On 19/08/07, hans <[EMAIL PROTECTED]> wrote: > What is so difficult with this symphony ? I have received > several stories about it, that it is feared very much & horn > players are just happy when the horns are back in their > case. Yes, off course, it is a difficult piece, IF PLAYED ON > THE REGULAR BIG HORNS. But this symphony - I nicknamed it > "THE UNAVOIDABLE" - is a standard for every professional > chamber orchestra, which required a very light sound from > the horns.
Surely much the same can be said about the horn parts for most Mozart works? In fact, I wouldn't rate the 29th symphony as the most difficult of Mozart's orchestral works. It certainly has its challenges, and the held high Gs for horn in A have to be approached with delicacy. But there are other Mozart works I think are tougher for the horns, for instance the Piano Concerto No. 18 in B flat, which has a number of very exposed sustained high Gs for horn in B flat alto. > To day we have the right instruments to produce > this very special silvery sound: the single high-F horn. I accept that the single descant F horn can make it much easier to play such pieces with the lightness of touch that is necessary, but it seems to me that the musicality with which you approach the piece is more important than the instrument you use. Regards Jonathan West _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
