From: "Loren Mayhew" <[EMAIL PROTECTED]> Reply-To: The Horn List <[EMAIL PROTECTED]> To: "'The Horn List'" <[EMAIL PROTECTED]> Subject: RE: [Hornlist] Recital suggestions Date: Tue, 5 Aug 2003 07:53:32 -0700
I agree that there were few black players, but I think there were more than two. I met a very tall handsome black man and a black woman and don't forget Mr. Pelletier who is simply a marvelous player.
Loren Mayhew \@() [EMAIL PROTECTED] (520) 403-6897
-----Original Message-----
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
Lanetra Carther
Sent: Monday, August 04, 2003 8:18 PM
To: [EMAIL PROTECTED]
Subject: Re: [Hornlist] Recital suggestions
Hey, I was at that workshop too!!! There were only 2 black horn players
there, and I am the female. I was impressed by her ability for such a
small woman. That was the first horn workshop that I had ever been to. It
was a very informational weekend for me. I tried out for the solo
competition, but I did not win anything. I won three critique sheets. I am
a pretty good horn player, so I was a wee bit upset when I found out that I didn't advance. It took me about two hours to get over it, and I was good as new. I now have learned to take experiences like that with me to the practice room.
>From: Chris Tedesco <[EMAIL PROTECTED]>
>Reply-To: The Horn List <[EMAIL PROTECTED]>
>To: The Horn List <[EMAIL PROTECTED]>
>Subject: Re: [Hornlist] Recital suggestions
>Date: Mon, 4 Aug 2003 18:29:14 -0700 (PDT)
>
>That reminds me, Gail Williams mentioned at a workshop this past year at
>BGSU
>that she has never played a transcription until that recital where she
>played
>the Gliere.
>
>yeah shiga,
>Chris
>
>--- David Goldklang <[EMAIL PROTECTED]> wrote:
> > Generally when it comes to planning a senior recital, your teacher will
> > be the best source for repertoire pickings. Some teachers already have
> > a program in mind while others may want you to choose the pieces
> > yourself, but your teacher is probably more familiar with your playing
> > than anyone else and will therefore be able to suggest music which is
> > ideal for your particular horn playing abilities. What I suggest
> > (aside from talking with your teacher) is to listen to as many
> > recordings of pieces for horn and piano as you can find. Decide what
> > pieces you really like and would be best suited to your own strengths.
> > Try to represent various styles/periods and mix the piece lengths -
> > alternating between long and short pieces makes it more enjoyable for
> > the audience.
> >
> > Something else to consider is the piano accompaniment. When you
> > perform a recital with horn and piano, it is best to stick to music
> > actually written for that combination (or transcribed from music for
> > another instrument and piano) and to avoid music written for horn and
> > orchestra that has been reduced. The reduction of the orchestra part
> > to Strauss 1 is cumbersome for any pianist and often the result is
> > difficult for an audience to listen to. Don't detract from your own
> > amazing performance by selecting music that will leave the pianist
> > flailing behind you.
> >
> > Off the topic of repertoire, but related to recital presentations,
> > there are two very important things you can do to enable better
> > connection with your audience...
> >
> > 1. Memorize your music. Having a music stand between you and the
> > audience creates a physical barrier that distances you from them. The
> > idea is to engage your listeners and making direct eye contact, or at
> > least the illusion of eye contact, is a great way to connect with them.
> > Also, performing music memorized is more impressive.
> >
> > 2. Talk to the audience. Whenever possible, you should speak to the
> > audience between pieces. This personalizes the performance and also
> > makes the recital more interesting for the listeners. You can talk
> > about the composers, the repertoire, yourself, the horn, or anything
> > else that might enhance the experience for everyone. This is also the
> > perfect opportunity to educate people about horn playing. Answer all
> > those questions that everyone always asks, such as: "why do you put
> > your hand in the bell?" or "why is it called a French horn?" I've had
> > people approach me after recitals and comment on how much they
> > appreciated that I spoke during the recital and how it became more
> > enjoyable than other performances they had attended where the
> > performers didn't do any speaking.
> >
> > -David
> >
> > +-- v -- .__. --------- . [EMAIL PROTECTED] ------+
> > |\ \ / \ /| .:: David Goldklang \
> > \ \ \| Dürk |,' | .:::: New World Symphony \
> > \ \ \ D4 /_. | '::: Miami Beach, Florida USA \
> > \ +-- `----' - \| -- ': http://www.davegk.com ----+
> > \|________________________________________________|
> >
> > On Monday, August 4, 2003, at 06:55 AM, Lanetra Carther wrote:
> >
> > > I am not sure if anyone recieved my email about recital suggestions
> > > for my senior recital that I will be putting on late in the fall. I
> > > had a junior recital last year and it was excellent, according to my
> > > professor. I played Hindemith's horn sonata, the beethoven sonata and
> > > Intermezzo by Gliere. I meant to play a contemporary piece with no
> > > pianist also, but for some reason, I misplaced the music shortly
> > > before my recital. So, I went with three pieces, which turned out to
> > > be enough. I am now seeking material for my senior recital. I have
> > > learned the Strauss No. 1 and have played different movements at
> > > different times. I figured I'd do the whole thing for my recital.
> > > So, Strauss is on the list for sure. As far as what else to do, that
> > > is where I could use suggestions. I plan to play three solo pieces
> > > and two brass quintet pieces. I think that would be plenty to do.
> > > Other than Strauss, I'm in the dark. Suggestions would be great.
> > > Thanks.
> > >
> > > -LaNetra
> > >
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> > >
> >
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