[Hornlist] What I've learned in the past two days
1) If an wandering horn player his your town and asks, "anyone want to play duets" an important question to ask is "who is providing the music?" 2) Sight reading duets (for me) is harder than sight reading a lot of other stuff. I don't know why, but it is. 3) If you think such an event may happen again, and you own some duets, spend some time practising them so you won't have to sight read the next time. 4) It is a lot of fun and a neat way to meet other horn players. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] State Schools for MM Performance
How about UNT in Denton? It ain't New England but it ain't Austin, and certainly isn't Houston. On Thu, Aug 20, 2009 at 8:51 PM, Cathryn Cummings wrote: > Hello All, > > My apologies if this subject has been covered recently--I continue to fail > to keep up with all the posts. > > My question is: what have been your experiences with state schools at the > Master's level and are there any hidden gems out there that you would like > to promote? I know there are some great ones out there, but I want to hear > about specific experiences. > > The reason I ask is that I am a military musician and plan on taking > advantage of the Post 911 GI Bill in the next couple of years (I still have > some time on my contract and am also currently working on a Master's in Arts > Administration). My top two MM choices are both private universities (Rice > and Boston University, in my home and adopted home towns, respectively) that > are participating in the Yellow Ribbon program in which schools make up some > of the difference from the GI Bill, but funds can still be limited. I'd like > to have some high-quality state schools in my back pocket. Being from Texas > originally, I am pretty familiar with UT Austin and the Univ. of > Houston--I'd like to hear about other possibilities, particularly in New > England, but also in places I haven't even considered yet. > > Feel free to respond to me personally, but if you have something of value to > share with the list, please do so! I look forward to hearing your thoughts! > > Cathryn Cummings > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Health Care
Conductor induced head injuries? Horn players that walk off stage after some particularly stoopid comment from a conductor and beat their head against the wall to gain some relief, thus incurring additional injury? o ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR Healthcare in Europe
My large weather we're having, isn't it? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] the future of classical music
The death of classical music have been over predicted for how many years? When I left Dallas the first time. There was the DSO, which took a break during opera season to provide musicians for the opera orchestra. There are now at least five syphonies in the DFW area that are professional level. Members are paid performers. I hope I die like that. On Fri, Jul 10, 2009 at 6:53 AM, Anne Megenity wrote: > There was a recent discussion about whether classical music can continue > to attract patrons, which is worrisome to me in large measure. But last > night PBS carried a concert by the Berliner Philharmoniker featuring a > superb violinist named David Garrett, already a "star" performer in Europe. > He did straight classics, but combined them with jazz or "pop" music, some > of it his own compositions and had the rapt attention ( and participation) > of his huge audience. I've always been a horn addict and not that interested > in strings, but his playing was outstanding (IMHO) coming as close to the > human voice as I've ever heard. His own writings made wonderful use of the > horns and his performance of "Dueling Banjos" with a very young and very > talented youngster. In other words he has mass appeal and in the process > introduces new people to classical music at the same time. His is one > career I will not only follow but plan to make a trip to see him perform > when he visits SW Florida in October. If some other listers caught his > program last night I'd like to hear some opinions! > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/william.s.gross%40gmail.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Rare horn piece to be performed
Yesterday the local classical radio station played this abomination. The Concert Piece arranged for orchetra and solo piano. I informed their DJ of how I was disappointed that he would play such a thing. On 4/17/09, pmji...@aol.com wrote: > The Konzertstueck was recorded previously on period instruments by Gavin > Edwards, Robert Maskell, Roger Montgomery and Susan Dent with JE Gardiner > and the Orchestre Revolutionnaire et Romantique for DG. > > > > Also, the "Vienna Horns" CD has a great rendition of the piece. > > > > > So, it has been done before on Single F's. > > > > > I couldn't find the names of the hornists playing the OAE concert, but it > would be fun to hear... > > > > > Pete Jilka > > Kansas City, MO > > > > -Original Message- > From: Lawrence Yates > To: The Horn List > Sent: Fri, 17 Apr 2009 2:48 pm > Subject: Re: [Hornlist] Rare horn piece to be performed > > > > > > > > > Yes, but not five valved triple horns with top c extension and bar. > > Period instruments - There have been several periods in music (I've lived > through a couple of them!) > > During the romantic period they tended to use single horns with piston > valves and generally F or Eb crooks > > The Orch of Age of En (they must get a shorter name than that) use > instruments of the period of whatever music they are playing. > > Cheers, > > Lawrence > > 2009/4/17 Jeremy Cucco > >> Maybe I'm obtuse...or worse, dumb. >> >> But wasn't it written for valved instruments?? >> >> Lawrence Yates wrote: >> >>> I think it's rare because, if I remember correctly, the Orchestra of the >>> Age >>> of Enlightenment use period instruments. >>> >>> Cheers, >>> >>> Lawrence >>> >>> ___ >> post: h...@m > usic.memphis.edu >> unsubscribe or set options at >> http://music2.memphis.edu/mailman/options/horn/yateslawrence%40googlemail.com >> > > > > -- > Lawrenceyates.co.uk > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/pmjilka%40aol.com > > > > > > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > -- Sent from my mobile device ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Rare horn piece to be performed
Well not sure how you categorize "rare." It was done, rather well IMHO, by the DSO last spring. On 4/17/09, Natasha Stehr wrote: > > Dear all, > Just thought you might be interested to hear about this concert coming up > in London, featuring Schumann's Konzertstück for four horns and orchestra: > > Romantic connections > Wednesday 20 May 2009, 7:00pm > Queen Elizabeth Hall > > Bennett The Naiades Overture, Op.15 > Schumann Konzertstück for four horns and orchestra, Op.86 > Mendelssohn Symphony No.3 in A minor, Scottish > > Robin Ticciati conductor > Horn soloists of the OAE > > TICKETS 0871 663 2597 > www.southbankcentre.co.uk/oae > > > Natasha Stehr > Marketing Officer > Orchestra of the Age of Enlightenment > Kings Place > 90 York Way > London > N1 9AG > 020 7239 9374 > www.oae.co.uk > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] List Members
According to Cornucopia (A publication of the New England Horn Society) Paul Mansur, long-time editor of The Horn Call and contributor here, has died. I may have missed the announcement if it was mentioned here. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] (no subject)
More Koprasch for the server then. On 4/9/09, John Baumgart wrote: > No. The list has been blocking everything except for queries about whether > or not the list is working. See? This one got through. > > John Baumgart > > -Original Message- > From: horn-bounces+john.baumgart=comcast@music.memphis.edu > [mailto:horn-bounces+john.baumgart=comcast@music.memphis.edu] On Behalf > Of nelson lawson > Sent: Thursday, April 09, 2009 10:09 AM > To: horn@music.memphis.edu > Subject: [Hornlist] (no subject) > > I have not received any postings for 2 days. Is everything okay? > Sent with Wireless Sync from Verizon Wireless > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/john.baumgart%40comcast.net > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > -- Sent from my mobile device ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Archaic Kimchee
The East German judge awards a 9.8. Look Cabbage, there's a new, better gun in town. On 3/24/09, kendallbe...@aol.com wrote: > Confucius say: "Herb who sub in youth orchestra Foster learning amongst > young players." > > HF wrote: << I often wonder what the audience thinks of my white beard and > hair when I fill in the horn section in the mostly Chinese youth orchestra. > >>> > **Feeling the pinch at the grocery store? Make dinner for $10 > or > less. (http://food.aol.com/frugal-feasts?ncid=emlcntusfood0001) > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/william.s.gross%40gmail.com > -- Sent from my mobile device ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Leadpipe Question
I'm experimenting with a new leadpipe for a Horner Model Kruspe. I attached it last night and found that there was one note, high A Flat, that I just couldn't get to respond. I am doing this via mail order, so I can't take the horn into the gentleman doing the work. Is it possible that the physics of the match of the new leadpipe and the horn prevent that note from sounding? Is it memorex or is it me? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NEA and Economic stimulus
Seems like there are two issues at work here, funding for arts and restoring the US economy. Two valid goals, but when you look at national programs to end the recession and get the economy back on even footing it would be nice to fund programs that have a "multiplying affect." Since we're in a political realm things are going to be skewed by politicians who have the ability to get things added to bills that probably really don't have as great a secondary affect as would be desired. I've asked a few folks who make history their career about history of the US and economic down turns. We had several during the 1800s. Back then people could pack up and move West when things really go bad at home. The US has never really pulled out of a depression by means other than Keynesian. Some folks argue that FDR didn't get the US out of the great depression, World War II did. But if you look in detail what happened in the US during WWII you'll find it really was a massive Keynesian government program to build things and hire people. Matter of fact some folks on this list from time to time bring up the 7th Army Symphony. That wouldn't have existed without WWII. It appears then that the answer to funding for the arts and ending the depressed economy is to invade Iran. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] In-Dog-uration
If not mistaken, most of the service bands do all support smaller ensembles such as quintets, trios, etc. The brass quintet at Fort Leonard Wood was quite good as I recall. Bill Gross On 2/6/09, Steve Freides wrote: > On Fri, Feb 6, 2009 at 3:36 PM, William Gross > wrote: >> Yes, but how much is there in the repitoire of Bartok, Starvinski et. al >> for >> Military Band? >> >> If that catalog were extensive you might stand on firmer ground. > > Is there a difference between Military and Concert where bands are > concerned? I heard the West Point Band, don't know exactly what they > are called, but I was _very_ impressed with their command of a wide > variety of musical styles. > > -S- > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > -- Sent from my mobile device ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] In-Dog-uration
Yes, but how much is there in the repitoire of Bartok, Starvinski et. al for Military Band? If that catalog were extensive you might stand on firmer ground. On 2/6/09, Bear Woodson wrote: > >While you guys are concerned with Inauguration pictures, > on the Klarinet List they are more focused on how the > Presidential In-Dog-uration turns out: when they pick the > Presidential Puppy. That's when we will all get to see what > species, gender and color the First Dog will be, and if the > charming First Daughters will be able to tolerate it, in spite > of a history of Allergy problems. > >Besides, I've had a few dealings with the "White House > Marine Band", also known as the "President's Own", and > have found them musically wanting. Whereas they are more > than competent to play Sousa oom-pah Marches and Johann > Strauss Waltzes, when it comes to music written with a bit > more intellect and Harmony Invented After the US Civil > War, they fail miserably! Don't expect them to play Bartók, > Stravinsky or any of the More Modern Classical Composers' > music for you. > >Put your most intellectual hopes on the IQ of the impending > Presidential Pooch and you are less likely to be disappointed. > > >Bear Woodson > > "Bear Woodson" > http://www.fluteconnection.net/ > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] re: Pizka and Hypochondriacs
typo from trying to get something done before I head out the door and not using my glasses, then getting an emergency call from the Spousal Overunit "I can't find my coffee cup." It was meant to be emergency alerts. On Fri, Feb 6, 2009 at 6:22 AM, Lawrence Yates wrote: > Hi Bill, > > I'm sure I'm being thick or maybe it's just another example of the language > barrier, but I didn't understand your last post. > > What are "emergency alters"? > > Cheers, > > Lawrence > > Lawrenceyates.co.uk > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] WAM
I wish we had snow, all we had was a nice blanket of ice about 1/4 thick on roads, bridges and sidewalks. On Thu, Jan 29, 2009 at 12:18 PM, Adam Black wrote: > > Whilst waiting for your ice to melt, we here in Adelaide, Australia are in > the middle of a heatwave, where ice would be welcome. Two days ago, we had > our hottest recorded temp. in 70 yrs (45degs celsius). Can I dive into your > snow if you have some? > Adam Black> Date: Thu, 29 Jan 2009 11:51:54 -0600> Subject: Re: [Hornlist] > WAM> From: william.s.gr...@gmail.com> To: taoist70...@yahoo.com; > horn@music.memphis.edu> CC: > > Too busy waiting for the ice to melt and > listenting to all Mozart all the> time on local classical music station.> > > On Thu, Jan 29, 2009 at 11:19 AM, Ronald Rhodes wrote:> > > > Fellow listers,> >> > What a surprise and disappointment to note that > Mozart's birthday> > on Jan. 27 passed without notice on this list. Belated > birthday> > greetings to Wolfie.> >> > Ron Rhodes> > > ___> > post: > horn@music.memphis.edu> > unsubscribe or set options at> > > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net> >> > ___> post: > horn@music.memphis.edu> unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/adamblack65%40hotmail.com > _ > Twice the fun—Share photos while you chat with Windows Live Messenger. > http://livelife.ninemsn.com.au/article.aspx?id=669758___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] WAM
Too busy waiting for the ice to melt and listenting to all Mozart all the time on local classical music station. On Thu, Jan 29, 2009 at 11:19 AM, Ronald Rhodes wrote: > Fellow listers, > > What a surprise and disappointment to note that Mozart's birthday > on Jan. 27 passed without notice on this list. Belated birthday > greetings to Wolfie. > > Ron Rhodes > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] John Williams Inauguration Music
Anyone else disappointed in the John Williams piece? I was hoping for something scored for violin, cello, piano, clarinet and 12 horns. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] bass clef
New notation. On 1/15/09, Ralph R. Hall wrote: > > Dear (Low) Hornists, > > I would like to trawl the hornlist for some opinions about bass clef > preferences. > > As a composer/arranger and publisher (brasshausmusic.com), I would like to > conduct a poll amongst low brass players to find the vox populi whether they > prefer New or Old Notation in the bass clef. This poll is open until the > 15th February and then the collated results will appear both on the horn > list and my website - see above. > > Apart from the blatant self-advertisement, there is an underlying, serious > purpose to this. Writing music can be very different from reading music. > What is easier for composer/arranger/publisher is not necessarily the best > way of presenting music to the player. As a player myself I am conscious of > these things and certainly have my own opinion about the bass clef question. > > Once the data is disseminated (thanks to all those 2nd & 4th players who > feel they have never had an individual voice before!), I shall present > findings both here and on my website, courtesy of C.V. Faction, the best 2nd > horn in the world! > > Ralph R. Hall (brasshausmusic.com) > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: (no subject)
". . .Darned Blackberry! (Gotta blame it on that small keyboard). . ." Works for me. On 1/9/09, lewho...@yahoo.com wrote: > > Do'ah!!! > > I've been cabbaged after all these years! Look what happens when one > forgets one three letter word! > > Thanks for pointing out my error... Darned Blackberry! (Gotta blame it on > that small keyboard) > > Walt Lewis > --Original Message-- > From: horncabb...@aol.com > Sender: horn-bounces+lewhorn9=yahoo@music.memphis.edu > To: horn@music.memphis.edu > ReplyTo: The Horn List > Subject: [Hornlist] RE: (no subject) > Sent: Jan 9, 2009 1:08 PM > > Walt L wrote: > > I can't comment on the Texas Horns, as I've heard it. > > *** > I can't comment on your message, as I've read it. > > Gotta go, > Cabbage > > > ** > A Good Credit Score is 700 or Above. See yours in just 2 > easy steps! > ( > http://pr.atwola.com/promoclk/10075x1215855013x1201028747/aol?redir=http://www.freecreditreport.com/pm/default.aspx?sc=668072%26hmpgID=62%2 > 6bcd=DecemailfooterNO62) > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/lewhorn9%40yahoo.com > > > Sent from my Verizon Wireless BlackBerry > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Christmas, religious music, other questions
Allow me to quibble, it is relatively easy to test a new lead pipe. Easier to demonstrate than describe, but probably anyone could figure it out in a few moments. See my earlier response. You do make a valid point about spending some time with a horn teacher as well. On 12/2/08, Jonathan West <[EMAIL PROTECTED]> wrote: > > 2008/12/2 <[EMAIL PROTECTED]>: > > > > So my simple -- or perhaps simple-minded -- question is, is such a > leadpipe > > likely to improve the accuracy of my playing, assuming all other factors > remain > > roughly the same? I don't want to spend $600 or more, then find out that > I > > went in a wrong direction. > > The simple-minded answer is that without en expert actually taking a > look, it's not possible to say. It might be that you would get better > value from trading the horn in and using the $600 plus the sale price > to get a better one. > > The advantage of doing such a trade is that you can try the new horn > out and see whether you like what you are buying, *before* you part > with all that cash. > > Furthermore, if you have accuracy problems, a lesson or two with a > good local teacher may indicate whether you have embouchure problems > that are contributing to it, and that might prove to be better value > still. > > Others on the list can burn me at the stake for heresy if they wish, > but I've always taken the view that unless the horn is seriously > defective in some fashion, how you blow into the horn is of far more > importance than the type of horn you play, and far greater room for > improvement is usually available from concentrating on the player > rather than the instrument. > > I think the great majority of adult amateur horn players could quite > radically improve as a result of taking a short course of lessons from > a good teacher who is also a pro player, having the teacher point out > their weaknesses and offer suggestions for what needs to be done to > fix them, and then getting on with practicing the exercises necessary > to improve the weak points. > > Most of us, when we learned as children, didn't practice properly. We > played the pieces and studies we were told to by the teacher, but we > didn't really understand why a particular exercise was being put in > front of us - what aspect of playing it was intended to address. As an > adult, you can do better when learning. If the teacher explains why > he's making a suggestion, i.e. what he's trying to achieve, you have > both the understanding and the motivation to apply that knowledge in a > much more concentrated way. > > Regards > Joinathan West > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Christmas, religious music, other questions
I own a 1963 or there abouts 8D. The gentleman I was studying with at the time was gently urging me to consider a new horn. (not a Conn). Lawson loanded my their lead pipe to test. I did a blind test with my teacher and he was favorably impressed with the improvements of the lead pipe. (I had the thing taped in place and switched the main slide back and forth between the Lawson and original and played things for him while he had his back turned to me.) So I purchased the Lawson Leadpipe instead of a new horn. It makes my 8D more responsive on the high side. C above the staff is now much more certain for me. You might see if Kendall Betts will let you do a test as well. On 12/2/08, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: > > In my tremendous ignorance of too many things about the horn world, I > request > assistance on the following matters:\ > > > (1) Due to a modest inheritance from a comfortable, rather than rich, > uncle, > I have the funds to buy a leadpipe. I play a 1968 Conn 8D. Once in the > past, > about 8 years ago, for about a week I played another Conn 8D with a Lawson > leadpipe and found that my accuracy was much better than with my horn (but > my horn > was also then in need of valve reboring, as they were as much as 10/1000 > out > of tolerance, and the reboring helped my accuracy quite a bit.) (I played > the > other horn quite by accident -- I grabbed his horn case by mistake after a > rehearsal, and noticed that it greatly improved my accuracy). > > I posted this general question about a year ago, but the people who were > kind > enough to answer were obviously extremely knowledgeable music theoreticians > -- and what they said went WAY over my head. > > So my simple -- or perhaps simple-minded -- question is, is such a leadpipe > likely to improve the accuracy of my playing, assuming all other factors > remain > roughly the same? I don't want to spend $600 or more, then find out that I > went in a wrong direction. > > And, again in layman's terms please, are other aspects of horn playing or > sound that are improved by a lead pipe? > > And last, are there any besides Lawson that are worth looking at, in terms > of > improving accuracy? > > (2) Are there any good sheet music web sites for french horn that anyone > can > recommend? I have come across some web sites for sheet music that claim to > offer hundreds of horn pieces, but it takes forever to wade through, and a > lot > are just the horn parts for ensemble pieces. > > (3) Is anyone familiar with any good church music for horn and piano, or > unaccompanied, ideally a book or it -- meaning traditional church music, > rather > than the "praise" type music? > > (4) Is anyone familiar with any good Christmas music for horn and piano, or > unaccompanied horn? > > (5) Has anyone run into a brass quintet transcription of the Carmen Dragon > arrangement of America the Beautiful? I've always loved the horn obligato > towards the end of the orchestral and band arrangements. > > Thanks for any help anyone can give me. > > Ross Taylor > Tacoma, Washington > > > ** > Life should be easier. So should your > homepage. Try the NEW AOL.com. ( > http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&; > ncid=emlcntaolcom0002) > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] The ECONOMIST on "I Found My Horn"
The ECONOMIST a highly respect news magazine ran this review http://www.economist.com/subscriptions/offer.cfm?campaign=168-XLMT BLOWHARD Nov 27th 2008 ABOUT to turn 40 and bruised by the end of his marriage, Jasper Rees, a British journalist, climbed up to his attic and found a misshapen case containing his childhood nemesis: a French horn. Quite where the insane idea of playing a concerto before the annual gathering of most of the greatest living horn players came from is hard to tell, but the result is a marvellous memoir of a year's obsession that should be read by anyone gripped by illogical compulsion. What sets the horn apart? First and foremost, it is the sound--"a call of nature, an atavistic summons"--directly descended from the clamour that brought down the walls of Jericho. Then there is the astonishing difficulty of consistently hitting the right notes, let alone making music. Mr Rees, whose book came out in Britain in January and is now being published in America (and turned into a stage show in London), introduces the greatest players. First comes Giovanni Punto, an 18th-century Bohemian who became the subject of an aristocratic FATWA requiring the removal of his front teeth when he had the temerity to leave his boss Count Joseph von Thun's employment without permission. Then there was Mozart's friend Joseph Leutgeb (to whom Mozart dedicated his horn concerto, K417, calling him "ass, ox and simpleton"). There are three generations of Brains, a British horn-playing dynasty; Helen Kotas, the first woman to be principal horn player for a major American orchestra; Herman Baumann and the Anglo-Australian, Barry Tuckwell. What they all share is an absolute certainty that the horn is an instrument like no other. Richard Strauss called for "lots of horns, which are always a yardstick for heroism". Sir Simon Rattle puts it differently: "You never eyeball a horn player. You just don't. They're stuntmen. You don't eyeball stuntmen when they're about to dice with death." A Devil To Play: One Man's Year-Long Quest to Master the Orchestra's Most Difficult Instrument. By Jasper Rees. Harper; 324 pages; $23.99. Published in Britain as "I Found My Horn"; Weidenfeld and Nicolson; GBP14.99 Weidenfeld & Nicolson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Kendall Betts
I have tried to contact Kendall and his later ego about the amazing valve oil offer he made in this venue earlier this Fall. I've received no response. Has anyone made contact to take his alter ego up on that wonderful offer? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music "Dictionary" Recommendation
Any one care to recommend a reference book I could haul a long to rehearsals. Something that would be useful in figuring out more obscure performance notations, etc. Something that I could conveniently toss in my kit bag to have handy "just in case." ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Galveston Symphony
I've been watching the reports flow in from locals to the Texas emergency operations. I know there is Symphony with monthly (give or take) concerts. I wonder how the Galveston Symphony faired through all this. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Transpostion Assistance
I've been chasing Gustav, now Ike and finally hit a few moments respite. Managed to bring my horn along working on an upcoming performance. One of the works is in B Basso and my memory not as good in this matters as it should be, and logistics on this evolution being what they are, I am absent references. Cutting to the chase, can someone remind me how to do this transposition? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Speaking of Critics
I was trying to find an Army Manual for some work related stuff and stumbled across one for Military Music. I skimmed over it for a second before moving on. One particular paragraph caught my eye. Particularly the next to last sentence below. I can't help but wonder if a potential review by the NYT would classify as "an attack while performing their musical mission." 5-27. As with all Combat Service Support (CSS) units, Division and Army bands (Direct Support), and Army bands (General Support) may be required to temporarily augment local security during periods of increased combat intensity. Division and Army bands (Direct Support), and Army bands (General Support) train collectively for the effective execution of local security augmentation missions. These bands also train for self-defense during movement and self-defense in the event of an attack while performing their musical mission. The band commander will determine the frequency of security augmentation and defensive training. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Donzetti - Dirti Addio
I guess Han's meant to suggest you check out his website for that piece of music. I believe the url is http://pizka.com. I am away from my home computer so I may have that not quite right. On 8/14/08, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > -- Sent from Gmail for mobile | mobile.google.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] wasted year
RANT MODE: ON One of these days we are going to realize that if we want good public schools we have to pay teachers for doing too much of the "heavy hauling" In our society. It will costs and teachers don't have the cheering section police and fire do, but until we make that leap we will get what we pay for. RANT MODE: OFF On 7/16/08, Brass Arts Unlimited <[EMAIL PROTECTED]> wrote: > I cannot tell you how many times I have seen horns given to me by band > directors, let alone the students, that were strung backwards, with valves > in backwards, with slides in the wrong places, and so on. I am sure every > tech has seen this many times. I think the excuse you give for the band > director not noticing is quite generous. > > Dave Weiner > Brass Arts Unlimited > > Lets hear it for music education! I found this sentence about horn playing > on Yahoo answers. This girl just wasted a year of band. I guess maybe the > band director had too many kids in the class to notice one of them was > playing "oddly". > > "I played it for a year! but at the end of the year i found out that it was > strung backwards, and i was like OH THATS WHY IT SOUNDED WIERDI" > > LLB (back to polishing) > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > -- Sent from Gmail for mobile | mobile.google.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] NHR But no saxophones?
The video of this is making the rounds. It's a whole new danger being in a miiltary band. Three bandmembers were hospitalized and two tubas and a trumpet damaged unfortunately no saxophone was damaged in this event. Parachutist crashes into US army brass band Last updated: 10:02 AM BST 18/07/2008 This parachutist made a memorable entrance to a military parade – knocking over musicians like skittles after landing on top of a brass band. Three members of the US army's 1st Infantry Division needed hospital treatment after the accident yesterday. It occurred during the opening ceremony of the division's review in Fort Riley, Kansas. The first of two civilian skydivers landed safely, but Scott Hallcock missed his target by around 50 yards and careered into the band. The back row of musicians bore the brunt of his feet-first landing, which caused gasps of horror from the several-thousand strong audience. The band's commander said his musicians did not see the approaching parachutist because they were staring ahead waiting for the ceremony to begin. "You can't hear anything when there's someone coming overhead," Chief Warrant Officer Scott MacDonald added. One band member was knocked unconscious and another reported neck and head pain, but both have now been released from hospital. A third, who reportedly broke his leg, was still being treated. Two tubas were destroyed and a trumpet was badly damaged. The parachutist, who said that he veered of course after his parachute lines became tangled, declined medical treatment. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] horn list down time
Dan, Thank for keeping this small comminity connected. On 7/16/08, Dan Phillips <[EMAIL PROTECTED]> wrote: > The server that runs the horn list will be down for software and hardware > migration and upgrades some time Thursday morning, US Central Time. I hope > the > outage will be no longer than a couple of hours at the most, but any of you > who've experienced such things understand that there can be surprises along > the > way ;-) > > Dan > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > -- Sent from Gmail for mobile | mobile.google.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: MGM Symphony
I am on the road and away from the copy of Horn Call I referenced last night. I might be able to put my hands on it this evening. The name deLaRosa or something like that seems like a possible candidate. On 6/26/08, Steven Mumford <[EMAIL PROTECTED]> wrote: > Could it be Alfred Brain? > > > < from > 1954 on TCM this morning with the MGM Symphony playing La Gazza Ladra > Overture, and was wondering if anyone had a clue about who the > principal > horn was, or any of the section members for that matter. > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > -- Sent from Gmail for mobile | mobile.google.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] MGM Symphony
A friend un-loaded back issues of Horn Call. The Febm 2000 issue has an article "Horn Playing in Los Angeles from 1920 to 1970.". You might find something there. On 6/26/08, Brass Arts Unlimited <[EMAIL PROTECTED]> wrote: > Ok, all you history/section buffs out there, I was watching a short from > 1954 on TCM this morning with the MGM Symphony playing La Gazza Ladra > Overture, and was wondering if anyone had a clue about who the principal > horn was, or any of the section members for that matter. > > In doing a little digging, I also found a ton of references to the > conductor, Johnny Green, who had screen and composition credits out the > wazoo. I honestly had never heard of him (or didn't remember), so I should > be paying better attention I guess. > > And finally, this all reminded me of the current trend to simulcast opera in > movie theaters on a pay-per-view basis. An interview on radio with the > Baltimore Sun's music critic, Tim Smith, discussed the fact that this has > surpassed the Met's expectations, and is doing well for La Scala, also. > And, while it's probably not building opera audiences, at least it's getting > more opera fans a chance to have a live, if not in-person, opera experience > rather than simply hearing a radio broadcast. The concept of using > broadcast technology to bring a classical music experience to the masses is > not a new thing. > > -- > Regards, > > Dave Weiner > Brass Arts Unlimited > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > -- Sent from Gmail for mobile | mobile.google.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Kaoru Chiba on Dennis Brain
Thank you for this stuff on Brain. On 24 Jun 2008 18:08:39 +0900, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: > The encounter with (and farewell to) Dennis Brain > in 1950s must have been one of the most decisive > moments in Mr. Kaoru Chiba's life. He often shared > his precious recollections of this great teacher / > mentor with much younger generations. > > In the following conversation (told in a first- > person way), I hope you will also get some intimate > glimpse of DB's personality. > > (This is my personal & tentative translation done > in a hurry, so please forgive me for any inaccuracy > or ambiguity.) > > *** > > Kaoru Chiba on Dennis Brain > > (interviewed by Akashi-Minami High School students > on 4 October 2004) > > (How did you become a student of DB?) > In fact, I initially tried to study under Aubrey > Brain, DB's father. You know, the older the teacher > is, the more experienced – usually. However, I found > that Aubrey had been already dead by that time, so > I turned to Dennis, his son. > > (What was the first impression of DB?) > Very polite. You know the opera "Der Rosenkavalier" > by Richard Strauss? I first met him at one of its > recording sessions (note: eventually to become the > legendary EMI disc by the Philharmonia with Schwarz- > kopf, Ludwig & Karajan. The recording took place on > 10-22 December 1956). Having arrived in London, I > immediately telephoned DB to ask where to meet. He > suggested to come to this venue (a big theatre) at > 01:00pm, during lunch break. The recording would > resume at 01:30, so I'll have to be punctual – I > was told. > > I arrived shortly before one o'clock and walked > around. I saw the music stands of the horn section > and guessed where the Principal chair was. Then, > just 2-3 minutes to one o'clock, there came DB, > trotting jauntily. I was about the only Asian there > on that day, so it must have been quite easy for him > to spot me. 'Mr. Chiba, isn't it?' he said. To my > surprise, Herbert von Karajan also turned up there. > He had something to discuss with DB over certain > passage for the afternoon take. In fact, I had already > played for Karajan in Japan before, in the NHK SO. > 'What on earth are YOU doing here?' said HvK. DB > looked amused to know that we were already acquaintances > - Karajan and me. 'Why didn't you come to Berlin? > You didn't reply to my invitation at all, did you?' > said Karajan. 'So you are going to have lessons with > Dennis? That's a jolly good idea! Well, excuse me > gentlemen.' After Karajan left, DB said, 'So you are > already a fine player!' Thank God HvK didn't tell > Dennis to "avoid this hopeless wretch by all means"! > > (What kind of personality did DB have?) > Sincerity itself! Afterwards, we had lessons mostly > at his home. I stayed in the southern suburb of London > so I had to drive across the downtown to its northern > end (note: Frognal, Hampstead). Since the traffic was > often difficult and unpredictable, I always arrived > very early. On the first day, I parked my car in front > of his house and waited. Then, five minutes to the > promised time, a very stylish sports car pulled up and > DB came out, alone with many paper bags full of > groceries. 'Did I tell you a wrong time?' he asked. > 'No, no, I came quite early, just in case. London is > a very tricky place to arrive at anywhere punctually', > I replied. "Very good. I thought I had been late", > DB said in his elegant Queen's English! Although I > must have missed some of his words, he was so very > gentle to treat a young stranger from the other end of > the earth in such a polite manner. > > (Very punctual, wasn't he?) > Indeed. He was a real star player, constantly busy. > There was one amusing episode concerning his punctuality. > One day, they had a recording session which was rather > demanding. 'Hey, where's Dennis? It's only five > minutes to the next take!.' Everybody looked very > alarmed. "He must be at BBC", one person remarked. > 'He should be recording a recital program or two for > them.' This guy meant a joke, but DB really was! In those > days they had two and half hour lunchtime break. Dennis > sneaked out, went to the broadcasting studio and recorded > there a 30 minutes program, then hurried back in his TR2. > Five minutes to the afternoon take, he was calmly sitting > on the Principal Horn chair! DB was THAT meticulous and > punctual in using his time, but he seemed to be enjoying > all this. 'Your schedule seems awfully hectic! Aren't > you exhausted?' asked many people around him, but he > remained nonchalant. > > (What kind of concrete lessons did you have with DB?) > Musical interpretation. Even when I had a slightly > different idea musically, he respected it, saying > 'well, I wouldn't play that way, but yours is also valid'. > However, he was very strict and accurate in teaching how > to interpret a music. > > (Did you two differ in how to play a certai
Re: [Hornlist] Accoustics
This sounds like a keeper. I'm passing it to my former teacher. He did work with a lot of HS students and probably will again. On 6/23/08, Paul Mansur <[EMAIL PROTECTED]> wrote: > Dear John: I found through the years that young students practicing > at home often had small rooms, as yours, and in addition they tended > to practice softly so as not to disturb their families. Then, when > they played in a large hall or a band room, the habit of underplaying > played havoc with their full dynamics and with pitch and attack > control. I learned to tell them (and show them) how to play > robustly when they practice. I urged them to practice loud enough to > get on mother's nerves until she shouted: "Play more quietly" or > "Shut UP!" When that happens, then you are practicing loudly > enough. In essence it comes to the fact that you will perform > exactly the way you practice. Timid practice leads to timid > performance. If you try to compensate by just playing louder when > in performance (or in a full rehearsal) your under-preparation will > result in poor performance. One has to learn to play with control > over every aspect of performance. That means intensive effort to > control attacks, pitch, and sound at pp and at ff. Practice the way > you intend to perform, and hang your environment! Learn to work out > well in any size room. You must learn to be adaptive by controlling > your sound at all levels of dynamics. > > Mansur's Answers > > On Jun 22, 2008, at 8:14 PM, John Stacy wrote: > >> >> Hello. I am a student player and I have a problem. >> I usually practice in my room, which is not too big, but not too >> small. I outgrew it 5 years ago. But the response on the horn is >> good and I am trying not to overblow. >> But when I go back up to the band hall, the response sucks because >> of the huge room. How do I make it better for practicing in my room? >> >> You have to deal with stupid questions sometime. >> >> _ >> Need to know now? Get instant answers with Windows Live Messenger. >> http://www.windowslive.com/messenger/connect_your_way.html? >> ocid=TXT_TAGLM_WL_Refresh_messenger_062008 >> ___ >> post: horn@music.memphis.edu >> unsubscribe or set options at http://music2.memphis.edu/mailman/ >> options/horn/p_mansur1%40comcast.net > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > -- Sent from Gmail for mobile | mobile.google.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Wooden Mpcs
I wonder if he tried mesquite wood. I've seen it used in oil refinery labs and the stuff seems almost indestructible. On 5/30/08, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: > Ward Fearn made and patented wooden mouthpieces back in the 50's-60's. The > basis of his patent was that they changed the sound. To my ears, it was > darker, but all of the cups were the very deep, convex funnel type copied > from > old Kruspe/Dell'Osa mouthpieces popular back then which tended towards that > type of sound, anyway. His problem was that they would soak up moisture, dry > out, soak, dry, etc. and then crack. The end of the shank was very thin and > would crack easily as well. Ward said once one cracked in the middle of a > concert and rang out like a gunshot! He tried every type of wood he could: > oak, > maple, grenadilla, ebony, mahogany, etc. He also tried various finishes, > shellac, varnish, and chemical treatments. My Dad, a chemical engineer, even > got stuff from DuPont, a mylar epoxy as I recall, for Ward to try. Nothing > really helped the cracking. For a while, all the brass players in the > Philadelphia Orchestra were trying/using them. Ormandy hated it. They > gradually gave > them up and went back to standard pieces except for Ward. One night, Ward > clammed a note in Fidelio Overture. Ormandy glared at Ward, pointed to the > mouthpiece, made a slash across his neck and pointed to the stage door meaning > "Get rid of that mouthpiece!" Ward glared back at Ormandy, shook his head > side to side whilst pointing at the mouthpiece gesturing "No!" Then he > pointed at Ormandy and then gestured with his thumb towards the door: "YOU > GO!" > > I have three Fearnwood's. One is grenadilla, one is ebony and the other is > oak. Interesting is about all I can say. Many years ago, I tried some > Viennese mouthpieces that had been treated with radiation. The wood was > very hard > and they did play, but I sensed no advantage. Perhaps it is this type that > others mentioned here in previous posts. > > Maybe I should run an acoustical test comparing the wooden ones to metal > ones. The problem here is that the shape/design of the cup would have to be > the > same to get a good comparison. Hopefully, I'll get time to do this before I > die. Current data suggests, though, that the design of the mouthpiece has > much more effect on it's sound characteristics rather than the material, I > think. Apparent to me, at least, is that Bob's tuba colleague must have > made a > "good one." > > As to pasta, maybe Daniel or Orlando knows a chef who could come up with a > new pasta shape, like Funnelli, or Farkasini or maybe Lawsuono Bellissimo? > As > to potato mouthpieces, I would think a French fried version might work best > for us. This might give new meaning to the French term, "Chef D'Orchestre." > I hope not! > > KB > > > > **Get trade secrets for amazing burgers. Watch "Cooking with > Tyler Florence" on AOL Food. > (http://food.aol.com/tyler-florence?video=4&?NCID=aolfod000302) > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] potato Mpc
Becareful of that which you ask for. On 5/30/08, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: > Alright then, come on, somebody's got to experiment with this one - can > somebody please make a potato mouthpiece and try it out, maybe stick a > recording > on Youtube? > > Wouldn't a carrot be better (less material to trim away?) > > I tremble in anticipation! > > Cheers, > > Lawrence > > lawrenceyates.co.uk > > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] DSO Konzertstück
Something didn't make it. Similar problem to the Hans was having or so it would appear. On 5/16/08, Nepthalie Villanueva <[EMAIL PROTECTED]> wrote: > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] DSO Konzertstück
Following review is from the Dallas, TX Morning Fishwrap. After reviewer discussion of the Bruckner he closes with. "The program opened with as different a piece as could be imagined, Schumann's *Konzertstück* for four horns and orchestra. Gregory Hustis, Nicole Cash, Haley Hoops and Paul Capehart delivered playing by turns exhilarating, boldly sculpted and extruded in golden strands of tone. If this wouldn't put a smile on your face, nothing would." There are performances tonight and Saturday night at the Meyerson Symphony Hall. As i aside I was surprised to discover there are six horn parts to the *Konzertstück. * ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Falling Apart
Steve Haflich wrote: > probably the most embarrassing > thing you've done recently is your use of the word "song" in the > message above, posted to many hundreds of musicians... The East German Judge awards an 4.8 for the above. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Dallas Symphony Konzertstück
At the request of a friend I am re-sending this reminder about the Dallas Symphony's closeout to their classical season *May 15-17* Schumann: Konzertstück in F major for 4 horns and orchestra, Op. 86 Bruckner: Symphony No. 7 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Chinese instruments
What a hoot! "No offense intended" then the comment about such a viiew being bigotted. On 5/2/08, Jeremy Cucco <[EMAIL PROTECTED]> wrote: > John- > > No offense intended, but that is a rather myopic view on the subject and > quite biggoted against the Chinese to boot. > > In general, it is Westerners behind the counterfeit products coming out of > China. The Chinese get paid the same to do their work regardless of what > name gets stamped on the final product or whose product theirs visually > imitates. > > There are typically two (gross generalizations follow) types of products > coming from China - those designed and manufactured by the Chinese and then > sold to Westerners and rebranded for their own purposes (such as > entry-level pro audio gear - eg. KEL microphones and SM Pro Audio gear) and > then gear which is designed and labeled by Western companies and then > manufactered by the Chinese. This is often where the trouble comes in - > such as again in the case of pro audio Behringer - a company world renowned > for ripping off others' designs and having cheaper, poor quality versions > made by the Chinese for little money and even less quality. (However, on > the flip side of the coin, some companies have outsourced to China with > great results - such as Quad Loudspeakers and Mojave Audio.) > > In this case, I would comfortably assume that the Chinese companies are > simply being told "build this horn to this specification" and then some > western company (the one that is responsible for the design and sale to > Westerners) slaps a similar appearing name and serial number on it. > > This is so common in the European and American marketplace, it's not even > funny. > > I recently had an opportunity to speak via e-mail with a person who was > inadvertently behind the creation (or build that is) of a fake/fraudulent > replica of the venerable Shure SM57 microphone. He was not aware of the > original 57 and since he doesn't have access to many Western websites, he > wasn't aware that he was creating a fraud copy. > > Just some food for thought. > > Cheers, > Jeremy > > -Original Message- > From: "John Baumgart" <[EMAIL PROTECTED]> > To: "'The Horn List'" > Sent: 5/2/08 6:41 PM > Subject: RE: [Hornlist] Chinese instruments > > For the record, I'm not optimistic about this situation. That was someone > else. Yes, Chinese manufacturers may soon turn out acceptable school horns, > but some will also turn out counterfeit name-brand horns, much as they do > with other items. A seller on eBay will list what looks like an older 8D, > complete with a legitimate serial number and Conn engravings, as well as > some simulated wear. A well-intentioned buyer knowing not to buy a "Selman" > or other well-known crap horn will buy this thinking it's an Elkhart 8D. > Heck, even the forged serial number checks out. The buyer gets the horn and > it plays sort of OK, and many will be none the wiser until it's time to get > a repair done and it's nothing more than a high end Selman, Schmort, Corn, > Alexnerdan, Yummyhan or what have you. Chinese counterfeiters know no > bounds when it comes to screwing people. > > John Baumgart > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf > Of Tom Warner > Sent: Friday, May 02, 2008 3:40 AM > To: The Horn List > Subject: Re: [Hornlist] Chinese instruments > > > On 1 May 2008, at 11:20 pm, John Baumgart wrote: > > > Speaking of Chinese made horns, Kit wrote: "A couple of years in the > > future > > when the manufacturers learn what they're doing, these instruments > > may start > > to become quite acceptable." > > > > I agree. I'm one who's actually optimistic about the future of Chinese > > instruments. > > It's already happening with other brass instruments. > > Importers are demanding a high level of quality and instruments based > on proven designs. One brand is advertising that they've had their > lead pipes designed by a well known and respected custom instrument > maker. > > The prices are rising with the quality but I've been told that it's > still possible to get, for example, a trumpet that's _very_ similar to > a Yamaha Xeno for approximately half the price. > > In the Brass Band world, Virtuosi in England are selling what to all > intents and purposes are professional quality instruments at student > prices. > > It's a growing area and there's no reason it can't happen with horns. > > I'd almost be willing to bet that right now, somewhere out there there > is a very well built and good playing Han 8D or 103. > > All the best, > Tom > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/john.baumgart%40comcast.net > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com
Re: [Hornlist] Re: Flanders & Swann
This is at least the second time I've used an NPR/CPB source in the listed only to be corrected by someone with better knowledge. It looks like that as a source they are not to be trutes. On 4/23/08, Richard <[EMAIL PROTECTED]> wrote: > Bill Gross wrote > Check the tempo the two use for the piece. As I recall it is much faster > > than normal. The story I heard was that Flanders used a recording of Brain > playing the Mozart to come up with the piece. He was using a record player > not quite set right and played back at much faster than normal. So much so > that Swann really wore himself out playing the accompaniment at that > accelerated tempo. > > --- > > I performed Ill Wind as part of a complete concerto performance about a > year and a half ago. Michael Flanders was a basso and sang the piece at > pitch. His tempo was quite moderate, among other reasons because it > takes longer to spit out the text than to simply play it. He did leave > out the second episode of the Rondo, so I played it when it came up and > then went back to singing. I am a tenor, but have added some bottom as I > aged. I was able to sing the part, but I could not rumble out the low > Eb's as he did. > > The lyrics are available at the Flanders and Swann web site: > http://www.nyanko.pwp.blueyonder.co.uk/fas/anotherhat_ill.html > > Try singing this at a faster tempo than the normal hunting rondo and let > me know how you do. > > Richard Hirsh, Chicago > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > -- Sent from Gmail for mobile | mobile.google.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] SMU Horn Ensemble
The program for tonight . . SMU Horn Ensemble Spring Recital Thursday, April 17th 2008 Meadows Choral Hall Gregory Hustis, Director Members of the 2007-2008 Horn Ensemble: Michael Boggs, Amanda Collins, Amy Israeloff, Jordan Johansen, Katie Kirkpatrick, Eric Renfro, Sarah Reno, Scott Strong, and Seth Yost. Overture to the Magic Flute Wolfgang Amadeus Mozart (1756- 1791) arr. Alan Civil Hänsel und Gretel Engelbert Humperdinck -Prelude and Chorale (1854- 1921) arr. Jeffry Kirschen Carmen Suite- Music from the Opera for Horn Quartet Georges Bizet (1838- 1875) arr. Kerry Turner Vier alte Brummbären- Ein musikalischer Scherz Herman Jeurissen nach Julius Fučík und Richard Wagner (b. 1952) The Devil's Herald for Tuba solo, Richard Peaslee Four Horns and Percussion (b. 1930 ) Bass Trombone, Daniel Brady Percussion, Aaron Trewitt and Steven Breedlove Overture: The Barber of Seville Gioachino Rossini (1792- 1868) arr. John Humphries Bogoróditse Dévo from the All-Night Vigil Sergei Rachmaninoff (1873- 1943) trans. Scott Wise Bachianos Brasileiras Heitor Villa-Lobos - No. 5- Aria (1887- 1959) Horn Player's Retreat and Pumping Song David Stanhope ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Phantom Stagliano LP
As I started reading this I was thinking this fellow ought to contact Peter Hirsch - then I got to the end and had an Emily Letilla moment. On 4/6/08, Punto <[EMAIL PROTECTED]> wrote: > I have just been browsing through the Summer 1959 Long Player classical > record catalog (including stereo records[!]). Before you point out that > I really ought to get a life, I will save you all the trouble by > acknowledging my obsession when it comes down to tracking the wild horn > recording (apologies to Euell Gibbons). When I reached page 69, to my > surprise, I saw a listing for a James Stagliano record of the Hindemith, > Bentzon and Wilder sonatas (at least the ones that were composed by > 1959) and an arrangement of the Ravel Pavane on Boston Records (no. > 211). Now, please don't write to tell me that you have his "French Horn > masterpieces" vols. 1 & 2, his Mozart Concerti, Britten Serenade, > Thuille Sextet, Brahms trio, Mozart K. 407, Stich Quartet or the Strauss > sonatina, etc. Got 'em and they are a dime a dozen as far as > availability (though they are fine examples of incredibly expressive, if > frequently out of tune, playing, particularly in the upper register [he > had "no" lower chops, if you take the scherzo in the Britten as any > example]). What I have never seen and would dearly love to possess is > THIS one. It way well never have actually been released, since there is > no mention of it being held by any library in OCLC WorldCat, there is no > citation in Mike Hernon's French Horn Discography and a fairly > exhaustive online search turns up a blank. > > If anyone has any leads or information that they could share, it would > save my having to try to locate Stagliano's heirs or pester the BSO > archives. > > So, any old NEC horn students out there? > > Thanks, > > Peter Hirsch > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > -- Sent from Gmail for mobile | mobile.google.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: The fun of conducting!
Most definitely a solid, well discernible down beat. This is most particular of value when a group is performing a work such as Symphonic Dances by Rachmaninoff and similar works. Though in discussing this with my horn teacher, and the frustration felt on the lack of a clear down beat I commented "It's a amazing that the number of people who don't get lost." His reply, "You'd be surprised how much an orchestra can accomplish in spite of a conductor." ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] test
You really know how to fight dirty. On 3/27/08, Daniel Canarutto <[EMAIL PROTECTED]> wrote: > > Hans wrote: > >To make you more jealous, we just returned from Emperor Duck > >restaurant... The ducks are real jumbo ducks. We had problems to eat > >our 1/2 duck... > > All right, Hans, I'm jealous, but... the last time I saw you, you > told me you were going to lose weight... now, just to make you > jealous: I lose 4kg recently. > > All the best wishes, > Daniel > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] chicken or egg
Is anyone else missing Han's text? I've seen a couple of e-mails from him hit the list but not text. It could be my e-mail reader. On 3/14/08, Eric James <[EMAIL PROTECTED]> wrote: > > Mozart wrote for horn and orchestra only. In fact, he wrote nothing for > horn and piano. Strauss wrote a piano reduction for the first concerto. I > don't know if it came before or after the orchestration. I don't think he > wrote a piano reduction for the second concerto. > > Eric James > > - Original Message > From: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> > To: horn@music.memphis.edu > Sent: Thursday, March 13, 2008 8:28:27 PM > Subject: [Hornlist] chicken or egg > > Dumb question - > > When Mozart and Strauss wrote their horn concertos, did > the orchestrations > or the piano parts come first. > How did the composers write it down and did someone else later condense > the > orchestration to piano or orchestrate the piano part? How did it evolve? > > Ron > > > > **It's Tax Time! Get tips, forms, and advice on AOL Money & > Finance. (http://money.aol.com/tax?NCID=aolprf000301) > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/eric_d_james%40yahoo.com > > > > > > > > Never miss a thing. Make Yahoo your home page. > http://www.yahoo.com/r/hs > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Mozart Concerto #3
Thank you. On 3/3/08, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: > > The discant technique (higher than high written high c) was lost > completely after the invention of the valves as valves allowed all half > steps available on natural instruments (non valve instruments) in the > highest stratospheres. Nobody could ever imagine playing up to written high > g, as their horizon was limited by the difficulties of the still imperfect 3 > valve F-Horn. Nobody (even today) can imagine that it is much easier to > climb the stratospheres playing on a longer tube. well, the pitches are > lower then, but 24rth partial remains 24rth partial. > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Mozart Concerto #3
Was it just hubris on their part, or had quality of horn playing dropped off after Mozart's era? I am just curious why something like the Duets were accepted horn music at one period seem to have been considered as "too hard" for horn players. On 3/3/08, hans <[EMAIL PROTECTED]> wrote: > > Musicologist as usual ! They know all much better than the > involved instrumentalists . > > > === > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of William Gross > Sent: Monday, March 03, 2008 4:15 PM > To: The Horn List > Subject: Re: [Hornlist] Re: Mozart Concerto #3 > > Hans, > > Were the professionals you mention below, horn players or > musicologist? > > > On 2/2/08, hans <[EMAIL PROTECTED]> wrote: > > > > Yes, Walt, it was possible to make some chromatic trill > scal, but it > > depends on the work itself. A show piece would carry such > a cadenza, > > but not a Mozart concerto. That´s the difference. - Some > professors > > are quite funny. Example: When the first Mozart complete > Edition was > > published, nobody could even imagine that a horn could > play up to the > > 24rth step of the natural scale (written g3), so they > contributed the > > horn duets to English Horns ?? > > > > > > > > > > > -Original Message- > > From: [EMAIL PROTECTED] > > [mailto:[EMAIL PROTECTED] On > Behalf Of > > Walter Lewis > > Sent: Saturday, February 02, 2008 3:09 PM > > To: The Horn List > > Subject: Re: [Hornlist] Re: Mozart Concerto #3 > > > > Hi Everyone, > > > > I have read Han's response, and want to tell a tale of > when I had to > > play Mozart 3 for a jury in my first year of college. What > Hans says > > about playing and writing a Cadenza kind of fits, so I > will be > > telling a tale on my inexperience. > > > > My horn prof told me to write a cadenza, and I did, > practiced it and > > took it to my lesson, where he said it was "ok". I > remember finishing > > the cadenza with a descending chromatic scale, trilling > and then > > concluding. When I performed it, the Trombone professor > nastily > > remarked that there would NOT be a chromatic scale, due to > the fact > > that natural brass instruments had no valves to play > chromatic scales. > > I took that fact back to my horn prof, and he took his 8d, > said watch, > > listen and learn, Walt. He proceeded to play a chromatic > scale by hand > > stopping his 8d...He said next time you see the Trombone > prof, show > > him this trick. I later did...To conclude, the Trombone > professor now > > conducts a community orchestra (he can't conduct his way > out of a > > paper bag, or electricity for that matter) and rarely > hires me to work > > for him. I think he held a grudge all of these years. > > > > Motto of the story: Take Han's advice, and do something > more > > traditional. > > > > Walt Lewis > > > > Howard Sanner <[EMAIL PROTECTED]> wrote: Tim > Kecherson > > writes: > > > > > > > > I am playing Mozart's 3rd Horn Concerto in June, and I > am > > looking for > > > a = cadenza to play. Is the cadenza necessary? > > > > > > Yes, absolutely! It's part of 18th Century performance > practice. > > > > > > > > > If so, where can I find = > > > one? > > > > > > Well, you could do what other players, myself included, > > have done, and write your own. You could also transcribe > one > > (or more) from recordings. On the whole, I suggest the > roll > > your own approach as being best, not least because it'll > > give you good experience. The purpose of the cadenza is > for > > the player to show his "stuff." If you write your own, you > > can tailor it to your strengths (and avoid any > weaknesses). > > It's unlikely, however fine a player you are, that your > good > > & bad points will *exactly* match those of another person, > > though I realize that top-notch players will be able to > > manage any cadenza. > > > >Howard Sanner > >[EMAIL PROTECTED] > > > > > > > > ___ > > post: horn@music.memphis.edu
Re: [Hornlist] Re: Mozart Concerto #3
Hans, Were the professionals you mention below, horn players or musicologist? On 2/2/08, hans <[EMAIL PROTECTED]> wrote: > > Yes, Walt, it was possible to make some chromatic trill > scal, but it depends on the work itself. A show piece would > carry such a cadenza, but not a Mozart concerto. That´s the > difference. - Some professors are quite funny. Example: When > the first Mozart complete Edition was published, nobody > could even imagine that a horn could play up to the 24rth > step of the natural scale (written g3), so they contributed > the horn duets to English Horns ?? > > > > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of Walter Lewis > Sent: Saturday, February 02, 2008 3:09 PM > To: The Horn List > Subject: Re: [Hornlist] Re: Mozart Concerto #3 > > Hi Everyone, > > I have read Han's response, and want to tell a tale of when > I had to play Mozart 3 for a jury in my first year of > college. What Hans says about playing and writing a Cadenza > kind of fits, so I will be telling a tale on my > inexperience. > > My horn prof told me to write a cadenza, and I did, > practiced it and took it to my lesson, where he said it was > "ok". I remember finishing the cadenza with a descending > chromatic scale, trilling and then concluding. When I > performed it, the Trombone professor nastily remarked that > there would NOT be a chromatic scale, due to the fact that > natural brass instruments had no valves to play chromatic > scales. I took that fact back to my horn prof, and he took > his 8d, said watch, listen and learn, Walt. He proceeded to > play a chromatic scale by hand stopping his 8d...He said > next time you see the Trombone prof, show him this trick. I > later did...To conclude, the Trombone professor now conducts > a community orchestra (he can't conduct his way out of a > paper bag, or electricity for that matter) and rarely hires > me to work for him. I think he held a grudge all of these > years. > > Motto of the story: Take Han's advice, and do something more > traditional. > > Walt Lewis > > Howard Sanner <[EMAIL PROTECTED]> wrote: Tim > Kecherson writes: > > > > > I am playing Mozart's 3rd Horn Concerto in June, and I am > looking for > > a = cadenza to play. Is the cadenza necessary? > > > Yes, absolutely! It's part of 18th Century performance > practice. > > > > > If so, where can I find = > > one? > > > Well, you could do what other players, myself included, > have done, and write your own. You could also transcribe one > (or more) from recordings. On the whole, I suggest the roll > your own approach as being best, not least because it'll > give you good experience. The purpose of the cadenza is for > the player to show his "stuff." If you write your own, you > can tailor it to your strengths (and avoid any weaknesses). > It's unlikely, however fine a player you are, that your good > & bad points will *exactly* match those of another person, > though I realize that top-notch players will be able to > manage any cadenza. > >Howard Sanner >[EMAIL PROTECTED] > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/lewhorn9%40ya > hoo.com > > > > - > Be a better friend, newshound, and know-it-all with Yahoo! > Mobile. Try it now. > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka. > de > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] More on Valve Clicks
Can anyone offer diagnosis over the internet? Second Valve on my 8D clicks. Applying valve oil to the shaft will clear it up for three or four days. Shaft feels secure, no wobble. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: C.F. Schmidt History
Kendall, To help me understand this, did the Horner Model Kruspe develop parallel with the Schmidt, or did Horner "borrow" a little of the Schmidt design when he went to Kruspe? On 1/30/08, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: > > Actually, the 8D leadpipe is copied from the Schmidt, as are many others > including Geyer, Reynolds, King, Olds, Holton, generic Allied, etc. It's > a > long, gradual F horn taper. It's probably a better pipe than the Kruspe > pipes in > regard to intonation but both have upper register problems. It's the > alloy > where Conn really made a boo-boo. They used plain old nickel-silver and > not > the nickel-bronze type alloy that Kruspe used. That helps explain the > difference in sound between silver Kruspe's and the Conn 8D. Close, but > not quite > a cigar. > > As Howard mentioned, Schmidt's were fine instruments and used by many top > players including John Barrows, Jim Buffington, Forrest Standley, Dick > Mackey, > and Dale Clevenger. The Conn 4D and 6D tapers were copied from the > Schmidt > and wrapped up different. > > KB > > > In a message dated 1/30/2008 1:01:17 P.M. Eastern Standard Time, > [EMAIL PROTECTED] writes: > > The Conn 8D was modeled after the Horner model Kruspe. The Schmidt > features a piston F/Bb change valve, rather than a rotary valve. Many > people, especially with smaller hands, have found this awkward. Several > Schmidt owners have had a metal lever extension made to replace the > piston button in order to minimize the stretch. > > Conn, however, at one time did make a Schmidt copy double horn. > > > > > > **Start the year off right. Easy ways to stay in shape. > http://body.aol.com/fitness/winter-exercise?NCID=aolcmp0030002489 > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horn Repair in Dallas
Looking for recommendation on horn repairman in Dallas. Houghton is a good place but a long hike for me. I'm looking for an alternative. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Case Questions
I'm in the market for a new case for an 8D with detachable bell. I'm looking at the Conn Screw Bell Case and the Bonna case. There is a couple of hundred dollars difference, in the two is the Bonna case that much better a case? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] What's the "Scoop"
I think it has something to do with hand positioning. On 1/8/08, Joe Scarpelli <[EMAIL PROTECTED]> wrote: > > I was just channel surfing and came across the scene in the movie Scoop > where Woody Allen picks up a Horn and asks Scarlet Johansson if she knew > "the dirty joke about how a French Horn player sleeps with his wife?" Does > anybody? Is there one? > > Joe > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
