Nutcrackers is not the worst ballet music, but it is - as usual - over marked regarding dynamics. There is so often f & ff, where it should be p or mf instead. This is also with the strings & the other wind instruments. Where do they use 16 first violins ? We use 12 first violins for most ballets, but our violin players use the state owned beautiful Italian violins by Gagliano, Bergonzi, Guanerius, Vouillaume, Montagnara, Teckler, etc. with their strong sound. But still, the winds are much too loud. So we reduce the dynamic until we can hear the fiddlers well. Then the sound is much better integrated & thus more enjoyable.
Admitted, there are several spots, where we have to follow the original markings, e.g. at the entrances of some numbers, when there is a horn signal or similar. And the famous Flower Waltz ? There is no forte, but a solistic mf. So it is not any problem getting through the piece, playing on first chair. For the rest of the section, it should not be any problem never. This the Nutcracker. But how about Sleeping Beauty ? This is much tougher. So one has to act similar. But there are more doubled passages where the first horn can rest. Did any of you ever play "Bayadere" by Minkus ? Beautiful music, if the numbers are played just one or two in a promenade concert. But the full beast is 80 pages to play. And this is killing the embouchure. So care a lot if you get this in to your ballet program. Reduce the dynamic to an acceptable level. If the "Maestro" - usually one of these crooks who never get anything to conduct but ballet music - plays one of the "bumptious cocks", say "Yes" to all of his demands, but play in your way dynamic wise, just to prevent a burnt through embouchure. Remember even for ballet music: If you will not hear the principal melody, you are too loud. If you cannot hear the principal voice of your section, you are definitely too loud. Story: A young (trouble making) second horn plays the last sfz in La Boheme, the scene when Mimi is to die, as a real sfz, while the whole section makes just a sfzp to get the effect & still keeping the atmosphere of the scene. After that, right after the end of the opera, the first horn (not me) asks him, if he knew that Mimi is to die then. But he replies: "From where should I know that ? " I am interested to know your comments, what you think about such a colleague (the 2nd horn). The same fellow had difficulties to get right along with J.Strauss "The Bat" (he had a rehearsal anyway), so the third horn (25 years professional experience) tried to help him by giving him some cues. But at the intermission, the same young fellow stopped the third horn and said: "This time & forever, I will not allow you to give me any sign while I play solo !" (His soli were just held notes in the range between c1 & g1). He also adapted some spectacles for himself (usually he does not wear spectacles) with black blinkers at both sides, so he has not to watch any sign coming from the third or the first horn. Anyway, he is provoking trouble after trouble. But he carries a little book in the pit, where he notes down about our playing. Shall we tear & feather him, perhaps, as he, while nice during the trial period of the first year, showed his obstructing talents by refusing any integration into the section, playing stubbornly just the black dots & markings as written in his part, no matter about the leaders interpretation, regarding dynamic, expression etc. ? He does not even try to adopt the orchestras style now. Last year, we had an extra Wagner concert in Italy, but he played Wagner Tuba with another orchestra the night before. He eventually called our orchestra manager at 11 PM the night before the early morning flight, that he cannot make it back in time to catch the flight. He were very sorry, that he could not bring the Wagnertuba back in time also. This was not a duty, but an extra gig for him & for us. I just should say, that we had a tough talk we him just two days earlier. So he meant giving us head ache. Well, we solved the problem easily, that our other fourth horn took his private Wagnertube on to the trip, and I took over the eighth part in the second half of the concert after I had played the Short call. But these kind of things do not count if it goes to the labour court. We hope & wait until he will commit something severe so the administration can fire him without the risk of an appeal. Your comment is also welcome here. Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
