At the risk of stirring up a hornets' (or hornists') nest here, may I wonder if such competitions as Brittany's are themselves totally worthless?
Christopher Bonner says wonderful things about his student Brittany. How lucky they are to have each other! Clearly he feels that she has tremendous potential. How unfortunate it would be if an experience like this convinced Brittany (or any other rising young musician) that horn playing is too risky and painful to pursue.
Some will say that you must take risks in order to be a good player. I agree. But in order to dare to take risks, you must feel safe and comfortable with your own capabilities. Do you love how it feels when you play? Do you (admit it) like the way your playing sounds? Of course -- otherwise, why continue? So why tailor your work toward the evaluation of a judge who knows nothing about you except for a few nervous minutes' worth of playing? I have never understood why we put young people through these musical mills. I know of many talented kids who were pushed to compete for this and that -- and found that playing music was just not enough fun in the end. Instead, it had become a source of stress.
And what's the value of a rating, anyway? Dr. Matlick's experience as an adjudicator reinforces my point.
Brittany, if you lived in the Northeast, I would say, "Go to the New England Horn Choir gathering at Osmun's in May." Play with as many good players as you can; read through as much hard AND easy music as you can find; play your horn in every concert, church service, and street corner that will have you. Work hard, love your playing, and don't worry about ratings.
Sometimes it's hard to remember that it's really all about the music.
Barbara
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