Phil had gone to Indiana and ended his tenure with the CSO when the Farkas line of horns began coming forth. I saw Phil at a large number of the IHS symposia and on a number of other occasions over a period of about 20 years. He always was carrying one or two of the Holton horns with him and played on one every time he performed. He spoke highly of his Geyer horns but after the CSO years I never saw or heard him play on anything other than one of the Holton horns.
CORdially, Paul Mansur > Over the years, my experience with Holton has never been as an owner, but I > have played a lot of them. The first I remember playing was the original > brass > model 77, and It compared favorably with Kruspes and Alexanders prevalent in > Boston at the time. Since then, there have been a string a Farkas model > horns. The big NS ones are decent, but never memorable. The smaller ones > always > sound like a horn with a mute in. My daughter got a 178 from her school, and > I > spent hours trying to find what had to be stuck in it. Yet, I still come > across the occassional model 77, usually still owned by the original owner, > never > to be parted with, and it makes me wonder who makes these assanine decisions? > Was Farkas really as 'commercial' minded as his tenure with Holton seems to > suggest? Did Farkas actually play a Holton, or just shill them? > _______________________________________________ > post: email@example.com > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/p_mansur1%40comcast.net _______________________________________________ post: firstname.lastname@example.org unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org