Language nuance differences, I think. On Aug 13, 2010, at 10:01 AM, Milton Kicklighter <[email protected]> wrote:
> Hans you missed my joke :) > Milton > Milton Kicklighter > 4th Horn Buffalo Philharmonic > Retired > > > > > ________________________________ > From: Hans Pizka <[email protected]> > To: The Horn List <[email protected]> > Sent: Fri, August 13, 2010 9:35:21 AM > Subject: Re: [Hornlist] fitting in as part of getting a job > > Hello Milton, > > if the second is that good, I can agree, but this is relevant only, if > they play together as a duo > or if the play as a section together with 3rd & 4rth. > > But the 2nd will not be able to do anything for the first, when the > first plays real first soli without > any other horn playing the same time. > > How can 2nd help at the end of Heldenleben or the opening of the till. > Or with Long Call or > Short Call in Rhine Journey. > > Well, a very good 2nd, means a supportive partner, can make the > Menuet of Beethoven no.8 or No.22 > in Cosi fan tutte or some Brahms sound better, if he or she takes on > the first horns skin. Ooops forgot > Webers "Freischuetz" & many others. > > But you are very alone if playing Midsummernights Dream Nocturno, or > Tschaik no.5, the Siegfried > Calls, Beethoven 6th, but be better with excellent 2nd & 3rd for > Eroica or Don Juan. > > It might also be stated, that even the best 1st horn is not enough to > form a good section. Excellent > 2nd, 3rd & 4rth are also required to make a superb team. > > But this was not the question: > > it is much easier to find a replacement for a 2nd, 3rd or 4rth than to > find & get a top 1st to jump in. > And real good 1st horns charge their price. I never worked for tariff. > > Many years ago, Stuttgart opera called me mid morning (just two hours > drive away), to save same days > "Siegfried" there, playing first act starting at 05:00 PM. & The Long > Call. I told them the amount I would charge, > which was on the upper limit but never exaggerated. They told me, it > were too much. > So I responded: "If you will call me again after a while it would cost > double, because I would > have practised then already !" - Be sure, they hired me the > same moment, as they had called me as their last chance anyway. > > = > = > = > = > ======================================================================== > Am 13.08.2010 um 15:02 schrieb Milton Kicklighter: > >> Ok Hans, >> >> I know I will get jumped on for saying this, but I have always heard >> that: >> >> The job of the 2nd horn is to make the 1st horn sound good. :) >> >> Milton >> Milton Kicklighter >> 4th Horn Buffalo Philharmonic >> Retired >> >> >> >> >> ________________________________ >> From: Hans Pizka <[email protected]> >> To: The Horn List <[email protected]> >> Sent: Fri, August 13, 2010 12:46:47 AM >> Subject: Re: [Hornlist] fitting in as part of getting a job >> >> Hello Scott, >> >> I did not question the quality of a 2nd, 3rd or 4rth player nor did >> I talk about >> the conductor. >> >> I talked about the general acceptance & view of the audience: "Did >> you notice >> the mistake of the horn ?" .... "the horn". >> >> They never say 2nd or 3rd or 4rth. It is that way. >> >> And, Scott, let us talk realistic: >> >> you mentioned higher parts for 3rd horn, well, Mendelssohn, Rossini >> & Donizetti >> - but what is so special with them ? These solos are nothing more >> than simple >> calls or simple accompaniments, which were just normal stuff when >> written, as >> players just used horns pitched that way. >> >> you mentioned very low parts in the lower horns - but what is so >> special with >> them ? The first horn has to play down to written c (below 4 ledger >> lines) and >> in E-flat (Rheingold, Goetterdaemmerung, Heldenleben, etc.etc.). >> >> you mentioned Copland requiring the 2nd horn climbing up like the >> first horn - >> what is so special with that. That is part of daily work. >> >> It seems, you & others have not understood this difference between >> Solo & tutti: >> >> a solo player has to be responsible for the whole section; a solo >> player does >> not have a solo in all pieces, but plenty solo spots & plenty longer >> very exposed solo spots (did you ever play Benj.Brittens opera >> "Billy Budd" ??). >> A solo horn has to play much more notes in a given piece than anyone >> in the >> section definitely. Accepted, Mozart & Haydn have the horns as >> pairs, mostly. >> But the soli, the real soli, are in the first horn. The soli for the >> second are >> like Kopprasch (Oxford, Cosi fan tutte). >> >> It is the amount of soli, which counts for the first horn. >> >> And again, it is much easier to fill a section vacancy than a solo >> vacancy, be >> it permanent or occasionally. The demand upon the embouchure of a >> first horn is >> enough from the full time job plus subbing occasionally, so they >> often do not >> accept offered extra jobs. I talk about the physical & mental >> demand. But good >> section players (often hindered soloists !!!! as they say !) can >> accept more of >> these tasks without risking something. A first horn cannot sit in >> the studio the >> whole morning & afternoon, if Heldenleben or full Rosenkavalier are >> on the >> program at night, second horns can do it. >> >> >> May-be, the situation in your country is different, as the firsts >> use an >> assistant, while we do not use an assistant, with exceptions (I used >> an >> assistant in my last years, when we were on tour & had Heldenleben >> in the one >> program & Bruckner no.8 in the other, plus other stuff: Chopin piano >> concerto, >> Don Juan & Four last Songs). >> >> But I confess, we solo horns never come together with the view of >> the tutti >> player, but we do not look down upon them never. In contrary, we are >> very happy >> if we get the right support by them, if they follow our interpretative >> intentions, if they "take over our coat of tone colors", if they >> just imitate >> our phrasings & expression. >> >> Peace, Scott ! >> _______________________________________________ >> post: [email protected] >> unsubscribe or set options at >> https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/kicklighgter%40yahoo.com >> m >> >> >> >> _______________________________________________ >> post: [email protected] >> unsubscribe or set options at >> https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/kicklighgter%40yahoo.com > > > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/bgross%40airmail.net _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
