.adabo%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de ___ post: horn@music.memphis.edu unsubscribe or set options at
