Why does Jan Bach's terrific "Two-bit Contraptions" call for.....what was it? A comb to be run across the horn mute?
Better sense of humour?
Or maybe:
Mozart was a snotty little putz who thought himself musically superior to everyone else and took himself too seriously, Wagner was a musically longwinded pompous anti-semite who took himself too seriously, Strauss came from a line of waltz writers, was looking for daddy's approval and took himself too seriously and Mahler was a depressive who couldn't decide whether to be a jew or a catholic and took himself way too seriously?
Or how about this: they were all Germanic? (Austria, Saxony, Bavaria & Bohemia respectively)
Nah, that couldn't be it;-P
Leigh (bloody hell, just had the nomex cleaned, guess I'll go put it on again *sigh*)
On Monday, June 28, 2004, at 07:40 AM, Hans Pizka wrote:
Question:
Why didnīt Mozart or Wagner or Strauss or Mahler ask for mouthpiece
popping ?????
========================================================
-----Original Message-----
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf
Of Robert Dickow
Sent: Monday, June 28, 2004 7:35 AM
To: The Horn List
Subject: [Hornlist] Mouthpiece popping
About mouthpiece popping...
I have at least two compositions that call for mouthpiece popping while
the horn is still attached to the instrument. The pieces have been played
all over the world (well.... England and the U.S. ;-) and I've never had a
problem. On one occasion, however, a hornist objected that doing this
effect could cause his mouthpiece to get stuck. "No, I don't think so.... only
trumpets have this problem," I assured him. Well, you guessed it. One
'pop' into the piece and his mouthpiece was thoroughly jammed into his
leadpipe.
His tone on the popping effect, however, was superb.
Robert Dickow
Lionel Hampton School of Music
University of Idaho
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