Point taken, and no to me it's not exactly a 'high' piece. To me, however, it 
is a 'light' piece, and I would prefer a lighter horn. One could play it on a 
double, but it's very difficult to get a 'baroque' sound out of a modern 
double, compared to a single Bb. I've got a single Bb with A valve, and it 
works perfectly for that solo and gives me the sound I want. To me, Baroque is 
delicate and flowery, not heavy and cumbersome. Sound is my first priority. 

At least, that's how it is for me....

As for Beet. 7, I've always been on the fence about it, and it truly depends on 
the horn. I haven't played it in a while, so the next time I do it would be 
whatever sounds better.

 


 I think if we did a survey of 'descant' pieces among players who occasionally 
use a descant, we would find that only a few pieces would be shared among all 
players, perhaps.

-William

 

-----Original Message-----
From: Steve Haflich <[email protected]>
To: The Horn List <[email protected]>
Sent: Mon, Aug 15, 2011 1:02 am
Subject: Re: [Hornlist] Triple horns


[email protected] wrote:



    Just out of curiosity, if a candidate used a descant for only a

    small handful of excerpts, like the Bach Quonium, Brandenburg, or

    even Beethoven 7, while using a double for the rest, would you count

    it against them?

   

There is something curious about this collection of potential descant

pieces.



Why is the Quoniam included?  The piece is treacherous (one sits on

stage for an hour, without playing, before that opening octave leap!)

and it is solo, exposed, and requires agility.  But it _isn't_

particularly high.  The top note is only A (on F horn) and while there

are a number of A's, the tessatura of the piece is not higher than what

one finds in a Mahler symphony.



There is something about the Quoniam that make us hornists think of it

as a "high" piece.  Why?  And is that a productive approach to playing

it?  I think not.

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