Hello Rachel and others,
Jim Winter was a man of a vast knowledge not only regarding
the horn. It was a great pleasure talking with him. I can
say that I was most happy to have Jim Winter as guest in my
house many years ago (1989). I miss this distinguished
professor very much.
To the
Adminstrators ? Administrators ? They have a certain policy
described at Why doing things in a simple way, if there is
a complicate confusing way ?. That´s their philosophy.
But this is a world wide epidemic.
Cheers
Hans
In his wrath, god created the horn - but it is not from
the bible. Emil Wipperich entered it after the solo of the
third horn of Der Waffenschmied by Albert Lortzing when he
saved a performance at the Wuerzburg Stadttheater replacing
third horn (the solo is for third horn). He came from the
Sorry to correct you,John, but as I have stepped back from
the principal position a yeasrt ago - and it was the right
decision - I might say, that my successor as leader of our
horn section, Johannes Dengler, (my alternating first horn
since 12+ years) has licked the blood gotten the right
taste.
On any travel, it is very important to prepare the horn
against damage. Thee are the various cases with advantages
disadvantages. But few have thought about preparing the horn
against an heavy impact when the case falls down either on
the broad side or the smaller side. What happens then ? The
If the valve caps are hand engraved (means deep engraving),
the horn should be from that time.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Steve Freides
Sent: Wednesday, July 12, 2006 8:17 PM
To: 'The Horn List'
Subject: [Hornlist] Alex 103 -
A fully chromatic horn (my use of horn is for the
instrument, named Horn, corno, cor, lesni rog, valtorn,
etc., not in the American meaning og the generalized horn)
is a horn which allows the player to play down from the
first octave of the fundamental for one half of an octave
(tritonus) without
That is the usual problem with modern repair: just buy the
spare part replace it. Any idiot can do it. We are getting
the same problem over here in Europe, as the E.U.
commisssion abandoned the master for most handicrafts ,
except the security relevant professions handling
electricity gas a few
Simon, when they invented the valves, they were intended as
a replacement of the various crooks. There were many
attempts to invent such a device. But as soon as they had
found the solution to there problems, they added two valves
first, but the third valve (1 1/2 steps) was added soon. The
valves
.
-Original Message-
From: Hans.Pizka [EMAIL PROTECTED]
To: 'The Horn List' horn@music.memphis.edu
Sent: Sun, 9 Jul 2006 18:33:27 +0200
Subject: RE: [Hornlist] Haydn Symphony No. 46
Simon, when they invented the valves, they were intended as
a replacement of the various crooks. There were
It is also nice transposed down a third, as did famous
baritone Hermann Prey, himself a specialist for Schubert
lieders. He initiated the Schubertiade festival in
Feldkirch in Austria. It really sounds nice. Have done it
that way with Hermann Prey also did it in regular E with
several sopranos.
The anti-humorous thing is it, that we care most for
blending the sound at best, but studio manager, recording
technicians, (deaf) conductors, orchestra manager dont care
except for the budget. It happen so many times, that
(special public TV companies) they show the wrong
instruments at the wrong
But you have to chopp it the right way. That´s what I said.
Even difficult or boring etudes exercises should be
practised as if they were concert pieces full of nice music.
The same happen with contemporanean music. If you treat it
the same way as you do for Beethoven or Brahms, you will not
like
It is quite interesting to know, that there were NO
B-natural(H)-alto crooks nor were there B-nat.(H) basso
crooks ever made. I had quite all types of hand horns but
have never seen such crooks, but :
O.k. there were no Bb-basso crooks either until the very
late Haydn-time, included the adaptors
According to Viennese tradition, there were no Bb-basso
crooks used before W.A.Mozarts Il Seraglio. And, as said
before, the horns in H (B-natural) are just for one single
Haydn symphony.
H-horn (basso) appeared much later e.g. with G.Verdi,
J.Brahms, but they did not think about using a
You should read the title more carefully. Tenor Soprano
are high voices both would fit both pieces. The Schubert
is also avaiulable for Baritone or Mezzosoprano. Even
Schubert specialist Hermann Prey did it transposed when I
played with him.
One can even play a C-major scale musically have fun, so
it be with etudes.
===
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Larry Jellison
Sent: Monday, July 03, 2006 9:01
Hello, it is very helpful to have this list, but one thing
is missing:
The article should mention a permission by the IHS to
reprint it, as there is a copyright also valid for John
MacDonald. Just to be correct.
Yes, I know that Dr.Christopher C. Leuba played the first
horn in many Dorati -
As most brass repair shops have no experience with sterling
silver, I asked my old master horn maker Hermann Ganter. He
said, there is no problem fixing lose braces with regular
soldering metal. Special soldering metal would only be used,
soldering new braces together, while they will be fixed on
Klaus, you have to remember the instruments used for
Beethovens violin concert were naturalhorns. And a
naturalhorn in G speaks so easy shiny silvery, that the
ppp (at the end of the slow movement) written c2 - c2 - d2 -
e2 (played as d2 - d2 - e2 - f#2 - in F-horn terminology)
should come
Can you imagine, casting mouthpieces precisely as for these
bunch of super curious horn players who even see a
difference in the bore of 0,1 mms or less as a catastrophe -
or better said as a welcome excuse fortheir own failure ?
Or, how to home bake new rotors, where even professional
drillers
have had to play the said bars. A later editor may
have seen the chance to give the 1st pair a rest, when the
2nd pair by equipment was expected to be able to take over.
Klaus Smedegaard Bjerre
--- Hans.Pizka [EMAIL PROTECTED] wrote:
But I sat on horn THREE with this insertede passage of
first
instrument, not necessarily is perceived that way by the
horn player.
Is there any edition of the Norma-score available on the
web? I have problems reading off paper, but I have some well
lit large computer screens.
Klaus Smedegaard Bjerre
--- Hans.Pizka [EMAIL PROTECTED] wrote:
Klaus, even you make
well
lit large computer screens.
Klaus Smedegaard Bjerre
--- Hans.Pizka [EMAIL PROTECTED] wrote:
Klaus, even you make a good point regarding band music, I
doubt if you
really understood my message:
It is written at the inserted 1st 2nd part that these
eight bars
should be played
Thank you, Bill, I got a lot down loaded including the Titl
Serenade twice for cello, flute harpe replacing horn,
flute piano/harpe the orchestra versionfrom 1902. Have
it by my own on very early schellack with (I think) Oscar
Hieber Gustav Kaleve (whom I met on his 90th birthday,
when we
Yes, exactly, Steve, this is the bad effect of band playing
- it is simiöar to play ballet music, just ooompah ooompah
ooompah. These short notes do not allow a development of any
tone quality reduce your playing to a mere noise making.
It will destroy your practice effort eventually. So be very
These problems (soft playing along with 2 clarinets as a
quartet) is solved by the use of a cone mute mostly ( I
would not need that as I can even whisper on the F-side),
but the cone a bit lifted.
I played third horn last night for the opera Norma (same
name as a very successful supermarket chain). Horns 1 2
and 3 4 are set as pairs in the parts, but there is a spot
near the Finale of the 2nd act, where horn 1 2 are
inserted into the parts 3 4, just half notes full 4/4
held, a phrase
The dimensions for the on-boad-case are regulated
internationally. They are 22 x 16 x 8 inches or 55 x 40 x 20
cms. If the flat case fits into this more or less (bit
thicker but also shorter e.g.), nobody might expect any
problem. Non cut bell cases , well, it depends on the
tolerance of the
then be performed by a smaller orchestra (2
horns)?
Regards,
-Michael Henry
--
message: 11
date: Fri, 30 Jun 2006 14:54:56 +0200
from: Hans.Pizka [EMAIL PROTECTED]
subject: [Hornlist] Norma - horns
I played third horn last night for the opera Norma (same
name as a very
This horn is a true example of the Viennese horns in the
style of Josef Felix Riedl (Vienna), but it is badly damaged
the starting price is really a fantasy price. And it is
not a rotary horn as it has pumpen-valves.
You can also fix the bearing plate, by first removing it
setting it in properly (there are marking which must be
aligned. To set it right flat, get a thin but strong plastic
tube, get it cut flat, put it at the bearing plate so it
covers the niple, set the plate in with two light hammer
stokes
.
-Original Message-
From: Hans.Pizka [EMAIL PROTECTED]
To: 'The Horn List' horn@music.memphis.edu
Sent: Fri, 30 Jun 2006 22:56:39 +0200
Subject: RE: [Hornlist] RE: Norma - horns
They are not, be sure. If the orchestra would be a small
orchestra, they would have horn 1 2 but not horn 3 4
Check the inside bearing plate, if it is set properly.
===
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Snapfoo
Sent: Friday, June 30, 2006 2:08
Have you tried Billaudot ? I think, they have published it
under the care of Michel Garcin-Marrou or Daniel Bourgue.
=
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL
Hello Rachel, Osmun would have them probably. - For those
not much familiar how to change the corks (made of cork or
neopren), you could find pictures on my Web
www.pizka.de/Change-Corks.htm - description of necessary
tools, tricks etc.
Cork is easier to handle easier to cut when in place, but
Thanks for the very informing news, but I might point out,
that cork get into place easier. Wrap the cork piece (uncut)
within a thin towel use a plastic hammer to hammer it oval
carefully. It should slide into the horseshoe easily. Use a
thin flat instrumement (cabbaqge, dont fool me about this
Hello Rachel, I will get back to your letter in details,
but have to correct you strongly this time:
THERE IS NO WAGNER TUBA IN THE RIDES OF THE VALKYRIES,
sorry. Third act of Valkyre or Walkuere has no Wagnertubas,
as they are employed in the acts 1 2 only, where horn 5 to
8 have a complete
Dear Rachel, therre is just one single spot in the no.8
Bruckner symphony where the quick change, the two measures
(117/118) rest for the 1st Bb-tuba to change to the horn
no.5 fot just 8 measures. All the other changes are very
easy within 13 measures rests or more. Movement 2 has just
horns,
Lawrence, does it matter much at the amateur orchestra, to
play these 8 measures on the wagnertuba instead of the horn
Isn´t that a bit too much ambition similar to the
ambition of an amateur orchestra playing Bruckner no.8. This
kind of experiments should be prohibited for amateur groups,
as
Hello Steve, wouldn´t it be better to ask your teacher to
assign you to another piece than Mozarts D-major concerto or
many other short pieces first ??? The D-major concerto is
not that easy as many teachers might think. Explore the
short pieces by Eichborn or other songs first to stabilize
the
Rachel, Rachel,
The person who lent me both the tuba and the mouthpieces
insisted that both were identical.
Why did you play this gig on two borrowed instruments
borrowed mouthpieces, - as a responsible player I would
have my mouthpiece with me at least. At an important gig
Does not
Does it matter really when using a spray horn ??
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of [EMAIL PROTECTED]
Sent: Saturday, June 24, 2006 2:10 AM
To: [EMAIL PROTECTED]; horn@music.memphis.edu
When Mahler asked that, he had just single horns in F or Bb
in the orchestras not the modern double horns with much more
resounding mass.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of John Mason
Sent: Thursday, June 22, 2006 6:02 AM
To:
Hello, permanent rhingitis is a real problem for a wind
player or everyone. Get this cured by an allergologist as
soon as possible, as it will ruin all your practising effort
if not cured.
Sticking with a piece of music for a long time to perfect it
has a very common reason:
One is not ready for
Rachel, you said some very true things, but I do not get the
horn wagnertuba story. Why did you use completely
different mouthpieces for the two instruments ? If the rim
is about the same just the cup different, why should it
ruin the embouchure ? If using two different (size) rims,
well, it
Thank you, Anthony, for the CD. I just listened to it,
following the first horn part. You are right absolutely. The
high b-natural (written upbeat c2 for E-horn) is one octave
higher. It can be heard clearly, and it is the horn no
overtones or trumpet. It is the typical sound of the
Viennese when
Steve, this is a bad example. For me everything is just out
of tune, some notes too sharp others too low. It does not
sound as a group from VPO. Well, but this is a very old
recording.
=
-Original
Did your conductor have a phone conference with Gustav ? Why
dont the VPO not use as many horns as possible on stage
? These stick weaving idiots ! Well, admitted, there
are few good ones left, often to good as persons also, so
not to make a career.
Just an information: please inquire privately
My mouth piece is available now again silver plated or gold
plated (just a limited number). Also two of my double horns
are ready for shipment. Have tested them in actual
performances the last two weeks.
The two discovered pieces for two horns in E
Hello Adrian, while I still have to listen to the recording,
I checked with the parts found that horn 2 horn 1 enter
here unison (up beat to the fifth measure after rehearsal
mark Q or the 44th measure bevor the end of the 1st mov.
Or to measure 398) with written c2 for horn in E, a synkope
over
: Hans.Pizka [EMAIL PROTECTED] Nobody here
plays Brandenburg 1 or the Quoniam on a double horn. The
sound is too heavy.
Sorry Hans,
Phil DID say: Adjust YOUR environment.
He did NOT say Adjust TO your environment. He did not
need to say it-as these are things we already know
Exactly, that is the feeling, but most stick weavers cannot
understand it. Or they do not want to understand it.
=
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL
the musicianship of
the orchestra, but he does not understand the unique
problems of hornists - of course, he is not alone, so we
need to be somewhat forceful in pointing out the realities.
Fred
On 6/19/06, Hans.Pizka [EMAIL PROTECTED] wrote:
Exactly, that is the feeling, but most stick weavers
cannot
-they
were about 6 feet to the right of the 4th horn.
from: Hans.Pizka [EMAIL PROTECTED]
it is INSANE to have the timpani in the back of the horns
Despite all attempts to convince the director, we are unable
to change this in one group I play in. They have the horns
pointed at the audience
That´s the Beethoven Sonata !
===
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of [EMAIL PROTECTED]
Sent: Monday, June 19, 2006 7:19 PM
To: horn@music.memphis.edu
Subject: [Hornlist] Re: Just an odd observation
You
Sorry, Adrian, it reads: Quoniam tu solus sanctus
altissimus Deus , which has been abused by a certain
trumpet player from Dresden to read the music in D alto,
regardless the musical content. You forgot the letter c in
sanctus.
Rachel, you generalize too much even you have played a lot
your aspect is different to the real pro. Pro means full
time professional, full season (not just several months a
year. Pro means, making a living by music making as main
income.
Playing all kind of music on just one instrument is
This horn looks excellent. It seems to be from
Marcel-Auguste Raoux (died 1871), thus around 140-150 years
old is in fantastic condition, worth more than 5.000
anyway. And equipped completely. If I were much younger, I
would buy it to play it. Just spending the money to have it
laying around, not
Once again I repeat here: it is INSANE to have the timpani
in the back of the horns, as the timpani sound will tilt the
horns sound. You can blow blow blow, but nothing is to
be heard except if the timpani have rests. The same happen
for both sides, if the trombones sit in the back of the
horns.
I own a wonderful TV recording of Bruckner no.4 with Roland
Berger playing first Rafael Kubelik conducting.
Does anybody know the Urfassung ? We just played it
severaltimes will do it on our European tour late
September early October. First horn is very busy. The
symphony is completely
.
Klaus Smedegaard Bjerre
--- Hans.Pizka [EMAIL PROTECTED] wrote:
I own a wonderful TV recording of Bruckner no.4 with
Roland Berger
playing first Rafael Kubelik conducting.
Does anybody know the Urfassung ? We just played it
severaltimes
will do it on our European tour late September
The Schumann is high, really high, but has a lot in the
middle range where one can regain strength. Extreme is just
the prelast page, where the first horn goes up to d3 e3
(2nd half of the page). But here is it best, to play a lot
on the F-side to have the turbo gear (tumb valve) to swith
the
Sorry, Matthew, the original questioner said, he practised
the Trio from Brandenburg 1 the Quoniam felt
difficulties. The two pieces will never be put on a program
together except by some insane concert planner. Missa in
B-minor is too long allready. And, just for the Missa: one
does not sit all
What is a metrognome ? Is it a dwarf in the metro ? I know
only METRONOME.
But it is a nice, very nice typo.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of
Nobody here plays Brandenburg 1 or the Quoniam on a double
horn. The sound is too heavy. Yes, you can practice play
the Quoniam on a single F, if you know how to play LIGHT. It
is not a Tooo-teee-taaa-t-to-blast. It is just a
bit ornamentation, filigran. So is the Brandenburg Concerto.
Horns should not point verse the audience and first horn
should sit left from the second third left from fourth.
Using your terminology a b it should be like:
conductor
-1b1a2a2b--
-3b3a4a4b--
It will enable the core quartet to hear each
Hello Karon, brass contains no nickel, but special brass as
Neusilber (=alpacca, white metal) as often used for
mouthpieces and for some parts of the horn contains nickel.
Hand contact from the horn to the lip might not be the cause
of your allergy, but the lip contact with the inside of the
cup
Hello friends, when did you both approach Hermann Baumann ?
You should consider that he was terribly ill after his
stroke some 15 years ago and he is 72 now. One should
understand, that everybody gets tired sometimes.
Hello Steve, there is an old methode to get a stuck slide
out: put a few drops of thin oil at the edge of the shanks.
Use a lighter heat the shanks just a bit but move the
lighter so the fire cannot damage the lacquer. By the heat,
the oil crouches into the shanks gets them lose. Get all
slides
Last time I played under his baton was Bruckner no.9 in
Madrid four days after von Karajans last concert (Bruckner
no.9, where I replaced ill Friedrich Pfeiffer of VPO in the
Musikverein Saal, April 23rd 1989 11:00 AM), had Madame
Buterfly the same evening in Munich, flew to Budapest next
morning
Sorry, was not VPO but VSO (Vienna Symphony). As far as I
know, Woess did not conduct Vienna Phil. But he was good for
Viennese music, Wagner, Bruckner, Beethoven. He himself
began as 2nd violin. Thee is another story of him, when he
was in Tokyo as MD of the NHK symphony (Radio Symphony). He
had
Hello Rachel, quite nice stories, but as these happen in
orchestras, I would question their professionality or regard
them as immature youth perhaps. Things like that are not to
happen in the top orchestras, sorry.
But we frequently make the conductors laugh, when they give
the downbeat at the
By pulling the tuning slide out a bit as soon as you need
the mute to be put in. A modern (cone) mute should have an
adjustment screw to move the inner part up or down. There is
another way: just pull the cone mute out a bit while playing
hold it. Gives you the same mute character, tone
Hornplayers other musicians tend to develop a certain
habit get fixed on that. What has that to do with the
slides ? Yes, it has to do with this, as hornplayers get
used to their lipping up or down according to their first
instrument when they have not developed the right skill
either to hit
No, this is not the method. It should better read Adjust to
your environment ! , as Josef Schantl told the young Karl
Stiegler, then solohorn in Wiesbaden: Think allways about
the room its acoustic, where you are playing !.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL
There is also the acquired perfect pitch, means the a is
fix stored in the memory. There is a lot of education
involved.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of James Wester
Sent: Thursday, May 25, 2006 2:24 PM
To: horn@music.memphis.edu
Subject:
I possess a letter by Josef Schantl, written to the young
Karl Stiegler, when he was at his very first big engagement,
at the royal state theatre in Wiesbaden:
Allways consider WHAT you are playing WHERE, adjust
volume, tonquality (he meant density, carrying power, color)
to the composition AND
When I was a student in Vienna, i rehearsed the Tschaikovsky
piano concert with the horn entrance in E-flat. But I got
ill had to stay in hospital suddenly after the dress
rehearsal. So the called a replacement for me, who started
the piece in F instead of E-flat.
Or, we had an extra player to
is the rogator Romanus?
Emory Waters
-Original Message-
From: Hans.Pizka [EMAIL PROTECTED]
To: 'The Horn List' horn@music.memphis.edu
Sent: Mon, 22 May 2006 21:51:17 +0200
Subject: [Hornlist] Who knows this poem
Omnis tulit punctum Punto, cui Musa bohemia Ut plausit vivo,
sic moriente gemit
The great artist (theatre) Angelo Neumann (1838-1910) wrote
in his memories: When Wagner conducted Beethovens
´Eroica´ in Vienna, horn virtuoso Levy committed a clam
during the delicate Scherzo, As the humorist (writer)
Mauthner, sitting in the first row, started laughing because
of the
Omnis tulit punctum Punto, cui Musa bohemia
Ut plausit vivo, sic moriente gemit
Muta rogatoris romani puncta minora
Mozardi punctis. Hicse rogatur honor
Please, Paul, let the others answer. I know, you know it.
___
post: horn@music.memphis.edu
Mastersinger Ouverture Thriumph March from Aida
(transposed off course) match very well together as proved
by the late Giuseppe Patane (conductor pianist) who played
that for us on the piano many years ago.
What will you do, if you have a conductor in front, who
knows everything about a certain big piece and leads the
piece following every flydropping in the score like it were
the Holy Evangelium, but has not 1/1000th percent of
charisma taste ? Who is a fleshless, temperamentless
superbly studied
It is done in the German language, so I have to apologize as
I adopted it mistakingly too often in my English letters.
H.Pizka
=
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL
Two of my nice double horns are ready for shipment. Both
silver gold plated as usual. If you are interested
seriously, write me off the list please.
There is a possibility also, to make two Viennese
Pumpenhorns with the valve pistons made of titanium (means
ever lasting), special light fast
Hello Rachel, this is really important, but more, it is
important to know that playing in pitch is a floating
task. Why ? Our brass instruments, also the woodwinds are
not tuned in a metric system but an acoustical system
where the halfsteps are not equal. So we have to listen with
whom we are
There is another method for sight reading, while the
described singing method works well. But the other one is
for advanced use by experienced music readers: converting
the seen image (notation) to sound, instantly reading the
music as sound chords musical clusters. That´s what I do,
as same as
Yes, Kendall, I second your opinion. Here in Germany, they
had a new survey about schools school results. They were
katastrophic. They rank last in Europe were first just one
generation ago. And the politicians are the same low level
rather demagogues than deputies of the people. Well, they
You have no time to do this during a performance. The best
way to get along with this:
Try out a horn, correct things if slide adjusting will do
it. Remember the other sharp or flat notes (should remain
equal sharp or flat at the step created by the valve(s) - as
just the whole horn is shifted
Hello Klaus others,
Thanks for transmitting the pdf file of that piece. I tried
hard to understand the horn part how it would make sense
to play it with hand horn, as a valved horn did not exist
that time, well, there was an exception: the invention by
Dickhuth with the easy extendable tuning
An accent on every note !
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Mark Syslo
Sent: Friday, May 19, 2006 8:32 PM
To: horn@music.memphis.edu
Subject: [Hornlist] accentare ogni nota?
Charles Chaynes 15 Etudes for horn
#VIII
accentare ogni nota
I instantly hear the sound, the complete sound.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of [EMAIL PROTECTED]
Sent: Friday, May 19, 2006 8:31 PM
To: horn@music.memphis.edu
Subject: Re: [Hornlist] Re: Ear Training
Hans,
When you see the note, are
Chord in the staff, a full score, whatever. Needs a lot of
experience, off course, score-reading experience. Does not
work with most contemp works.
-Original Message-
From:
Find a clean point for the (tongue) attack. Attack with a
rather pointed tongue. Play with a saliva-clean tongue. Do
not stretch the tongue forward between the front teeth when
attacking. Think different when attacking: not as hammering
the notes out with the tongue, but releasing them (valve
Has anyone else had the doubtful pleasure to play Anton
Bruckners No.4 Symphony ? Well, not the heavenly no.4 The
Romantic with the delicate beginning the rushing hunting
Scherzo for the horns, I mean the Ur-Fassung from 1874,
nicknamed perhaps as the-better-destroyed. It is a hell of
soli for
I will not do the biography as a free service, so I will ask
the present owner of these things to allow me a copy of
those works I can publish. There will be no problem with the
Strauss family, as it is a copists manuscript Franz
Strauss is dead since 101 years. No rights to nobody. But
the
Hello Klaus, yes - there was nothing else than peace between
us, even we discuss things we both see from different views.
Regarding the 11th partial:
The 11th partial is written as f2 allways, no matter if
the horn stands in F or C or G or D. This fact makes it
IMPOSSIBLE to name it (concert)
1) remove all slides, soak the horn in the bath tube filled
with mild warm water some mild dish washer solution. After
a while, use the shower tube to spill all residue out of the
valve tube shanks. If that does not work properly, check for
a company using ultra sonic cleaning. They might put the
Hello Rachel, if a horn player drinks a strong coffee or two
before Bruckner no.4 or Fidelio, he gets a fine natural
vibrato. If a conductor smokes something or drinks several
glasses champagne before the concert, he starts making very
weird gestures, but women adore him then, ha, ha . So is
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