It is up on my site, you just have to find it. One more thing: if you doubt the words of a person who is THE specialist in this particular field, nobody can help you. You have to look into the Wagner scores to find the so called Leitmotiv, a special melody or phrase assigned to a person of the play or a special action or both. The Siegfried Call comes before the real long call but as a short version. Why should Wagner have changed that. The Long Call is not one of these abundant strange or stupid cadenzas one can hear during almost all horn auditions, the jury pissing the pants off for laughter. The Long Call is a solo on stage, where Siegfried tries to wake up the dragon Fafner. So the Siegfriedmotiv is repeated several times, interspersed with related motivs, accelerateds to culminate with the high c, the normally highest tone on the horn regarding orchestra literature. I said the normally highest tone. But anything higher is excess & had not effect here. Enough. Last word: if I refer about a thing I do it from witness & not from hearsay or obscure musicologues books. See Count Waldersee talking about the Mozart duets written for basset horns as he could not imagine horns playing higher than high c3, nor could he imagine horns playing these duets on other crooks than F. Greetings from Ayutthaya Hans
_______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
