I apologize for the misspelling of your name, but my post was in
reaction to the way my suggestion was characterized ... My
suggestions aren't for everyone, but
it is pure arrogance to dismiss them publicly, as was done.
Bill, this "pure arrogance" business is as off the mark as your
misspelling of Francis Pressland's surname. My post quoted the
following, "If you are great with tritones then it won't be a
problem," an observation that I called "rather unhelpful" (if you
were "great with tritones" you wouldn't write to the hornlist to find
out how to transpose them). This quote originated from LT Traxx
(Digest vol. 44, issue 23).
Some of us take the digest version of this list. Your post about
Brahms 2 arrived in the very same digest that contained my own (vol.
44, issue 24), so I hadn't seen it before posting. Your comments were
neither cited, characterized nor dismissed.
I enjoy reading Jeff Snedeker's music reviews in The Horn Call, but
we can't possibly expect him to get through every new piece that is
published. Some rather special late Romantic works for horn have
appeared within the last few years that the publishers didn't send
his way. One is by Ferdinand Thieriot (1838-1919), who studied with
Eduard Marxen, Johannes Brahms' teacher, and became part of Brahms'
circle of correspondents when a conducting position took him to Graz.
While working at the Staats- und Universitaetsbibliothek in Hamburg,
Yvonne Morgan discovered a work for horn by Thieriot that was
composed in 1915 but never published, and she edited it for Amadeus
of Winterthur in 2004. The piece in question is a full-blown Sonata
for Horn and Piano in E-flat, and it is gorgeous. Not Brahmsian
gorgeous, but sometimes eerily similar and probably the closest thing
we'll ever have to a Brahms horn sonata. Highly recommended.
Bill Melton
Hauset (B) / Sinfonie Orchester Aachen (D)
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