The SCHPLOIEEOIEEOI clams (see explanation below in the
original letter) are those which cruise in the hall for
years bouncing from one wall against the other, creating
uncountable stories .. AND these clams are the truely
unforgetable and most beautiful clams. But still, the
conductors have
In a message dated 28/12/2005 22:44:32 GMT Standard Time,
[EMAIL PROTECTED] writes:
the players use vibrato extensively, which I believe was the standard
practice of the Horn School in France at the time the recordings were
made. I'm not sure if it still is...
No it isn't. When I
. And lost almost all the special character of the
French School of Horn Playing .
=
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of [EMAIL PROTECTED]
Wasn't use of vibrato also favored among Eastern European horn players?
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
Prof.Hans Pizka
Sent: Thursday, December 29, 2005 3:49 AM
To: 'The Horn List'
Subject: RE: [Hornlist] Sarre chamber orchestra -
I agree with Hans! This is the most exciting recording of the
Konzertstuck ever recorded!
CORdially,
Luke Zyla
Prof.Hans Pizka wrote:
. And lost almost all the special character of the
French School of Horn Playing .
[EMAIL PROTECTED] wrote:
Yes, Michael, there is a Prof. I. M. Gestopftmitscheist!
Those who have no idea what Cabbage is talking about should Google Yes,
Virginia, there is a Santa Claus.
___
post: horn@music.memphis.edu
unsubscribe or set
In a message dated 29/12/2005 09:50:15 GMT Standard Time,
[EMAIL PROTECTED] writes:
. And lost almost all the special character of the
French School of Horn Playing .
Yes, exactly,
All the best,
Lawrence
þaes ofereode - þisses swa maeg
_http://lawrenceyates.co.uk_
I believe it was Indiana Universitie's Myron Bloom who worked in France
(Orchestre de Paris) and attempted to make the French adopt the big Conn 8-D
horns and sound concept. Before Myron Bloom entered the scen; it was common
to see ascending horns and hear a much more 'nationalistic' sound. Now
Now, I am the mostestest of thankings having to you all for joining in the
CLAMSAA celebrations so please be having some looks at the updated web page
devoted to our devotions:
_http://www.horncamp.org/clamsaa.htm_ (http://www.horncamp.org/clamsaa.htm)
Seasonings Greetonings and Mostest
I had some trouble deciphering the comments here with all the 3D=3D=3D's
=20s
I have a felling that Barboteu was the alpha omega of the French Vibrato
School.
As for the best concertstuck recording,
For me it's:
Calgary Philharmonic Orchestra / Bernardi
with
William Hopson, Kurt
Actually, this is only part of the story, and a little bit off at that.
As explained to me by Michel Garcin-Marrou (who was there):
French orchestras were losing their recording contracts due to the
uniqueness of their sound in the WW's and brass. The producers and conductors
were
In reality though, the Vienna Philharmonic is an original instruments
group in the truest sense.
I've heard a lot of players in Vienna are using doubles and triples for
security in the high register, but cannot substantiate this claim since
I don't remember from whom I heard it or any
Steve Frenchy Freides inquisites:
But Professor, I do not see bivalvulation explained. Please enlighted me,
or at least tell me what it means.
Now, here is the definition as defined in the Kopprasch Heritage Dictionary:
bi·valve n. 1. A mollusk, such as an oyster or a clam, that has a
I had to work part-time to earn spending money and to pay for my horn
lessons. Vinnie
talked to his dad and he gave us both jobs as Vermin Control Assistants at
the landfill.
This required us to shoot the rats with .22 caliber rifles as we were not
old enough yet to
carry handguns. Sal
OK, since I'm the one who knows him the best, after all, and he was and
still is in a way, MY TEACHER, I can tell you what little I know about his
background. I can only surmise some of this, and other stuff is factual, to
the
best of my memory but please don't mistake any of this for
French orchestras were losing their recording contracts due to the
uniqueness of their sound in the WW's and brass. The producers and
conductors were
deeming them unmarketable. Daniel Barenboim brought in Mike Bloom (who
was
available as he had just left Cleveland) to serve as co-principal
Marc Gelfo wrote:
Also, I'm curious how they pull of things like the low E in the 4th
mvt
of Shostakovich 5, which cannot be played on F horn (I guess maybe
sort
of you could bend down pedal F# with F123, but that would be
treacherous to attack an out-of-the-blue piano low E with that
message: 1
date: Wed, 28 Dec 2005 12:12:25 -0600
from: John Wunderlin [EMAIL PROTECTED]
subject: [Hornlist] Re: The Real Prof. I. M. Gestopftmitscheist
No...because Prof. I. M. Gestopftmitscheist is a tangible
being...but just what is his REAL identity? Come one...somebody
help me out
I don't believe that anyone in the Vienna Philharmonic uses a triple horn. A
double horn; perhaps for the extreme pieces such as Sinfonia Domestica and
such maybe. Hans would know. I DO know that Gottfried von Freiberg played a
Paxman F/F-Alto descant on the last recording he made (Midsummer
Surely, you cannot imagine that, as you are not familiar
with the F-horn playing technique of the Viennese school.
At first, what is so important with that Shostakovich no.5 ?
It is just a wave, a fashion not more will fade. And if
they play, they can use a different crook for this passage
or ask
Not only, a short grip to the tuning slide of the Viennese
Horn, a light pull, would make another half step, as there
are 2 inches to pull or more. And a pull on the third slide
would add to it. All a matter of seconds.
Do you know, how to make the sound of a muted wagnertuba if
there is no mute,
I've more or less made up my mind to order a boxed set =
of Brahms Choral music with the 4 songs performed by the London
Symphony =
Chorus/City of London Sinfonia conducted by Richard Hickox. There's
a =
whole lot more choral music in the five box set - and I'm sure
there's =
plenty that's
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