Hello Reba, you still did not answer what kind of an orchestra you were or are in (classification, no name), because they can (could) move you all over the section. Even in that case - special if many or most first horns in the world are getting a bit nervous for that kind of stuff (no.29 & other Mozart & Haydn things), why did you accept this gig ? Just for your masochism ? Or as you WANTED to play it ? Small sub list does not count at all. If the conductor puts this kind of music on the program, he or she should think first, if it were possible. If possible (not because of the horns), they should think first again. How did they fill the missing first position (due sabbatical leave) for the other programs ? If they cannot find a replacement nearby, they have to fly-in another player. Would cost something, right, but could be taken from the irresponsible stupid conductors salary.
Why did I choose to play it on the Viennese horn ? When I was until 23, I played everything on the single F Viennese Horn, but adapted the sound to the task. Even high "e" was a NO-PROBLEM for me then. Listen to the high notes produced by Thomas Joebstl ! This is sound horn playing and most tasteful also. Playing the Viennese Horn & playing all on it is not a matter choice. It is a matter of growing & growing & growing again. It takes a lot of time to "conquest" these horns & more time to "control" them. But with today´s extreme loud playing (I do not say uncultivated even it would be the right term in 75% of all cases) the Vienna Horn does not serve at its best. The Viennese Horn is the horn of the beautiful sound and it definitely does not show its best qualities playing high Mozart, Haydn or Bach or Haendel pieces. For this kind of music, we have better tools today, - and they are cheaper than a Viennese Horn. By the way, I have two brand new Viennese Horns, one with titanium valves & the other with brass valves, for sale. If somebody is interested, let me know. ============================================================ ================================================ -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Reba McLaurin Sent: Sunday, August 26, 2007 7:23 AM To: The Horn List Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A It was a freelance gig in a place where all of the freelance work goes to the orchestra. Our principal was on sabbatical. I just go where they point and do what they ask me to do. It was easier than arguing with the person that was insisting on playing second. I don't argue. Because of this I've played every position in our section over the past few years, although my position is officially labeled fourth. I'm the one that gets moved when someone is out of town. We have a very small sub list. Why did you choose to play it on your Vienna horn? What was it like? I want to play anything on a Vienna horn. If I had one I would probably play everything on it. R. On 8/24/07, hans <[EMAIL PROTECTED]> wrote: > Yes, you can play K.201 on the big horn - I did it on my Viennese Horn > (no problem if you have a good high B-natural) and it sounded light > (!!) - , but does it make sense to squeeze the notes out or to blair > them out on the big horn ? > It is heard that way so often. But it should all be light (in Italian: > a squillo), light as Champagne, light as Mozart. Mozart is in the > foreground. And a question: what kind of an orchestra, where the > proposed first player can say he would play second horn ? Or was it > some kind of an pick up orchestra for that gig ? If so, why did you > not resist the temptation & tell´m you were hired for the second horn. > You would have saved a lot of your nerves & frustration. > > ============================================================ > ================================================ > > -----Original Message----- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of > Reba McLaurin > Sent: Friday, August 24, 2007 5:30 AM > To: The Horn List > Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A > > Actually, my post was not entirely accurate. I had just returned from > a sabbatical when I got asked to play the gig by our personnel manager > because everyone else in town turned it down. I was told that I was > playing second. I got to the gig and found out I was on first because > the other player wanted to play second. I had no option other than > the "big horn." Because of the way things work in this town, I had to > accept the gig (if I wanted to continue working on the horn in this > town), and I knew to practice both parts. > > I think the other piece on the program was Mozart 21 or 22. > I think it was in c alto, but I'm not sure... it was a while back and > I threw away the program. > > On the subject of descant or high horns....if you can't play the piece > on the "big horn", you have no business pulling out a descant or high > f horn. (especially if you don't own > one.) The instrument should be used for color, a change of timbre, > and style, and not to "get the high notes out". I think there are > specific periods of music that are appropriate for high horns and > natural horns, and these instruments sound their very best when they > are used in pairs. I don't see what the big deal is about using the > big horn on Mozart. > > > _______________________________________________ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/sallym.of.mcl aurin%40gm > ail.com > _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
