Herr Pizka wrote:
But it is different regarding tutti players. But who points upon tutti players
in case of
a mistake ? They just point to the first horn.
First, allow me to express my repect for Hans (as he has asked me to call him),
as a performer and teacher. I read every word he writes, gleaning through his
posts and web site for any advice he gives and I think he is an invaluable
resource for this group. However, I disagree with this view point, esp. in
regard to the fantasy that Horn 1 as the solo horn. Having played
professionally in many (admittedly lesser) organizations as a member, sub, or
in an ensemble formed for a single performance, as a soloist to 1st horn
through 2nd Bb tuben and all parts in between, I have never played in a group
where the conductor pointed at (or blamed) Horn 1 for the fourth horn blowing a
solo (or any other musical line). I have, as Horn 3, covered a fourth horn
solo in a student (training) orchestra, but never in a professional situation
(The offending player would have been fired at the earliest possible moment).
We would never allow such a thing to happen. I grant that Horn 1 is re
sponsible for setting the musical style of the section, and that Horn 1 sets
and enforces the musical vision of the section, but unless I am mistaken, when
I cover second (or third, or fourth, ad nausum), I am the only person covering
that line, making me the soloist of that part. This is a non-trivial
distinction when playing Beethoven symphonies and many others (Stravinsky,
Saint-Saens, Brahms, et al). When I do lead a section, I prefer a more
collaborative leadership style (although as principal, I always reserve the
right to dictate style), trusting in the professionalism and musicality of my
section mates. The hiring process usually takes care of those that do not
possess professionalism and musicality in sufficient measure. After all, what
skills are required of the Horn 1 player that are not required in the tutti
players?
Range? Of course not! Copland requires Horn 1 and 2 to play the same high
notes, while the second also has to be able to negotiate an octave or two
lower. Horn 3 occassionally has to play higher than Horn 1 in any given piece.
Accuracy? By far the most challenging part for accuracy is the Horn 2 part.
Tone Quality (timbre)? Sheesh, do I even have to answer this? NO!
Technique? Of course not!
Ability to solo convincingly and musically? What about the famous Horn 2, 3,
and 4 solos we all study and some of us lucky ones get to perform?
I play second horn in one of the orchestras I perform in. The reason I play
second is because that is the position that was open. I played a solo and
excerpts and I had a trial period (one year) before I was offered full
membership. Does this mean I am the second or third best player in the
section? No, it means I was the best player the day of the audition for the
part I auditioned for. All this for a regional orchetra (third tier)! Long
story short, in today's professional orchestras it takes an entire section of
solo quality players to produce the best section.
Respectfully Submitted,
Scott Young
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