Peter Hirsch wrote:
Try getting a copy of Jasper Rees' I found my horn. This book has more
information on Leutgeb, Punto and other historical horn players than just
about any other source, though the book is not intended as a reference
work, but rather, a personal memoir.
It may not be easy to
Peter, his name was not Ignaz Leutgeb. Ignaz was just a nickname.
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-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
, 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
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
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
Hello Howard, good advice but . There are too many young
players out who write their own cadenzas which have nothing
to do with Mozarts text except a few quoted notes, but a lot
of their own stuff, to show off, but kicking out themselves
of any audition. So I recommend to rely upon the
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,
-
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
From: Walter Lewis [EMAIL PROTECTED]
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.
Why would a Trombone prof be surprised that a
PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Steve Haflich
Sent: Saturday, February 02, 2008 5:19 PM
To: The Horn List; Walter Lewis
Subject: Re: [Hornlist] Re: Mozart Concerto #3
From: Walter Lewis [EMAIL PROTECTED]
When I performed it, the Trombone professor
nastily remarked
At 6:58 PM +0100 2/2/08, hans wrote:
But the trombone could alter the pitch by ist slide
therefore play all semitones, long before the horn appeared
in the arena of music.
Nowdays the horn is a musical instrument.
Carlberg
--
Carlberg Jones
Skype - carlbergbmug
Cornista - Orquesta
Hello Bill, all said perfectly, but .
Concert c# on 2nd valve Bb-horn will be flat definitely if
the 2nd slide is at the right position for the concert E
(top), means if the A-horn is tuned perfectly. So why not
leaving the 3rd Bb-slide on ist place use it together with
2nd for the concert
: [Hornlist] Re: Mozart Sym. 29 in A
Hello Bill, all said perfectly, but .
Concert c# on 2nd valve Bb-horn will be flat definitely if
the 2nd
slide is at the right position for the concert E (top),
means if the
A-horn is tuned perfectly. So why not leaving the 3rd
Bb-slide on ist
place use
.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Reba McLaurin
Sent: Friday, August 24, 2007 5:30 AM
To: The Horn List
Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A
Actually, my post
-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Reba McLaurin
Sent: Sunday, August 26, 2007 7:23 AM
To: The Horn List
Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A
It was a freelance gig in a place where all of the freelance
work goes to the orchestra. Our principal
PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Reba McLaurin
Sent: Sunday, August 26, 2007 7:23 AM
To: The Horn List
Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A
It was a freelance gig in a place where all of the freelance
work goes to the orchestra. Our principal
it is the last one, sorry !
==
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Reba McLaurin
Sent: Wednesday, August 22, 2007 12:33 AM
To: The Horn List
Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29
Of Reba McLaurin
Sent: Friday, August 24, 2007 5:30 AM
To: The Horn List
Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A
Actually, my post was not entirely accurate. I had just
returned from a sabbatical when I got asked to play the gig
by our personnel manager because everyone else
What if you don't have access to any type of high horn. An F or
Bflat or descant or natural horn. I got asked to do it without one
once. It was a nightmare because it was right after I had spent a
year off the horn, but I did it anyway. I just wanted to play, and I
really didn't have any
!
==
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Reba McLaurin
Sent: Wednesday, August 22, 2007 12:33 AM
To: The Horn List
Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A
What if you don't have access to any type of high horn.
An F or Bflat or descant
Your problem is, that you are used to Bb fingering, while I
prefer the F-fingering, so high F fingering is ZERO problem.
On the Bb horn you miss the great opportunity to avoid
finger-squeezing for the ##-tonalities, haha.
If you like a bit stronger sound, use the Bb-high F but
removing the
Aren't we being a little hard on ol' John Williams. Amongst the déjà vu
strains in his music, even some of those are quite brilliant (e.g. the
Asteroid Belt sequence in Star Wars V, which is reminiscent of Bernard
Herman's work for Hitchcock films), and other passages are very original and
quite
All I can say is, he's a better thief than I am.
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Robert Dickow
Sent: Wednesday, February 21, 2007 1:58 PM
To: 'The Horn List'
Subject: RE: [Hornlist] Re: Mozart Effect
Aren't we being a little hard on ol
Sorry, sorry, Leslie, are you speaking of the Concerto no.3
K.447 ? If so, there is NO comment to Leitgeb in this
concerto except in the third movement, where Mozart himself
wrote Leigeb above the solopart twice.
Yes, very young students should try concerto no.3 (better
than the two movements in
I've learned this from my teachers:
The older and more advanced you get, the harder Mozart
is to play.
Ain't that the case. I'm performing Mozart 4 with my local community
orchestra in June, having thoroughly learned it during school years and
college years. I'm finding that it is much
and
something else, but not when he performed the 4th.
Loren
\@()
[EMAIL PROTECTED]
+011 (520) 403-6897
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
Jonathan West
Sent: Wednesday, April 12, 2006 2:57 AM
To: The Horn List
Subject: RE: [Hornlist] Re: Mozart
Dear Jaako,
Thanks - Adam Black
From: Jaakko Välimäki [EMAIL PROTECTED]
Reply-To: The Horn List horn@music.memphis.edu
To: horn@music.memphis.edu
Subject: [Hornlist] RE: Mozart Cadenza
Date: Mon, 24 Oct 2005 03:02:02 -0700 (PDT)
message: 3
date: Sat, 22 Oct 2005 18:35:45 +0930
from: Adam
Jack, you should read my first message again, when I asked you to
abandon reading music in absolute pitch.
If we (both) talk about music from different stand point of view
regarding naming the notes, we cannot find any platform for us.
I TALK ABOUT THE MUSIC AS WRITTEN NOTES, not transposed to
Is the problem here not that Jack is talking in concert pitch, but that in
his edition the duets are already transposed i.e. not written out in the key of
C.
I had such an edition and stuck it in the bin the day I bought an urtext
edition.
All the best,
Lawrence
þaes ofereode - þisses swa
]
[mailto:[EMAIL PROTECTED] On Behalf
Of [EMAIL PROTECTED]
Sent: Thursday, April 15, 2004 9:07 AM
To: [EMAIL PROTECTED]
Subject: Re: [Hornlist] RE: Mozart 12 Duets K.V. 487 - Transpositions?
Is the problem here not that Jack is talking in concert pitch, but that
in
his edition the duets are already
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