Oh boy, is this a trip down memory lane. I was introduced to the Tom
Lehrer by my local record shop owner (the ol' drug dealer...). It was
the 10 LP. As I remember, the cover was mostly red, with a scratchy pen
and ink drawing of someone I took to be Tom Lehrer, adorned with devil's
horns and
Hey, I'm impressed! In my youth (just a few years younger than you, Ed),
Lehrer was the MAN! I hold your hand in mine dear, though you are far
away Ah, the beauty of it all.
Richard in Seattle
Glick, Ed wrote:
Incidentally, although I'm sure you're younger than I am (83 - me, not you),
Simon:
It was I who sent that post. This happens when something called MIME
format intervenes in some email portals. It came through fine on mine.
However, this is all alien territory to me, so hopefully one of the
computer gurus on the list can explain this particular cybernetic
dissonance.
There's also a recording of the Jan Vaclav Stich (Punto) horn concerti
(Nos.5,6,7,and 10) by a fabulous Czech woman hornist, Vladimíra Klánská,
with the Prague Chamber Orchestra. She studied with Vladimir Kubát at
the Prague Conservatory and won a competition sponsored by ARD (Bavarian
Radio)
I'm probably among the thousands of horn players who have worked through
the Kopprasch and the Eduard Mueller etudes edited by Albin Frehse. I
only recently learned that Frehse himself composed four horn concertos,
two of which (according to the German Wikipedia) were published. Has
anyone
Tim:
As has been pointed out, cleaning out the crud in the valves and tubing
is far more important than a shiny exterior. If the lacquer has been
stripped from your horn, nickel silver can be polished with brass
cleaner. However, it's not to be overdone, since polishing does take
metal off.
I prefer the term vintage hornists. After all, we come in a number of
varieties, vary in years, and---like wine--some get better with age,
some don't. How's this for a definition: my tone is like a rich
Cabernet, but unfortunately I'm corked.
About movie residuals and unsung heroes. I had the
The seller also has the putative date of manufacture wrong. The phrase
Made in W. Germany was used in the tears immediately following World
War 2 to differentiate the Western zones of Germany---occupied by the
Americans, French, and British---from East Germany---the Russian
dominated part of
Whoops! Tears instead of years. Must have been a Freudian slip,
apropos but unintended (I think).
Richard in Seattle
Richard V. West wrote:
The seller also has the putative date of manufacture wrong. The phrase
Made in W. Germany was used in the tears immediately following World
War 2
I stand corrected, but for the life of me don't recall the Made in W.
Germany on any articles as late as 1989, the date of the fall of the
Wall. After the Bundesrepublik was recognized in the West, and the
German Democratic Republic was a fait accompli in the East, West
Germany as an official
Hornisti:
In the event this hasn't been posted yet, I send this along for your
attention: Apologies for the double posting.
For those of us old crocks from the LA area (like me) who hung around
the fringes of the LA Horn Club in the 1950s, this is a really nostalgic
event.
Richard in
Steve:
For an antique car buff, this has resonance beyond music. In its
infancy, General Motors (now in its dotage and going rapidly) absorbed a
line of cars called Oakland that eventually evolved into the Pontiac.
There are, in fact, even a couple of Pontiac-Oakland car clubs around.
It
Hans:
I don't know the video, but I would hazard a guess that it icluded at
least one of the Berv brothers. Arthur Berv, Harry Berv, and Jack Berv
are all listed as having played with the NBC symphony sometime during
period 1937-1954.
Richard in Seattle
hans.pi...@t-online.de wrote:
Hello
I would read Die Rosenfee as the Rose Fairy, not the Pink Fairy.
Witness the title of a traditional German marionette production Der
Zwergenkönig Laurin und die Rosenfee (The Dwarf King and the Rose
Fairy). My guess is that Eric is correct and Rosenfee is a direct
German translation from the
Thanks to all on both lists who responded to my plaintive request for
help with your suggestions and caveats. It certainly opened up a number
of options and cost/benefit ratios!
For starters, I will proceed with the stuff I have on hand on a trial
basis to see what I get. Based on the
Apologies for this double posting.
I recently unearthed a cache of old vinyl and acetate LPs of horn
records and performances, some in which I participated. I would like to
transfer them to my computer, ultimately putting some of the selections
on CDs for my personal use. I vaguely remember
The composers who lived and worked between the old and the future
may have had a dilemma during the transition to new notation. I'm
thinking of Johannes Brahms (or perhaps his copyist or publisher). For
example, the second horn part (in D) of the Piano Concerto No. 1. The
first bar is notated
Would these be the famed Texas Longhorns, perhaps?
Richard in Seattle
Bill Gross wrote:
I have just gotten a copy of Texas Horns. The ensemble sounds great, I
think the selection of music was un-inspired. In doing a comparison if they
play different stuff it's hard to say.
Snow?
Loren Mayhew wrote:
When opening the IHS website this morning, hornsociety.org, all that shows
is a blank white page.
Loren Mayhew
mailto:lo...@mayhews.us lo...@mayhews.us
001 (520) 289-0700
___
post: horn@music.memphis.edu
unsubscribe
I've played it in E, Eb, and D, depending on the singer's range. It
works well in all those keys. Most lieder can be transposed to fit the
singer's range...probably the composers expected that. The biggest
transposing challenge is for the pianist.
Richard in Seattle
Daniel B. Hrdy wrote:
I
I have the feeling that I may have replied to Ed Glick's query on the
wrong list. Or perhaps he asked both lists. For what it's worth, here's
my contribution:
I believe that the New Symphony Model Kruspe (definitely no umlaut)
was specifically
developed in the 1920s to create a full double
Kathy:
Amado water keys work very well from me (2 horns, three keys). Just be
sure to put a drop of oil in them about once a week to keep them
operating smoothly.
Richard in Seattle
Kathy Lowe wrote:
I am considering have some water keys installed on my horn. One of the places
I want to
I second what David wrote. The Andante is not as easy as it looks. It
was written to be almost an elegy to Brahms' departed mother. The tempo
is serene, but not funereal, and requires real breath control and
dynamic control. The horn part is very exposed and pianissimo in some
sections. It's
Bear:
Where did you get that information about natural horns and the
Konzertstück.? My understanding is that Schumann wrote it specifically
to showcase the abilities of the newly developed valve horn...all four
of them. Having played it but once, I can vouch for the fact that all
four parts
Or read it in alto clef andviola!
Richard in Seattle
[EMAIL PROTECTED] wrote:
Why bother transposing the piano?
Just stick an F crook in it, and voila!
Gotta go,
CABBAGE
___
post: horn@music.memphis.edu
unsubscribe or set options at
Isn't concert pitch=C? Then it's an either-or situation isn't it? You
EITHER transpose piano to F, OR transpose horn to C, right?
Richard in Seattle
Steve Freides wrote:
Of course, you must either play the piano part at concert pitch (my choice)
or read Horn in C, but not both, please. :)
In a recent posting, Hans Pizka wrote:
Horns (or crooks) in Bb-basso (I owned just one from mid 19th cen. - a gigant
of a crook
4-times coiled)were NOT known before Don Giovanni...
Don Giovanni was premiered in 1787, so where does that leave the Gran
Partita for winds, presumably written in
The artist was Viktor Hartmann, an architect and friend of Moussorgsky.
Images can be found on the web at various spots, including:
http://www.emboscados.com/foro/viewtopic.php?TopicID=2413
http://www.russisches-musikarchiv.de/bilder.htm
The resolution isn't high and I don't know how
You're looking at a Bb basso horn part (In German notation B=Bb; H=B
natural). If you use the interval method (which generally works well
since Bb basso parts typically just use harmonic intervals of a natural
horn in Bb), transpose a fifth down.
Richard in Seattle
William Gross wrote:
I've
Carl:
Try Oakland, across the Bay. Dick Akwright is the man. It's been a few
years, but I believe the listing is under A G Music. (If I got this
wrong, then someone in the Bay Area will certainly correct me.)
Richard in Seattle
Carl Ek wrote:
Dear Hornlisters.
Would anyone have a
Peter:
If ancient memory serves, it was Irving Kolodin, then music critic of
the Saturday Review of Literature, that raised such a stink about the
horns' performance in the Ach, Abscheulicher aria of Fidelio--the
famous (infamous?) trio. I recall that it led to a general shakeup of
the horn
Whoa! What about the LA Horn Club records (now CDs) from the late 50s
and early 60s? Aren't Southern California hornplayers (North) American?
(Rhetorical question...I hope).
Richard in Seattle
Michael Reedy wrote:
Is anyone else excited that there will finally be a CD of American Horn
Hi hornisti:
I'm a fan of Knopf horns, so here's an alert to let you know that Knopf
finally has a website listing their available instruments.
http://www.knopf-horn.de/
It's in German. No English yet, apparently. Click Instrumente to see
the instruments. It looks like they've added a Bb/F
Sorry, I searched the site but I can't seem to find the flag. Defective
eyesight? Defective browser (Mozilla Firefox)? Mischievous gremlin? I've
plowed through window, but it just ain't there for me.
Richard in Seattle
Ashley Grothe wrote:
Actually, if you click the little flag on the left
Thanks for the link. That's one combination I didn't try.
Richard in Seattle
Eric Egle wrote:
It works fine with firefox, try this link directly for english:
nbsp;
http://www.knopf-horn.de/e_index.htm
___
post: horn@music.memphis.edu
unsubscribe or
Paul:
It's the Dvor(ák.
Richard in Seattle
Paul Mansur wrote:
One of the popular cello concertos is also scored for 3 horns. Can't
remember which one, but I think it is the Saint Saens or Bruch.
Paul Mansur
0On Jun 10, 2008, at 4:26 PM, [EMAIL PROTECTED] wrote:
In a message dated
Wendell Rider wrote:
Hi all,
Alan Civil was a big man, in many ways- a giant, really. I guess the
easiest way to describe him was that he looked a lot like the standard
version of Santa Claus, only taller. He was a truly unique person, who
could play like an angel and do standup comedy at he
Apropos the Alan Civil/Paul McCartney YouTube video: how cool is it to
open up your case and assemble your horn AFTER the recording session
starts and then pop out that horn obbligato? An amazing professional.
Richard in Seattle
___
post:
Ah, well. Another illusion shattered. If that was just a mock recording
session, then think of the terrible example it will give future aspiring
hornplayers! Still pretty sanguine, though.
Never knew what Alan Civil looked like. Should have googled his image
first before assuming.
Richard
Robert:
Reminds me of that old joke: a trumpet player had a nightmare that he
was playing the Messiah, and when he woke up...he was!
Richard in Seattle
Robert Dickow wrote:
Counting long rests isn't too bad a problem for me, and I even have a
reputation around here for being able to
Jonathan:
I'm not a musicologist, but I believe that the string quintet version of
the C minor wind serenade was created subsequent to the original (wind)
version we all know and love. Probably for the same reasons that Mozart
tried to create wind versions of excerpts from his operas (I
There's at least one other---or very similar one---in captivity in the
Northwest. I've seen it on display at Oberloh Woodwind and Brass Works
in Seattle (near Sea-Tac Airport). It's on display with other brass and
woodwind curiosities in his shop. It's an attempt to create the ideal
conical
Martin:
From your description the instrument you described sounds like a
Plesshorn (there may be other names for it), a bugle-like Bb instrument
wound like a mini cor de chasse, used to play fanfares for ceremonial
occasions. The one I have has a nickel kranz around the bell and an
embossed
I note also that coins or metal discs have been soldered on the tips of
the valve paddles to extend them, something you see often enough on
horns to adapt them to a smaller hand size (or correct a maker's
miscalculation). The photo isn't detailed enough to show the mouthpiece
clearly, though.
wrote:
From: Richard V. West [EMAIL PROTECTED]
...
performance of the Carl Heinrich Huebler Konzertstueck for four horns
that will be performed by (in alphabetical order) Laurie Heidt, Jim
Hendrickson, myself, and Steven Whyte
...
Wouldn't the piece be more effective if you
Michael:
My score (Boosey and Hawkes revised edition of 1943) shows the same
markings. I note that horns 1 through 5 are in unison, muted. It seems
to me that horns 1 and 3 (at least) could skip the last muted bar before
the offen marking to pull out the mute (naturally attached to your
OK, where's the joke? Seems to be a sophomoric attempt at humor at the
expense of Denver? Horn folks? Muggles? Who cares?
Richard in Seattle
John Baumgart wrote:
http://sites.gizoogle.com/index2.php?url=http%3A%2F%2Fwww.ihs40.com
___
post:
Bill:
Thanks. The penny dropped when I read the quote from the Rehbergs. It's
been mooted for years (possibly substantiated by documentation, for all
I know) that the second movement of the Trio is essentially an in
memorium for the composer's mother. Therefore, specifying the natural
horn
Listers:
I have two duplicate horn-related books I'd like to sell. If interested,
please contact me off-list for price and details:
Verne Reynolds, The Horn Handbook (new)
Murray Schisgal, Days and Nights of a French Horn Player (used, but
excellent condition)
Richard in Seattle
Dear Borje:
The reason you can't find strings on your Alexander is that you very
likely have a model with full mechanical linkage. German horn makers
often offer their models with either full mechanical (apparently favored
in Europe, but not universally) and string linkage (apparently favored
From my own experience, I don't find that medium throat horns are any
more notchy than wide throat horns. I use my right hand all the time
for intonation purposes on both types of horns (I own one of each and do
switch between them depending on circumstances). For me, adjusting
intonation
Dawn McCandless wrote:
At the same time as writing the question the wish in my mind was that there was a different way to spell the two words.
Wondered how long it would take for someone to comment about them. Maybe we could start a new spelling for the long E version and make it leade.
Tim Kecherson wrote:
I am playing Mozart's 3rd Horn Concerto in June, and I am looking for a cadenza
to play. Is the cadenza necessary? If so, where can I find one? Thank you
very much.
--
Timothy Kecherson
In the first movement, absolutely. It doesn't have to be long. Listen to
as
Thanks Kendall, and Steve Mumford, too, for the corrected information on
Schmidt and the American horn makers. It's always good to get things
straight, especially given the lack of documentation and the urban
legends that have grown up around horn making (perhaps fabrication
would be good word
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
Here's a little more on the history of C.F. Schmidt:
The firm of C.F. Schmidt was established in Berlin ca. 1880. In that
year it was issued German patent #12814 for improvements to brass
instruments. By 1888, Schmidt opened a second workshop in Weimar and
was later appointed Court maker to
hans wrote:
And, Richard, playing the piece in E on the F-horn
does not create fingering problems, while playing it on the
Bb-horn creates fingering problems.
Hans:
You're correct. When I wrote that, I really was referring to playing it
on the F/Bb double (nominally treated as F horn), so
DalleyHN wrote:
That reminds me, based on the text it seems natural that the voice
should be a tenor.
Good call! Auf dem Strom was originally written for a tenor,
specifically Ludwig Tietze, who sang it at its premier on March 26, 1828
with Schubert himself at the piano and J.R. Lewy
Leonard:
Thank you for the delightful poem that complements Kendall Betts' magnum
opus. Now, there are two for Christmas!
If you were Austrian, I'd almost think you were referring to Krampus,
the evil and mischievous demon who accompanies St. Nikolaus on his
rounds on December 6 in Austria.
Is this a trick question? The answer: the one that works for you :-)
Richard in Seattle
Robert Fant wrote:
I was wondering what kind of mouthpiece everyone prefers with a E.
Schmid horn?
Thank you. Robert
___
post: horn@music.memphis.edu
I forgot to include this link in my last posting. It's a later Kruspe
catalogue, I think, that illustrates the horns, but without the model
numbers (with one exception). There are also a couple of additional horn
models shown:
http://www.geocities.co.jp/MusicHall-Horn/2569/kruspe/krusp.html
Hello Listers:
From time to time on both lists during the past several years,
individuals have written asking about Kruspe serial numbers. The short
answer to that is that Kruspe horns (and most vintage German horns)
never had serial numbers given by the factory. What Kruspe horns often
have
[EMAIL PROTECTED] wrote:
I had that done, and that did
signicantly improve my accuracy (my father bought it in 1967, it was played from
then through 2007, sat in the closet for 20 years, then I resumed playing 8
years ago, and the valves had never been redone).
Er, Ross, let me get my
I can vouchsafe Joel Lazar's opinion. An orchestra in which I play,
Philharmonia Northwest, performed David Lamb's work last season with
Mark Robbins (Seattle Symphony) as soloist. It is all that Joel says and
is well worth playing as well as hearing.
Richard in Seattle
Joel Lazar wrote:
Chacun a son gout...I guess. Nevertheless, I thought the whole point of
blowing the horn was to make music, so doesn't talking about music have
a place on this list? Comparing the various attributes of valve oil
makes for interesting chit-chat, now and then, but I don't think that
it's an end
Dawn:
A good single F horn, by virtue of its lighter mass and often cleaner
arrangement of tubing, is often more responsive than the F side of an
equivalent double horn.
There is a Japanese website that has images from an old 1930s Kruspe
catalogue that includes several single F models. The
Dawn:
Nickel-silver braces, rotor caps, valve slide casings, etc. as you
describe are standard practice on most brass horns. But where is the
worn ring you describe? Is it around the bell throat or the perimeter
(rim) of the bell? Some horns have an ornamental krantz (wreath) in a
Hi Dawn:
As far as I know, Kruspe horns rarely, if ever, had actual production
serial numbers. What they often had, however, was the design patent
number engraved on the bell below the Kruspe eagle trademark. The design
patent number is commonly preceded by the initials D.R.G.M (Deutsches
Hi Ed:
That number is presumably a part identification number. On my New
Symphony Model Kruspe, the thumb valve cap and upper bearing plate are
stamped with 35, while the other three valve caps and bearing plates
are stamped 12, 11. and 10. My guess is that these numbers were
employed to
Valerie:
If the horn is indeed a single Bb, which seems quite likely, the fourth
valve is generally an F extension to allow getting into the low
register. The fifth valve would be typically a stopping valve, lowering
the pitch by approximately 3/4 of a step (to allow in tune stopping for
the
Excuse the double listing. This may not be news to many of you, but I
recently stumbled upon an interesting and helpful horn blog authored by
John Ericson of ASU. I have often mined his many articles on the history
of the horn in the nineteenth century (especially his research on the
Kopprasch
Valerie:
I have a Conn 3B-N that I currently use. I, too, have looked for a 3B-W,
but have been told there is no W version. There is, however, a 7B-W
mouthpiece, but it has a totally different cup configuration (shallower,
I believe).
Richard in Seattle
weaknesses and strengths (and mine).
Richard in Seattle
David Jewell wrote:
Sorry if it came out that way, but sadly no, it's just the opposite. I would
love to have a Paxman, but at the moment its a Yamaha.
Paxmaha
Richard V. West [EMAIL PROTECTED] wrote:
Golly! You own a Paxman but would really
Golly! You own a Paxman but would really like a Yamaha? Wanna trade?
Richard in Seattle
David Jewell wrote:
Interesting!
But who is this Paxmaha person or entity anyway? What does it mean?
Paxmaha? I don't know. Is it Latin?
Paxmaha is simply an amalgamation of the world Paxman and
The Huebler is for four horns and orchestra. Huebler (he was a hornist)
wrote it after performing the Schumann Konzertstueck (under Schumann's
direction). It is less demanding, but quite melodious. The score and
horn parts can be purchased from Hans Pizka, but the orchestra parts
have to be
Kruspe? Did you say Kruspe? That *could* be a nice horn, given a lot of
variables. Can you describe the horn? Is it a double? Can you describe
the inscription engraved on the bell? There should be an eagle holding a
horn. Depending on its age there could be additional inscriptions that
would
Hi Kevin:
You might try contacting Lowell (Spike) Shaw at the Hornist's Nest in
Buffalo. Years ago, I played several of the LA Horn Club arrangements
and original compositions with his horn ensemble. Perhaps he can tell
you where to find them.
Another possibility is through James Decker in
That does remind me of a piece called (I think) Sugarplums in one of
the Hoffnung Music Festival recordings. All of Tchaikovsky's Favorite
Hits (including the 1812 Overture) arranged for recorder consort,
harpsichord, and cap guns. Quite hilarious!
Richard in Seattle
[EMAIL PROTECTED] wrote:
Yes, in Vienna. We sat in reverse, i.e., fourth horn furthest left and
so on to the right, in the particular orchestra with which I played.
Actually, it was a good experience because when you play principal you
feel and hear the support of the entire section in tutti passages. But
that was
Hasn't the second movement of the D major concerto always been
considered as being later than the first movement? It has been alleged
that Suessmayer completed this movement based on the incomplete score
left by Mozart, at the behest of Constanze. In fact, didn't he actually
augment Mozart's
Discipline is important, especially when it comes to horn hygiene.
This helps extend the life of the horn in the long run.
About silver plating: I have an ancient Herbert Fritz Knopf double horn
(Knopf/Geyer wrap with the old paddle valve levers) that was
discovered in a Seattle antique shop
Apologies for the double posting. I'm passing this along in the event
the horn turns up outside the immediate Seattle, Washington area.
Thanks,
Richard in Seattle
Horn Colleagues: Please be on the lookout in case anyone tries to sell you this horn. If you run across any information, please
Valerie:
There is no yes or no answer. But there are considerations.
Consider the pros and cons: on the pro side, Holton 178's have a good
reputation, the horn was owned by a professional hornist, and the price
is reasonable. On the con side, the valves are stuck and the slides are
frozen so
Good points, Walter. Valerie could show your suggestions to the seller,
with the suggestion that she (the seller) undertake to get the horn in
shape. If the seller is a former pro, she probably would know who the
good horn repair people are. In any event, I look forward to hearing
from Valerie
Hi Jinny:
The DK121 is still being produced. You can check out the specifications
(rather sparse) and picture at:
http://www.hans-hoyer.de/english.html
Hit the double horn button and scroll down to the sixth image. It's
described as a Geyer-Knopf wrap (Knopf is a Markneukirchen workshop
David:
You see? Right away you prove that you're a musician!
Richard in Seattle
[EMAIL PROTECTED] wrote:
In a message dated 3/22/2007 2:03:01 AM Eastern Daylight Time,
[EMAIL PROTECTED] writes:
Otherwise Weiner Philharmonica evokes the thought
of a group of harmonica players who are
Is it possible we're talking about the Wiener Philharmoniker (Vienna
Philharmonic) here ? Otherwise Weiner Philharmonica evokes the thought
of a group of harmonica players who are winos.
Richard in Seattle
Steven Ovitsky wrote:
Subject: [Hornlist] Airplane Art
I just received a series
Personally, I reject the entire concept of mathematical as applied to
the essence of music. Yes, you can count bars and add up movements: that
part is mathematical. But the music that fills those bars and
movements defies mathematics, whether it's Bach or Mahler. 2+2 in music
never equals 4.
Apologies for this message.
Not having received any messages from this list for a couple of days,
I'm sending this message in a bottle out into cyberspace to determine
if it's a glitch in my system, a breakdown in the Memphis server, or
just a sudden lack of interest on the part of the horn
Servus Hans!
Vielen Dank fuer die Erklaerung. Jetzt ist es so klar wie die Sonne!
Richard in Seattle
hans wrote/schrieb:
Dann eben auf Deutsch: Notenschluessel und Abortschluessel
oder Abortschuessel sind nicht das Gleiche, mein Lieber.
Natuerlich meinte ich 15th. Bei uns gibt es das in
Fellow listers:
Not exactly horn related as far as I know, but from a musician's
viewpoint a tragedy involving Eugene (Oregon) Symphony players.
http://www.salem-news.com/articles/february122007/albanyfatalcrash_021207.php
Richard in Seattle
___
Matthew:
One of the orchestras I play with is doing the Prokofieff right now.
We're using the infamous c alto rental parts (Luck's). Handwritten. The
parts are really dead simple, no challenge except a couple of passages
in bass clef that actually make one think (momentarily), but just to
Whoops! My fingers were faster than my mind last night. The mouthpiece
I'm seeking is a Conn 3B-W. Sorry about the mistake!
Richard in Seattle
___
post: horn@music.memphis.edu
unsubscribe or set options at
Klaus:
I suggest you address your questions about Hans Hoyer directly to
Christian Knopf, the current (fifth-generation) master horn maker at
Herbert Fritz Knopf in Markneukirchen. His direct email is:
[EMAIL PROTECTED] When I interviewed Christian in 2002 for an
article that was published
Steve:
What you've done probably falls under the fair use definition of
current copyright law in the US. Making a copy of a copyright document
for your own personal use is no problem. Even making many copies of a
relevant document to hand out, say, in a classroom situation is covered.
Making
Simon:
Be certain that you entered comcast.NET, their email server, not
comcast.COM, which is their home page site. That happens to a lot of people.
Richard in Seattle
Powered by Comcast (and hope springing eternal)
Simon Varnam wrote:
Sorry my replies to @comcast rebounded.
Don't know why.
Tom:
I am of a certain age, too. Before talking about those issues, though, I
have a question. Are you still playing that Jupiter horn? If so, some of
your problems may be due to equipment, not your own physical or musical
qualities. Jupiter horns do not have a good reputation, due to being
Tom:
Now that we've settled the horn question (Yamaha 667--should be good,
consistent horn) a couple of other questions. You don't sound physically
handicapped except for the effects of you past cancer and therapy.
Hopefully that's improving? (I have an idea of what you went through
since
Dear hornlisters:
The end of the year is fast approaching, so it's time for my annual
gripe and plea. The gripe is that a subject heading like Horn Digest
35, Volume 22, Number 6 is totally meaningless when scanning email. I
know many listers use the digest service and it is handy for
Hornisti:
It's common among lieder singers to transpose songs to fit the range of
the voice (it sometimes happens in opera, too, for singers with range
issues). I've played Auf dem Strom in both the original key and in D.
It can sometimes be more of a challenge to the pianist than the horn
1 - 100 of 139 matches
Mail list logo
