I believe that Mr. Young misses the "Solo Horn" implications of being the Solo horn in a major symphony or opera orchestra. The Solo Horn not only takes on the responsibility of his/her part but also takes on the responsibility of the section and its position in the orchestra with regard to solos.
Mr. Young probably would not be present when the conductor calls in the Solo Horn to discuss the _ horn player. The conversation usually goes like this. Conductor: What are you going to do about the _ horn at D. Solo Horn: I will take care of it. For those who don't know about collective bargaining Agreements(CBO), to call in the horn player in question would trigger legal requirements better left to the Solo Horn. Even in the best of orchestras, situations arise to make the above necessary. Keep in mind that not all conductors of Symphony/Opera Orchestras are the music director. Also Conductors have a way of asking for things in the music that are not entirely understood because of English as a second language leading to much confusion. Ralph Snake Horn Player Extraordinaire -----Original Message----- From: [email protected] [mailto:[email protected]] On Behalf Of [email protected] Sent: Thursday, August 12, 2010 2:37 PM To: [email protected] Subject: Re: [Hornlist] fitting in as part of getting a job 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 _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/dbhorn%40nc.rr.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
