Actually, this is only part of the story, and a little bit off at that. As explained to me by Michel Garcin-Marrou (who was there): French orchestras were losing their recording contracts due to the uniqueness of their sound in the WW's and brass. The producers and conductors were deeming them "unmarketable." Daniel Barenboim brought in Mike Bloom (who was available as he had just left Cleveland) to serve as co-principal and help train the horn players in the Orchestre de Paris to adopt a more "universal" approach. WW and trumpet players also adopted more "universal" styles and the old schools gradually but relatively quickly ceased to exist. Paxman full doubles in red brass became the instrument of choice by many pros though now one finds many Alexanders, Holtons, Hoyers, Conns, and E. Schmids as well as other makes being played in France just like everywhere else. Michel was trained on the ascending Selmer double horn (the French pro's choice B.B.) and played with a wide vibrato, a la Barboteu et al. He now plays on a Paxman. He is also one of the greatest natural horn players I have ever heard. I find it ironic that the true "French horn" is no longer used in France! It long ago ceased to be used by the British, who gave it that name in the first place! It is also evident of late that the eastern Europeans and Russians are adopting a more "universal" style. I'm sure this is "market driven," as well. I don't think the Viennese will switch as they are managing quite well to market what they do and they have figured out how to sell their uniqueness. In reality though, the Vienna Philharmonic is an "original instruments group" in the truest sense. Questions: What would be considered the "true American" style of horn playing? Who uses it these days? KB In a message dated 12/29/2005 11:21:34 AM Eastern Standard Time, [EMAIL PROTECTED] writes:
I believe it was Indiana Universitie's Myron Bloom who worked in France (Orchestre de Paris) and attempted to make the French adopt the big Conn 8-= D horns and sound concept. Before Myron Bloom entered the scen; it was common to see ascending horns and hear a much more 'nationalistic' sound. Now (lik= e in many other places), one hears only the same sound (few exceptions, Vienna, Russian Orchestras, some Eastern European orchestras....) Paul Rincon _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
