Ralph R. Hall [email protected] Ralph R. Hall http://www.brasshausmusic.com
Hornlisters, I don't remember the original discussion but if you're going to take the p**s, please make it funny. Hans makes a serious point but on two levels. Firstly, he is talking about a professional orchestra (which seems to upset so many on the list) and secondly, an orchestra which is well thought of in its domain and, more importantly but connected, well funded. So we are talking about an ideal, not normally realised but a solution, if usually only theoretical. In the UK the norm is five only - Solo Horn (Principal); 3rd Horn (Principal, playing first as required); 2nd and 4th (sub-principals) and a 5th. This latter we refer to as a 'bumper' but Assistant Principal is better. The Principal and Sub-Principal nomenclature simply denotes parts to be played; e.g. The Assistant Principal will be required to play 3rd when the 3rd is playing Solo Horn and the Solo Horn is off having a breakdown but these are still 'Principal' parts.. In Germany (and other parts of Europe) matters are more complicated because most orchestras have a dual functionality - both the opera house and the concert hall. Two or more programmes are performed in tandem, although usually not on the same night. Even small towns in Germany will have an opera house and a concert hall requiring greater forces to keep things going. Two problems arise as a consequence. When times are hard (like now) the bean counters just see numbers of players and not the tasks they fulfil. The other ingredient missing (and I shall expect come back from Hans on this one!) is, very often, a lack of team spirit - particularly in adversity - within the section. Having worked in both the above systems, in the UK every concert is played by the same personnel. You get to know each other very well, especially each other's weaknesses. Referring back to a previous mailing from Hans, this makes it even more imperative that the right (not necessarily the best) player is chosen in audition. In Germany where the work is distributed between a greater number of players, it is possible to find yourself playing next to someone with whom you did not rehearse a particular opera, or with whom you've not worked for some time. Additionally, only the very best German outfits take to the road, whereas UK orchestras are always on the move, both at home and abroad and bonding is an inevitable consequence. It only takes common sense to see the point of having a 'bumper' when the whole programme is played by the same team of four. In contrast, on the Continent, it is usually the case that a Solo Horn has had the first half of the concert off and plays the big second half symphony without an assistant. You can extrapolate what you like from this for your own ensemble but remember two things: you are neither well funded, nor do you have 3 session days and a seven day week. Ralph R. Hall _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
