Well Doug,
That is exactly what George used to say. It doesn't sound loud up
close, but it sure does carry.
When I came to Buffalo I was playing on my Alex double, and thought
that I was not matching the volume or sound of the rest of the
section. Until we did a recording of Sibelius Swan of T. There was
one section that began with the first then the second then the third
and finally answered by the forth. I thought the forth part was not
heard until I was in the recording room listening to the playback.
Bamm... When the forth solo came up it was louder than the rest of the
section. After that I never worried about being loud enough.
Milton
--- On Fri, 10/9/09, Doug Lundeen <[email protected]> wrote:
From: Doug Lundeen <[email protected]>
Subject: [Hornlist] Single b-flat
To: [email protected]
Date: Friday, October 9, 2009, 2:00 PM
I arrived at CCM for my DMA in 1985 playing a Holton 179 with a C-1
mouthpiece. I had intended to switch to conducting as my major so
hadn't paid attention that Lowell Greer was teaching there. In my
first
lesson, I asked him if there might not be a better equipment choice for
solo recital playing. After going through the litany of horns on the
market, he told me that there was an Alex model 90 single-b on
consignment at Lawson's shop for only $1400. Knowing that this model
was associated with Dennis Brain, it seemed like a no-brainer at that
price, even if I didn't continue as a horn major. Lowell warned me
that
I wouldn't be able to judge the size of the sound by how much air I was
putting into it, or by what it sounded like up close, that it carried
deceptively well. I brought the horn into the orchestra for 3rd horn
on
Beethoven three, and was trying to make a sound like the entire
Cleveland section single handedly by forcing a lot of air into the
horn. Thinking I'd test Lowell's theory, I switched to a C-12 and
played what felt like forte-minus in the dress rehearsal on the 3rd
horn
solo in the slow movement. The conductor didn't complain, so I gave it
a shot that way in the concert. The next day the tuba player from the
second orchestra stopped me in the hall and told me that in the five
years he'd been at CCM, he'd never heard such a huge horn sound. That
started what is now a 25-year investigation into concepts of
efficiency.
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