I don't know Scott personally but he's a wonderful (and impressive) player. 
 One story I know about him regards his recording of the Ewazen Concerto. 
For  those that are unfamiliar, there are a few runs that are optionally 8va 
- High C  and higher. Ewazen wasn't clear on the range of the horn and 
originally intended  for those runs to be down an octave. Scott practiced them 
(and recorded them) in  the original octave. 
 
-William
 
 
In a message dated 2/15/2011 12:44:55 P.M. Eastern Standard Time,  
[email protected] writes:


I  agree with you Hans.  E has always been one of my favorite keys  for
the horn.  The only passage that used to give me a little extra  practice
panic was the aria in Cosi.  I am sure there are others, but  I haven't
come across them in my limited experience.  In the day when  I was
playing stuff like this, I was playing a 103 and I had to play it on  the
B flat side.  When playing the second horn solo, I could stay on  the F
side (though I threw the B flat down for the written F# at the  top).  
Had I the smarts (or the $$) to get an extended (or shortened)  slide
like many of our illustrious well-known colleagues (or a  stopping
valve), I would have made life a bit easier ...  but what's  the fun in
that?? 

As far as Armida is concerned, Scott is a long  time friend (you are
friends as well?) and he is a fine player.  When  he tells me the parts
are tricky, I tend to believe him. 

Thanks for  the recording suggestion. 

best 
c 



>>> Hans  Pizka <[email protected]> 2/15/2011 11:56 AM >>>
Hello Chris,  what is so difficult on the horn soli within Rossinís
music ? is it the  key ß Most of these soli
are in E. Ooops, that́s the main difficulty for  the notorious Bb-side
players. But areńt  these solos much  easier
on the F-side ? And they do not go high either, but have very  tricky
passages for the Bb-horn user.

These soli are not longer than  a few measures, like in "A Turk in
Italy" or "Il Barbiere". Every  reasonable
horn player must be able to play them in public after reading  or/and
playing them through just a few times.

All these soli are  quite common stuff. This like passages are all
included in the two  Kopprasch books, - and
as they were written in a natural horn style, the  technical
difficulties are limited, - except the tonality E, which
still  horrifies the Bb-users & Bb-thinkers.

Armida should not be any  exception. As Rossinís father was a horn
player, Rossini knew very well,  how to
write for the horn in a way, that his compositions could be  performed
properly, even then  back.

############################################################################
#######
Am  15.02.2011 um 14:55 schrieb Chris Wilhjelm:

>
> As a dabbler  in the conducting world I feel a real need to get out in
front of what's  going to happen here (it's a conductor thing)
>
> Yes, I do know  the difference between a bull and an orchestra,
>
> I feel sorry  for the snake and I'm okay with no skid marks
>
> and I know that  a conductor buried up to his neck in sand means that
you ran out of  sand.
>
> of course this knowledge dates from the time before I  turned from the
Force and went to the dark side.
>
> I was  speaking to my friend Scott Brubaker on Sunday and he told me
that the Met  Opera will be doing a set of performances of Rossini's
Armida starting next  week (with Renee Fleming) 
> I have NEVER heard this -  he went on  to say that there are big solos
for 1st and 3rd horn in the overture.   Does anyone have an mp3 or know
of a good performance  available?
>
> As an aside, The Ridgewood Concert Band is  performing the Overture to
Siege of Corinth (another little played Rossini  Opera with a beautiful
horn solo in the overture) Tuesday 2/22   (principal horn, Carolyn Kirby
is terrific).  This will be a joint  concert with the Texas Christian U.
Wind Symphony - info on the RCB  website.
>
> best to all
>  Chris
>
>
>
>>>> Walter Lewis  <[email protected]> 2/15/2011 8:20 AM >>>
>  Paul,
>
> As we all know, some conductors just need  shooting!
>
> Steve Mumford and I know of one here in Metro  Detroit that is so bad,
that he can't conduct electricity let alone a  symphony orchestra. This
guy falls into the category I just mentioned.  Shooting his would be the
only merciful thing to do for the sake of  music.
>
> Walt Lewis,
>
> --- On Mon, 2/14/11,  [email protected] <[email protected]> wrote:
>
> From:  [email protected] <[email protected]>
> Subject: Re: [Hornlist]  Musicianship
> To: [email protected]
> Date: Monday, February 14,  2011, 10:35 PM
>
> Hey Jerry,
>
> What if it is a  conducting class and someone is shooting at the
> conductor  ??
>
>
>
> -----Original Message-----
> From:  Jerry Houston <[email protected]>
> To: The Horn List  <[email protected]>
> Sent: Mon, Feb 14, 2011 7:33 pm
>  Subject: Re: [Hornlist] Musicianship
>
> On 02/14/2011 04:06 PM,  David Goldberg wrote:
>> He might be on the illegal side too.  I  just looked for information
>> about this - it appears to be illegal  in the USA.  Recommend that
> anyone
>> interested in  this, research first.
>
> You beat me to it.  I was going to  note the need for caution (or, at
> least, discretion).    Disabling cell phones prevents folks from
using
> them for emergency  purposes.  If a student in the class, for
example,
> started  shooting at folks (well, it's happened...), no one could
call
> 911  and report it.
>
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>
>
>
>
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