Re: [Hornlist] contacting Hans Pizka
Hello Daniel, editing Videos (have a backlog of about 100 DV casettes to be edited) is real fun & extremely fast. I´ll try the program Final-Cut to be better. Everything works better & I can run VISTA as parallel desktop anyway to use some of my older business programs. I also installed PARAGON, to read HDs formatted in NTFS & reading MAC & Windows files. As my son uses the same machine (iMAC 24", 4GB, 1 TB disk) I have a good assistant if needed. He is in the hardware business since 15 years being in the grossist sales. Kindest regards from Kirchheim Hans ++ Am 24.08.2009 um 09:46 schrieb daniel.canaru...@unifi.it: - Message from hpi...@me.com - ... I special enjoy editing all the videos from life long travel... using my new iMAC. What a difference compared with PC ... Hello Hans! Welcome among those who "have seen the light"! I'm glad you're enjoying your retirement. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hpizka%40me.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] contacting Hans Pizka
to all forum members my email has changed, as I switched to iMAC finally. If you like to contact me off list, use the following ID, please: hpi...@me.com I will keep you informed, when my homepage will be moved to a new home, but it will take another few months, to restructure my homepage, publication list, translations, change or add some pictures, update my travel pages, etc. To all: I am enjoying retirement since 2 years & 5 months now, still performing just "here & there" privately, but also in public (doing the Huebler Concerto for 4 horns & orchestra). These are privat performances for charity & special occasions, all without any honorary. We both, my wife Boorlian & me, enjoy very much on our travels to China & India. I special enjoy editing all the videos from life long travel (may-be some 100+ DV casettes & many VHS & super8) using my new iMAC. What a difference compared with PC, but I have not thrown my PCs & Laptops (2) to the garbage, as they still work well & are quite useful, but all now off-line to avoid the spam & virusses. But I will even replace the Laptop against a very compact Macbook next year. Healthwise everything seems to be fine, otherwise we could not go up to 5.000 m (17.000 ft.). I still continue with new publications (just completed 32 Var. for horn alone by Franz Strauss, two duet + orchestra pieces by F.Strauss, the op.6 Originalfantasy with orchestra, Lucia di Lammermoor Fantasy w/ orch., Lied ohne Worte w/orch,etc.), the Wagnertuba studies rewritten and enlarged using FINALE, the Stary Etudes 3 books rewritten, an unknown double Concerto by Hoffmeister, an unknown quartet for horn & strings by Hoffmeister, another by Klemp, etc.etc.). Wait for the announcements on my publication list. I´m also working on a better biography of Mozarts uncle-like friend Joseph Leutgeb, by collecting all available textes about him & by some family research. The biography of famous horn player Josef Suttner is allready available from Hans Schneider Musikverlag, Tutzing, Germany. If some of you have some special questions, to which I might be able to provide the right answer, do not hesitate asking me. Take this as an update about a retired horn player. Warmest regards from Kirchheim near Munich Hans ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Strauss no.2
The last eight before 36 in the last movement of the Strauss No.2 is indeed misprinted. The "natural" after the written d# (2nd eight in the same measure= concert f#, as the part is in Eb) is missing, but we all played the right note at the end of the measure (last eight notated as d2 = f concert). I´ll have a look into the autograph score later today & let you know about). Bozza´s "En foret", well many of us play the low "A" (concert d) as mentioned by Christopher, even it is written as one octave higher (the "a" below staff = concert "d"). Most just wanted to demonstrate, that they can play a low "A". But musically, the "a", as written by the composer is much better. He did not use the low "A", nor did he want it. And, is it really a tour de force ? It might be a tour the force for players, who have not yet developed their personal playing technique & embouchure to play this short but obviously demanding piece. x It is now later in the day & I had a look into the piano reduction, Gottfried von Freiberg, my teacher, arranged using the autograph. This arrangement is handwritten & was arranged before the Boosey & Hawkes publication. Voila, there is the “natural” for the last eight in the measure before the study number 36. The study numbers are by Strauss himself. The solo part is missing the “natural”, but von Freiberg played the written “d” & not a “d#”. And we learned the Concert, using the Boosey publication, but played it with the “natural” even I never inserted it into my part. The d# would be most unnatural. Just as a reminder, I inserted the natural today. Do we (my generation) or better, did we have a better feeling for such errors or eliminating such errors automatically ? I eventually corrected an error in my part for Ariadne auf Naxos, not only here in Munich, where the second premiere took place, but also in Vienna, when I played there as a guest – and they had premiered the opera there, and at other opera houses. Thanks to Christopher Griffin for pointing to that stuff. Here are the missing tempo adv. In the B&H publication: 1st mov.: M7: missing “frei” (ad lib.), [1] missing “a tempo”, 5 meas. after [7] missing “rit.” t the 3rd beat, 2 meas. after [9] should read “poco meno” not “rit.”, 4 measures before [14] “breiter” (piu largo) is missing, two meas. before [18] missing “rall.” upon the 3rd beat, one measure before [18] missing “a tempo” upon the last beat. 2nd mov.: four measures before [24] missing "draengen" (drag). 3rd mov.: seven before [35] missing "ruhiger" (meno mosso), one before [35] missing "viel ruhiger" (molto meno mosso), five meas. past [39] missing "calando", ten meas. past [39] missing "tempo primo", eleven meas. past [46] missing "calando", four meas. before [47] missing "accel.", [47] missing "tempo primo", [50] missing "draengen" (drag). That´s all on tempo corrections, when comparing the first performance solo part and the first piano reduction (by Freiberg) with the 1950 Boosey & Hawkes publication. But will these corrections help much, as we live in a time, when "speed" and "show off with technique" seems to be all, when musicianship is missed much ? When "singing the horn" seems to be outdated ? -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Solo beginnings
How about Anton Bruckner Symph. no.8 c-minor, starting with the two horns in octaves c1 & c2 in a perfect octave, before double basses, celli & others enter with the main motiv ? This beginning is quite delicate, also the following d1 - d2 octave. The third act of Goetterdaemmerung begins with horns 1/3/5/7 with the Siegfriedcall motiv, answered to by the stage solohorn. Original-Nachricht > Datum: Mon, 29 Jun 2009 17:18:01 -0500 > Von: Dan Phillips > An: The Horn List > Betreff: Re: [Hornlist] Re: Solo beginnings > > On Jun 29, 2009, at 4:22 PM, Joel Lazar wrote: > > No doubt more to come! > > > Timpani solo to begin the "Burleske" for piano and orchestra of > Richard Strauss. > > Dan > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Solo beginnings
How about Verdi´s "Don Carlo". The classic version & most played begins with the solo horn quartet. Richard Strauss "Silent woman" starts with the solohorn, Richard Wagner´s "Liebesverbot" starts with Castagnettes solo; more to come Wednesday, when back home after 4 weeks+ travel in Asia. Regards Hans -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Brahms Violin Concerto Horn parts
Never played it on natural horn. Would not make any sense in a modern orchestra except the orchestra as a whole would adopt instruments of the relevant epoque, including strings set to that time. Greetings from back home Hans Original-Nachricht > Datum: Sat, 8 Nov 2008 03:29:35 EST > Von: [EMAIL PROTECTED] > An: horn@music.memphis.edu > Betreff: [Hornlist] Brahms Violin Concerto Horn parts > Sorry, I forgot to change the subject line. > > Would anyone like to offer an opinion as to whether the horn parts in the > > Brahms Violin Concerto should be played on valved or natural horns. > > lawrenceyates.co.uk > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Atterberg Sonata Op.27
Kurt Magnus Atterbergs Sonata op.27 from 1925 is NOT a horn sonata but a Sonata for a stringed instrument (cello, viola, violin). Original-Nachricht > Datum: Fri, 7 Nov 2008 21:09:51 -0500 > Von: Debbie Schmidt <[EMAIL PROTECTED]> > An: The Horn List > Betreff: Re: [Hornlist] Atterberg Sonata Op.27 > Paxman > > Debbie Schmidt Sent from my iPhone > > On Nov 7, 2008, at 8:56 PM, Benjamin Lieser <[EMAIL PROTECTED]> wrote: > > > Hello, > > > > I am looking for the publisher for a sonata by Kurt Atterberg. Any > > help would be appreciated. > > > > Ben Lieser > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Beethoven #1, Horn in C - Alto or Basso?
Hello Steve, Kjellruns tumb rules are valid with the exception of C-alto, which is not explicitely noted such. This special transposition is found in certain Haydn ouvertures, in Mozarts Idomeneo etc. but rarely i the music of the 19th cent. You have well noted, that the horn parts would be far too high, if they were in C-alto (sound as written) in Beethoven no.1. So you are right. The horn parts of this symphony are rather simple. High horns are in Beethovens no.2 (A) and No.7 (A) with prominent solo spots. The no.4 has one entrance with high Bb, but the part is in Eb, so noted as high c. I´ll answer your mouthpiece question as soon as back home late next week. You should remember, that I am retired since April last year. BTW: will expect the first snow back home, but arriving from a quite hot country (Thaiand), where we enjoy the hot spa. Greetings Hans -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Konzertst ü ck & Problem, Part 2
The Schumann Konzertstueck thread: Yes, there is a 4-horns-only-score, also a piano reduction & a conductor score, published earlier by KaWeAmsterdam, which is part of my publishing, since I acquired this company after the death of Klaas Weelink 1983. This piece has not been written for the average hornplayer. It has not been written for the average professional hornplayer, at least the first two solohorns. It also has not been written for the very good prefessional hornplayers, but for the very best of the best professional hornplayers. What seems so difficult in the first part, seen from modern composers eyes ? The chromatic, used by Schumann ? Why at all ? Nothing special. All is within the common natural horn technique. But how should a composer, who is not a very specialized hornplayer of outstanding qualities know that ? No way ! Most hornplayers do not believe such technique was possible on the simple handhorn. Did they or do they believe, that all the Wagner- and Richard Strauss- and Mahler-stuff be possible on the single Viennese F horn ? How should they believe it be possible, to play op.86 on the handhorn ? But I might say as excuse, that the same happen in other fields of life. To the composers on the list: should a composer implement all possible effects, the full compass with the extreme high & the extreme low notes on the horn in his or her compositions ? Certainly not ! If he or she has an equal superb knowledge of the horn technique as had Richard Strauss, well, keep on writing one piece better than the other. If the effects or the extreme compass would be necessary to pep up the pieces because of lack of imaginative power, better quit. We have enough garbage pieces, which only look interesting for the musicologue or from graphical view. And we need more good pieces for the average player, not competition pieces of greatest difficulty. Furthermore: I am missing melodic lines on most contemp solo pieces. A last word to the musicologists: Nobody can expect, that they were specialists for all instruments. Nobody can be a specialist for more than one instrument (the related instruments included; for the horn: wagnertuba, descant, Viennese, handhorn, parforcehorn, double, etc.). And most musicologists are not be found at high professional level of that particular instrument. The result is the rather amateurish approach to the interpretative technique of the instrument. Moral: the musicologists should much better listen to the very high classified instrumentalists, but not take everything as bare truth. If they listen better to the high qualified instrumentalists & evaluated their (the instrumentalists) explanations, statements etc. with their (muscologists) critical view, they would be right on & of highest value for all musicians. Regards from Hot Spa (46 centigrades) in SW Thailand,enjoying retirement Hans -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] test
Everybody was out looking for rabbits laying red eggs near nuk plants. == Original-Nachricht > Datum: Tue, 25 Mar 2008 18:52:38 -0700 > Von: David Laraway <[EMAIL PROTECTED]> > An: horn@music.memphis.edu > Betreff: [Hornlist] test > Haven't seen messages for several days. Is it just me? > David Laraway > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Corno in Mi
Hello Adam, it was common use, to have the horn parts in different keys in the past. The most common keys were F, E-flat & D, less often E. Baroque music was anotated in a different way. BTW, my first shipment (you remember, I resent it) just arrived back three weeks ago. I had addressed it to "School of Music" instead "School of Medicine". But the music had a very long journey. Greetings from Lanzhou in the middle of the Silk Road. Ha´ns Original-Nachricht > Datum: Mon, 17 Mar 2008 10:16:27 +1030 > Von: Adam Black <[EMAIL PROTECTED]> > An: horn@music.memphis.edu > Betreff: [Hornlist] Corno in Mi > > Dear Hornists, > I have recently purchased a piece for flute, horn and piano (by Muller). > The horn part starts as "corno in Mi". By looking at the flute and piano > parts, this must be for horn in E. This is the first time I have seen this. > Can anyone fill me in on the origins? > Thanks, Adam Black > _ > It's simple! Sell your car for just $30 at CarPoint.com.au > http://a.ninemsn.com.au/b.aspx?URL=http%3A%2F%2Fsecure%2Dau%2Eimrworldwide%2Ecom%2Fcgi%2Dbin%2Fa%2Fci%5F450304%2Fet%5F2%2Fcg%5F801459%2Fpi%5F1004813%2Fai%5F859641&_t=762955845&_r=tig_OCT07&_m=EXT___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Corno in Mi
Lawrence, silly question: is "england" so small now ?? Original-Nachricht > Datum: Sun, 16 Mar 2008 19:52:14 EDT > Von: [EMAIL PROTECTED] > An: horn@music.memphis.edu > Betreff: Re: [Hornlist] Corno in Mi > Do (or "ut") Re Mi Fa Sol La Si (in england we say "tee" then Do to > finish > off > > Remember "The Sound of Music" - "Do, a deer" (a female deer actually) > Did > Julie Andrews do it all for nothing? :-) > > Cheers, > > Lawrence > > lawrenceyates.co.uk > > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: RE: [Hornlist] chicken or egg - I try it the 3rd time
Mark, Paul Rincon answered correctly regarding R. Strauss, but regarding Mozart I might ask you, if you ever have had a look who arranged the piano reduction of the Mozart Concertos you studied or you will study. Do you own the piano parts or do you just study your horn part from a copy of a copy where the arranger is not visible any more ? Would any arranger in the world dare it to write a new piano reduction, if genius Mozart had written the piano version first ? You are quite funny. Mozart wrote the concertos in a very special way as we can see on the incomplete scores for the two movements in D, we erroneously put together & name it concerto no.1 and in the also autograph score for the no.3 concerto, which we number as no.4 today and in the so called Concert Rondo K.371 & the other fragments. He started with the introduction as full score. As soon as the solo instrument joins, he continued with the sololine, the first violin & the bass line first until the next tutti. After completing a movement he filled in the 2nd violin, viola & thze usual four wind instruments, which sometimes were not written in the score but as a separate sheet of music. On repeated passages, Mozart left the work for the copyist, who wrote out the performance material. There was no score published earlier than the first Breitkopf publication edited by Henri Kling, who also arranged the piano reductions. The Mozart Concertos were not popular in the 19th century. There was just the old Andre edition of the three concertos in E-flat, but also another publication of the (modern numbering) no.4 concerto K.495 by Contore d´arte et d´industrie in Vienna, perhaps under Leitgeb´s participation. All the Mozart Concertos became popular by the effort of Karl Stiegler from Vienna & Aubrey Brain in London. You have to remember, printing was extremely costly then, so very few sets were published. Printed music was too expensive for most players & students. Well, some got the chance to opy parts by hand. So things became preserved also. This is the message I tried to send. Believe me, I never had any control or censorship of my letters from China. You seem to believe old myths. You should come to China to think different. I have been here about 40-times since 1984 and seen & experienced the unbelieveable changes. I have Internet high speed access from nearly every hotel room (I do not travel like these rucksack tourists staying in 5 - 10.- dollar lodges but also avoid the 80.- USD up hotels.), - and the internet access is complimentary. What bothers, is the language situation. Even taxi drivers seem not to understand the term "hotel", jewelry shops dont know gram or ounce as weight, even sign language fails often as they are not trained to think further. But you find a lot people, trying to help you even not being asked for. That is nice. If they speak any foreign language they try to use it when & where possible. And you get everything in the shops. The shopping malls are up to date. You see all famous bran ds, the real things not copies. The architectural modern design mixed with some traditional (Tang Dynasty) is very impressing & so is the size. Traffic is enormous. Food is excellent & perfect cheap. We had ten satays mutton, thick noodles with tofu & vegs, a plate peanuts in 5 colors plus sliced lotus roots & cucumbers, another plate of vegs, 1 middle sized coke, turkish bread for a total of 5.-USD. And they had an English menu. The other day we ate Peking Duck & 5 other delicacies & one bottle beer for 19.-USD (famous restaurant). Greetings from Xi´an in the heart of China to all. Hope the message gets out Hans Original-Nachricht > Datum: Fri, 14 Mar 2008 19:52:01 -0500 > Von: "John Baumgart" <[EMAIL PROTECTED]> > An: "\'The Horn List\'" > Betreff: RE: [Hornlist] chicken or egg > Give it time. > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf > Of Ellen Manthe > Sent: Friday, March 14, 2008 7:15 PM > To: The Horn List > Subject: Re: [Hornlist] chicken or egg > > And no one has been the least offended by any of his comments... > Ellen > > > On 3/14/08 7:06 PM, "Dan Phillips" <[EMAIL PROTECTED]> wrote: > > > On Mar 14, 2008, at 6:38 PM, [EMAIL PROTECTED] wrote: > > > >> > >> ___ > >> post: horn@music.memphis.edu > > > > These empty messages are being caused by filtering by the list server. > > Hans is sending messages that include only HTML, without the plain > > text alternative that is normally part of HTML emails. When the > > server strips out the HTML, the result is usually an empty message > > body, which the server discards. After looking at the raw message > > source and the headers, my best guess is that for some reason, the > > messages he is sending are missing some HTML tags, and the filtered > > result includes only the two carriage returns that we are seeing. >
Re: [Hornlist] Re: Horn Digest, Vol 59, Issue 30, 8D leadpipe
But how about the many high class professional (full time) players who never altered their horns, but had a descant at hand for special tasks, a nice full double for day-to-day work - but also used the same mouthpiece for all tasks for 30 - 40 years ? +++ Original-Nachricht > Datum: Mon, 26 Nov 2007 12:07:37 + > Von: "Peter C. Miller" <[EMAIL PROTECTED]> > An: horn@music.memphis.edu > Betreff: [Hornlist] Re: Horn Digest, Vol 59, Issue 30, 8D leadpipe > When I still had my H series Conn, I changed to a Lawson first then later > to an Atkinson A5. The A5 was perfect for that horn and me. I am so sorry I > ever sold that horn, but you live a learn. I've never found another one > that played so well in the lower register as well as so clear in the upper. I > could out blow the tubas one minute and play Haydn's Hornsignal the next! > The A5 really centers the 8D's, which can play like a wild mustang if you > don't learn to tame them. My Hoyer 7802 is the closest I've come to the > sound, but it too needs to be tamed and a new leadpipe and possibly a new bell > might do the trick. I would also suggest getting the valves checked, > cleaned, etc. I've also used a McCracken on a 900,000 series Conn with good > results. > > Good luck! > > -- > Peter C. Miller, M.M., M.M.Ed. > Private Consultant > (334) 524-0161 > > > -- Original message -- > From: [EMAIL PROTECTED] > > > > This message has been processed by Symantec's AntiVirus Technology. > > > > Unknown.data was not scanned for viruses because too many nested > levels > > of files were found. > > > > > > For more information on antivirus tips and technology, visit > http://ses.symantec.com/ > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna Der GMX SmartSurfer hilft bis zu 70% Ihrer Onlinekosten zu sparen! Ideal für Modem und ISDN: http://www.gmx.net/de/go/smartsurfer ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Il Trovatore: Cavatina Leonora - Ab Horn
In the well known Verdi Operas there is no A-alto or A-flat-alto, but I am not sure if it could be in the nearly unknown Verdi Operas. Il Trovatore has no A- or A-flat-alto definitely. Milton answered regarding Bb-alto or basso. = Original-Nachricht Datum: Sat, 23 Sep 2006 21:29:04 -0400 Von: [EMAIL PROTECTED] An: horn@music.memphis.edu, [EMAIL PROTECTED] Betreff: [Hornlist] Il Trovatore: Cavatina Leonora - Ab Horn > Hi All, > > I don't have quick access to the score and I was wondering if anyone knows > whether the Ab horn (IV part) in the "Cavatina Leonora" from "Il > Trovatore" is Ab (LA b) alto or basso. I would normally read it as an alto > transposition but that puts the 4th horn up to high B-flats and never below > B-flat > third space. Thanks in advance for your help. > > Marc Cerri > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from ViennaNEU: GMX DSL Sofort-Start-Set - blitzschnell ins Internet! Echte DSL-Flatrate ab 0,- Euro* http://www.gmx.net/de/go/dsl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Zdenek Tylsar died
Very sad news received from a close friend in Czech Republic: Zdenek Tylsar died yesterday in Prague at age 61 Greetings from India Hans Pizka -- SigfridFafner the under ground horn player from Vienna Der GMX SmartSurfer hilft bis zu 70% Ihrer Onlinekosten zu sparen! Ideal für Modem und ISDN: http://www.gmx.net/de/go/smartsurfer ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Air travel rules
Yes, it refers to density, but you can use other semi-stiff material also (some left over packing material except air bubble sheet. The most severe restrictions are for flights to UK & USA, not inside Europe. But it might be wise to ask the airlines & tell them about the horn. Hopefully they would understand what you are talking about ?? Original-Nachricht Datum: Tue, 15 Aug 2006 18:30:30 +0100 Von: "Corenut" <[EMAIL PROTECTED]> An: horn@music.memphis.edu Betreff: [Hornlist] Re: Air travel rules > The info on packing the horn (Hans) is most helpful thank you. > Can you or someone please clarify "moss rubber" please? Does this refer > to its > density and what type of retail outlet should I be visiting to locate this > product? > > I am travelling to S France in early Sept avec cor but by boat going south > and > Lufthansa (BMI charter) coming back from Toulouse to Manchester. I trust > by > then the 'authorities' will have sorted themselves out and not make me > drink the > valve oil.. > > Cheers, > > Foxy > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna Echte DSL-Flatrate dauerhaft für 0,- Euro*. Nur noch kurze Zeit! "Feel free" mit GMX DSL: http://www.gmx.net/de/go/dsl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] High Range
If you play the high notes the way you desribe, my goodness, I cannot imagine any nice sound. High yes, but aweful pinched or shrill. To use the lip aperture like a camera aperture - better as the "iris" of an eye or old fashion camera - classic - is not the right description. Better would be, the aperture between two grass blades, or between the reeds of a bassoon mouthpiece, well, this description might be valid. But directing the airstream down to the chin, this is perfectly wrong as the airstream is best controlled when directed into the middle of the sound hole (= centered), but this requires a different holding position: the horn more up, so the leadpipe does not form an angle with the axis through the mouth. Nor were it very good, to have the chin down & the neck bent, creating a lot of tension, etc, etc .. Original-Nachricht Datum: Mon, 7 Aug 2006 06:56:56 -0700 (PDT) Von: James Wester <[EMAIL PROTECTED]> An: The Horn List Betreff: Re: [Hornlist] High Range > Nicholas, > > This may or may not help. But with all my chops woe's I've had over the > last ten years, the one thing that has never left me in my high range. When > I play in the high range the air stream coming from my embouchure( sp?) is > going straight down, it would hit me square on the chin if the mouthpiece > wasn't there. I also like to think of my embouchure as an aperture of a > camera, the higher I play the smaller the aperture ( ie not pinched but round > ). > > Hope this helps. > > James > > Nicholas Hartman Hartman <[EMAIL PROTECTED]> wrote: Recently, I have > been worrying about my high range, or lack thereof. I can make a C3 sound > almost 100% of the time, but I have to work very hard, my face turns red > and scrunches up, and I can feel it for about ten minutes after. Having > studied with professional players all my life, I know that all of these are > not > supposed to happen, but when I try to use less pressure, try to be less > tense, and try to let the air do all of the work, my lips won't even vibrate. > I feel like I'm chronically missing some key piece of advice because none > of my peers seem to have this problem. Please, any advice would be > invaluable as nothing seems to be working for me now. Thank you. > > Nick > > > - > Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great > rates starting at 1¢/min. > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/ndspmustang%40yahoo.com > > > > - > How low will we go? Check out Yahoo! Messengers low PC-to-Phone call > rates. > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna Der GMX SmartSurfer hilft bis zu 70% Ihrer Onlinekosten zu sparen! Ideal für Modem und ISDN: http://www.gmx.net/de/go/smartsurfer ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
re:[Hornlist] quickie transposition question
Simon, you did not understand my message, by Erin understood me well & sent me a very, very nice letter. My letter was not intended to attack Erin or others, but remind all of us, thzat we should use more of our intelligence & not following the main trend to "get all prechewed or told or made or prepared" etc. Greetings from Nanjing Hans (what a big change here since I was here 1994, unbelievable - just watched a CCTV9 program with their main political commentator & the ambassador & CEO of the chamber of Commerce of Mongolia talking about their experience with the transition of their country to free democracy & free market society. Could you imagine that ?) === > --- Ursprüngliche Nachricht --- > Von: Simon Varnam <[EMAIL PROTECTED]> > An: horn@music.memphis.edu > Betreff: re:[Hornlist] quickie transposition question > Datum: Fri, 31 Mar 2006 18:46:32 +0900 > > <[EMAIL PROTECTED]> wrote > > why are we all so friendly helping out at the most simple > > questions everybody should be able to answer ? > ... > > > > Get back to be human not humanoid. > > Give him a break, Hans! > The guy's ignorant, but he knows it and has the guts to admit it. > He needs a hand and we'll gladly lend it. That's what this list is for. > And this is a question that many of us amateurs are able to answer, so > give us our chance to shine. We'll leave the difficult ones for you. > > Your expert advice on horn-playing is always much appreciated. > May I suggest you stick to YOUR speciality and leave the teaching of > etiquette to those more qualified? > > respectfully yours, > Simon > (Pizka mpc user) > >= > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna "Feel free" - 10 GB Mailbox, 100 FreeSMS/Monat ... Jetzt GMX TopMail testen: http://www.gmx.net/de/go/topmail ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Concerto Editions
The slurs & dots added later come from performance tradition, most handed down by mouth to mouth tradition (meaning of tradire = lat.) special in Vienna, where the concertos were written. The first complete edition of K495 is by Art et Industrie publications in Vienna according to the autograph, which was in Leutgeb´s hands for the greater part. The tradition was handed downb to Martin Rupp, the Lewy brothers, Richard Lewy, Schantl, Richter, Stiegler & Freiberg, just to name a line. And the bows & dots follow the violins & are influenced by our language & the singing tradition. This might be difficult to understand by non-German speakers. But if you like to stick to the ur-text (like the autograph), continue in the clumsiness, while Mozart trusted his friends (most were horn players in Vienna) & their skill & experience & taste. == > --- Ursprüngliche Nachricht --- > Von: "Bill Gross" <[EMAIL PROTECTED]> > An: "'The Horn List'" > Betreff: RE: [Hornlist] Mozart Concerto Editions > Datum: Tue, 13 Dec 2005 09:42:44 -0600 > > Just a follow up to Hans' statement below. If the original published > version (is that the correct interpretation of ur-text?) of the concertos > did not include "slurs & dots we are used too" how did they end up in > current publications? Are they from individuals who heard the original > performances or are they from later performances that became accepted as > standard interpretations? > > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of > [EMAIL PROTECTED] > Sent: Monday, December 12, 2005 4:18 PM > To: The Horn List > Subject: Re: [Hornlist] Mozart Concerto Editions > > HENLE Verlag in Munich has all four concertos in urtext, as far as there > is > urtext (K412 , K447, K417 are existant except slow movement of K417 > missing. > K495 is existant just from middle of 2nd mov to end & middle of third mov. > until the end. But there is the first Viennese publication of K.495, where > Joseph Leutgeb took part obviously (as he had the missing parts). > > The urtext publications dont have the slurs & dots we are used too. > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de > -- Lust, ein paar Euro nebenbei zu verdienen? Ohne Kosten, ohne Risiko! Satte Provisionen für GMX Partner: http://www.gmx.net/de/go/partner ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: embouchure strengthening device
Dear Prof. I. M. Gestopftmitscheist, would you kindly send me one of your F.A.R.T.s & bill me via Paypal Here is my address: Sickfrid Fafner Furzergasse No.10 A- Vienna, Fart district > --- Ursprüngliche Nachricht --- > Von: [EMAIL PROTECTED] > An: horn@music.memphis.edu > Betreff: [Hornlist] Re: embouchure strengthening device > Datum: Sun, 28 Aug 2005 12:27:48 EDT > > Steve Ovitsky wrote: > > << Here's possibly the last embouchure building gadget you'll ever need. > eBay item 7344912178 >> > > Now, I must be making the tellings to you all that this device is a > probably > maybe a knock-off and imitator of my famous and almost patented French > horn > Articulation and Range Titanicator (or F.A.R.T. for short) which helped > many > people have the mostest of successesses in their chosen professions as > well > as get their third degrees! > > Kindestest of Greetonings and Mostestest of Debuffifications, > > Prof. I. M. Gestopftmitscheist > Principal 8th horn and Principal 4th Wagner Tuber, Schplittenotendorf am > Oedland Staatsoper und Philharmoniker, (ret.) > Solo Horn, Exit 2 Brass Quintet > Hornist, Broken Winds WW Quintet > Solo 4th Horn (Leader, call me for bookings), Smirnoff Horn Quartet > Assistant Associate Principal Mellophone, NJ Turnpike Authority Drum and > Bugle Corps, "The Phantom Lane Changers" > Hornist as Needed, L'Ensemble du Chambre des Palourdes > Principal Natural Horn, I Soloisti di Feces > Principal Baroque and Hunting Horn, Camarata Vongoleforte > Adjunct, Part-time, Arms-length Professor of Horn and Pest Control, Exit > 2 > Community College, Exit 2, NJ > Author, "The Kopprasch Connection," "Kopprasch for Fun and Profit," > "Kopprasch for the New Millenium: Where Do you Fit In?" "Hooked on > Hornonics," and > "What If Saddam Had Given Ouday and Qusay Olds Ambassador or Conn Pan > American > Single F Horns and a Kopprasch Book Instead of AK 47's, Booze and Porn?" > Founder, Director and CEO, Universal Institute for the Study, > Preservation > and Dissemination of Kopprasch Throughout the Solar System > Founder and Guru Extraordinaire, Hornaholics Anonymous > Grand Poobah of the Koppraschian Kult > Director and Program Manager, The All Kopprasch Channel (AKC), Kopprasch > Public Radio (KPR) > Host of The Kopprasch Factor on AKC and All Kopprasch Considered on KPR > Founder of Kopprasch Depot, your one stop shop for all you need! > Interplanetarily Known Soloist and Artist of Record > Exclusive Bundy, Carl Fischer, Olds Ambassador, Sansone and Conn Artist > Who > Does Not Get His Horns For Free > Phone: yes > Fax: yes > E-mail: yes > Website: no > > "Kopprasch is worth fighting for." > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de > -- SigfridFafner the under ground horn player from Vienna 5 GB Mailbox, 50 FreeSMS http://www.gmx.net/de/go/promail +++ GMX - die erste Adresse für Mail, Message, More +++ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
=?ISO-8859-1?Q?Re:_[Hornlist]_Re; _Mahler_1_,_c/o_Hans_Pizka,_and_performa?= nce practice.
Ellen, playing in an university ensemble or as soloist with an university in not compareable with professional orchestra playing, where you "market your skin" every night. Not having played in a professional orchestra, means knowing NOTHING about it. Truth. Greetings from Bangkok Hans > --- Ursprüngliche Nachricht --- > Von: Ellen Manthe <[EMAIL PROTECTED]> > An: The Horn List > Betreff: Re: [Hornlist] Re; Mahler 1 , c/o Hans Pizka, and > performance practice. > Datum: Fri, 26 Aug 2005 09:36:53 -0500 > > I must interject a comment on this post. It is very difficult to earn a > DMA > in applied music. Not only must a student earn a "B" level or higher in > many hours of musicology, theory, technology, and ethnomusicological > classes, but one must first EARN admission to the program in the first > place > by performing either a recital or lecture recital that is at the doctoral > level in musical proficiency. At least, that was the case when I entered > the Michigan State program in 1995. The horn prof maintains very high > standards for both herself and her students, and I think that this is true > of other professors in other programs. -- SigfridFafner the under ground horn player from Vienna GMX DSL = Maximale Leistung zum minimalen Preis! 2000 MB nur 2,99, Flatrate ab 4,99 Euro/Monat: http://www.gmx.net/de/go/dsl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mahler 1 Excerpt Question
William, Sandra & other "wise" list members, following your "recommendations" I must recognize, that many of you seem to play the horn without having done the proper home work. Otherwise you would not post that weird nonsense about fingering & intonation. Go back to Kopprasch no.1 or the Schantl Methode - why not every five years - to refresh your knowledge or even get first hand knowledge what' s about playing the horn. Recommending fingering the low F (written) on F-horn 123 & lipping it down just because Vienna Phil seems to do it, is insane perfectly insane. The Vienna Phil has no other choice on their F-Pumpenhorns, but they do not lip it down. They use the right hand. Have you also noticed that they do not blair or fart these low notes but play them like a double bass & not like a basstrombone or euphonium or tenorhorn. 123 on the F-side is even a very sharp f-sharp. But why using that, if you have the Bb-side just a valve stroke away. Go back to do some solfege instead playing with the tuner, as if you play with the tuner, you will lip up or down the note in question automatically. But if you go to the next note, the desaster will be unchanged. Listen better to your playing & correct the note by mini-lip-action & the use of the right hand. But avoid right hand action when you can correct the pitch by the lip action. It is a MINI-ACTION not a bif affair. You also have two sides of the horn at hand (F & Bb). Why dont you use both sides in a proper way ? Just choosing the better in tune pitches from every horn no matter in high, middle or low range. The g1 is better in pitch on the F-side, all e-flats are better on the Bb-side, the f2 is best with 1 on Bb, the d2 is best on F as open, the c-sharp2 is best with 2 on F (not with 12), the e-flat2 (if played on F) should be fingered with 2 not 23. g2 is open on both sides not 1 on Bb. The only combination fingering 23 comes for the g-sharp as 2 on Bb is flat allways. This means, using the F-side up to e2 or even g2 (except delicate entrances) is much better intonation wise as Bb up from c2. The exception is the e-flat1 & e-flat2 on 1 Bb, as it is much better in tune as on the F-side. Low octave from c1 down: all on the F-side until f-sharp (3rd ledger line below staff), then continue on the Bb, as all notes speak much better. Get the same C to G on the F-side (impossible on the Bb-side anyway) & the rest down to the fundamental on the Bb-horn, but avoid farting. Get it with proper lip opening & just releasing more or less air according to the dynamic requests. But never BLOW the air into the horn. RELEASE the air instead. Refrain from over practising every passage. These things, like Mahler 1, must work after trying it twice or threetimes. Otherwise stay away from such pieces, if you are not mature enough. It is the wrong method, practising a spot to death, because fundamental things have not been acquired first. It is much better, to practise a certain technique LONG BEFORE such tasks might come up. Otherwise you will slip & fall upon your snout earlier or later. Remember, it is far not a waste of time, to practise Kopprasch, Maxime-Alphonse, Paudert, DeGrave or the Schantl books. It improves your skill, so you can master such special - ooops, Mahler 1 is quite conservative even for the ADVANCED amateur - tasks. I wonder, that some of you (the ones I tried to address with my letter) even teach students, but are improper trained themselves. Yes, I admit, not everybody can be trained like the Philharmonics, but the basic elements are an absolute MUST. Greetings from Far East (NE Thailand), where you find very fast internet access everywhere at nearly zero costs (65 US ct./hour) Hans > --- Ursprüngliche Nachricht --- > Von: [EMAIL PROTECTED] > An: horn@music.memphis.edu > Betreff: Re: [Hornlist] Mahler 1 Excerpt Question > Datum: Wed, 24 Aug 2005 17:00:37 EDT > > > Thanks, by the way. I shall try them in the practice room shortly :) > > -William > > In a message dated 8/24/2005 5:52:15 A.M. Central Daylight Time, > [EMAIL PROTECTED] writes: > > Hi William - here's my 2 cents worth: to avoid the severest intonation > and > smoothness issues, stay with short fingerings on the F horn, and long > fingerings on the Bb horn. So - Db, use trigger 2/3, Eb use trigger 1, > but the F, > use F horn 1. The Db might be low (or high - depends on your horn) - use > your hand to fix the Db, and any other note. > > As for sound, keep in mind that it's not a horn solo section - the horn > is > used in collaboration with other instruments. > > Sandra > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de > -- SigfridFafner the under ground horn player from Vienna Lust, ein paar Euro nebenbei zu verdienen? Ohne Kosten, ohne Risiko! Satte Provisionen für GMX Partner: http://www.gmx.net/de/go/partner _
Re: [Hornlist] Julius Caesar
>From top alias with introductory higher grace note and "abschlag". > --- Ursprüngliche Nachricht --- > Von: [EMAIL PROTECTED] > An: horn@music.memphis.edu > Betreff: Re: [Hornlist] Julius Caesar > Datum: Sun, 21 Aug 2005 12:22:12 EDT > > Hans, > > What is the true baroque manner for a trill? > > Thanks, > > Ron > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de > -- SigfridFafner the under ground horn player from Vienna 5 GB Mailbox, 50 FreeSMS http://www.gmx.net/de/go/promail +++ GMX - die erste Adresse für Mail, Message, More +++ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Julius Caesar
Klaus, it cannot be overheard that the Caesar solo aria horn solo is scored for F-horn, because it would not be possible for any other natural horn, to play this aria. There are two other 4 horn numbers there, scored for G-horns, with a cadenza up to our high d3 in p dynamics - very delicate. And the other number for 4 horns is scored in A, if I recall right - or also in G - with many, many trills, which must be delivered in true baroque manner. Have played the Giulio Caesar more than 25-times. At age near 64, I stepped down from solo to deputy first, to perform a quieter life for the (nearly) two remaining years & making way free for a potential successor. Johannes Dengler, whom we hired at age 19 fresh from school, leads the section now since July 1st. I think, it was the right decision by myself & I like it. Greetings from NE Thailand Hans > --- Ursprüngliche Nachricht --- > Von: Klaus Bjerre <[EMAIL PROTECTED]> > An: The Horn List > Betreff: [Hornlist] Julius Caesar > Datum: Sun, 21 Aug 2005 00:23:07 +0200 > > Hans ought to be online now with his Munich experiences not being too old, > but then there are so many other knowledge pools available on this fine > board. > > DRTV1 just finished a direct transmission from our Royal Theatre of > Händels > Julius Caesar with Andreas Scholl singing the lead. > > The orchestra was Concerto Copenhagen, which plays replicas of original > instruments. I spotted a small schizzo in the bass section, where a double > bass appeared to have steel strings, and another section member played a > fretted violone. > > I seem to remember, that Hans at some point reported about a high horn > job, > actually a duet supporting the singers, towards the end, where he used a > single descant horn. As far as I remember an Alexander in F (mine ditto is > in G). > > I also seem to remember Hans telling the key of that section to be Bb. > When > the two natural horns of Concerto Copenhagen exploded their artistry in > the > most wonderful way in the said section, I bent over in pure awe. > > However being the cynic my genes tell me to be, I pulled one of my > recorders > out of the basket standing next to my chair and found that the key > actually > appeared to be Bb. I don't haul out a horn this late in the night, as I > live > in a condo. > > This made me think of a standing discussion on the recorder list (I taught > brasses as well as recorders for a living). I never accepted A=415 > instruments, as they narrowed down the real life applicability of my > students. If they could get church jobs, these all were in A=440. And even > if I don't have totally perfect pitch, instruments tuned to A=415 tend to > sound dull in my ears. > > All this typed noise just to ask: is the said horn passages of the said > opera actually written in Bb? > > If so, I will salute Concerto Copenhagen (CoCo among friends) for playing > in > modern pitch. > > And as I have worked with baroque music as well as statistics, I tend to > find B natural horns very unlikely to happen in the Händel repertory (even > if playing 2nd in Brahms 2.2 is a marvellous experience). > > Klaus > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna GMX DSL = Maximale Leistung zum minimalen Preis! 2000 MB nur 2,99, Flatrate ab 4,99 Euro/Monat: http://www.gmx.net/de/go/dsl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re:Mozart norn concertos
Yes, I agree that most of the edited Mozart Horn Concerti are edited in a way against the Mozart style. Some editors even dared to add embellishment & so do some even well known soloists. In Vienna, we grew up with the Henri Kling Edition, which following more or less the Urtext (see 1888 first complete edition of Mozarts works). Well, he did not know the Leutgeb prepared edition from Vienna (K495) which appeared the year after the Andre publication (shortest), but he (Kling) did not shorten the concerto except the 4 or so measures on the last page. We also grew up withe the mouth to mouth tradition of playing Mozart, and we set the "missing" articulations according to our pronounciation, as we speak about the same idion as did Mozart himself (avoiding a hard "t" & replacing it by a somewhat harder "d", etc.), which is not easy to be explained to a non speaker of this idiom, even a native German from Frankfurt or from the north. This idiom is best found in Southern Germany, Austria, bordering Saxony & Bohemia, perhaps in the most northern part of Italy. So the phrasing is set according to our language flow, nothing as "sacred", but more or less. Single slurs are not a must, but recommended, e.g. slurs from beat 4 to 1, 2 to 3, etc. Wait, until I have completed this task & have sent it to my homepage. Concerto no.4 was, but I am in the process of moving all to a separate place (for easier access) & a new provider. Regarding orchestra parts: I do not understand, why some (even prominent) editors dare to change something coming from Mozarts hand Selfish non respect. Adding or changing a slur here & there for practical reason does not mean any change, but changing notes , my-goodness, can we sink deeper ? Again greetings from Far-East. Mt.Everest was a great experience, but a one-time. Chitwan national park on the Nepali-India border was excition, because of the lovely people there & the phantastic very close encounter with rhinos (3 m infront of our elephant) & tiger (just 5 m away in the bush - monkeys had warned us & our elephant - we were just on the hunt with one elephant - she had taken off a branch from a tree for defense, but tiger ran away). Can recommend this tour to everybody with good nerves & robust constituation. If interest, pls, write to me, as I can give links & addresses. Hans -- SigfridFafner the under ground horn player from Vienna Lust, ein paar Euro nebenbei zu verdienen? Ohne Kosten, ohne Risiko! Satte Provisionen für GMX Partner: http://www.gmx.net/de/go/partner ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Clarinet/Horn duets
clearly set by hand by a music calligrapher. > --- Ursprüngliche Nachricht --- > Von: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> > An: horn@music.memphis.edu > Betreff: Re: [Hornlist] Clarinet/Horn duets > Datum: Thu, 18 Aug 2005 09:50:54 -0400 > > > At 3:01 PM +0200 8/18/05, Hans Pizka wrote: > >But you can order it also from my publications. I published it many years > >ago. > > > Is your publication a facsimile edition or a newly typeset edition? > > > > > mail2web - Check your email from the web at > http://mail2web.com/ . > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de > -- SigfridFafner the under ground horn player from Vienna 5 GB Mailbox, 50 FreeSMS http://www.gmx.net/de/go/promail +++ GMX - die erste Adresse für Mail, Message, More +++ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Clarinet/Horn duets
But you can order it also from my publications. I published it many years
ago.
Greetings from Kathmandu
H.Pizka
> --- Ursprüngliche Nachricht ---
> Von: David Goldberg <[EMAIL PROTECTED]>
> An: horn@music.memphis.edu
> Betreff: [Hornlist] Clarinet/Horn duets
> Datum: Sun, 14 Aug 2005 23:48:01 -0400 (EDT)
>
> A few years ago I offered to send listers copies of the Georges Fuchs
> op.56 duets for horn and clarinet. This is a group of 24 pieces forming 6
> duets. They are very 18th century - lots of noodles for both players.
> The copies come from the Bibliotheque National de France.
>
> In this electronic age, the paper is now scanned and I am happy to email
> to anyone here who wants it. The package consists of an attachment of 17
> jpgs totalling about 900K.
>
>
> { David Goldberg: [EMAIL PROTECTED] }
> { Math Dept, Washtenaw Community College }
>{ Ann Arbor Michigan }
> ___
> post: horn@music.memphis.edu
> unsubscribe or set options at
> http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at
>
--
SigfridFafner the under ground horn player from Vienna
Lust, ein paar Euro nebenbei zu verdienen? Ohne Kosten, ohne Risiko!
Satte Provisionen für GMX Partner: http://www.gmx.net/de/go/partner
___
post: horn@music.memphis.edu
unsubscribe or set options at
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Re: [Hornlist] Languir per una bella
The solo is just a few measures. If you are called to play the opera on first horn, it should be no difficulty for you. It is just like playing Franz Strauss Nocturno. But be aware it is either in E or D, so care about as you might play it on the Bb horn. Good luck. Greetings from Lhasa Tibet Hans Pizka > --- Ursprüngliche Nachricht --- > Von: "simon locke" <[EMAIL PROTECTED]> > An: "hornlist" > Betreff: [Hornlist] Languir per una bella > Datum: Wed, 3 Aug 2005 21:16:13 +0100 > > Dear Hornists > > I have soon to play Rossini's L'Italianna in Algeri and I am told their is > lovely horn (and difficult ) solo accompanying Lindoro's first aria - > Languir per una bella. Has anyone got the horn part and had the experience of > playing it? If so, please let me know. I would like to be well prepared for > the first rehearsal. Know what I mean!! > > Thanks in anticipation. > > All the best > > Simon Locke > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna GMX DSL = Maximale Leistung zum minimalen Preis! 2000 MB nur 2,99, Flatrate ab 4,99 Euro/Monat: http://www.gmx.net/de/go/dsl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] solo of your choice
Aa Luke said before, stay with the best known pieces for any audition like Strauss no.1, Mozart no.2 or No.3 or No.4 depending on the vacant position. Think it is more worth to play as few notes per $ but highest quality than to play a million notes per $ neglecting all beauty of phrasing, tone etc. An audition committee cannot be impressed by fast notes only while missing the opportunity to use the beauty of our instrument to impress the members of the jury. Technique can be produced by a machine also, but beautiful expression is human. Greetings to everybody from Kathmandu. Hans = > --- Ursprüngliche Nachricht --- > Von: Luke Zyla <[EMAIL PROTECTED]> > An: The Horn List > Betreff: Re: [Hornlist] solo of your choice > Datum: Mon, 01 Aug 2005 17:04:28 -0400 > > Mark, > You should stay away from En Foret and other very difficult solos. I > made the mistake of trying to impress the comittee with my blazing > technique at my first audition. As it turns out, my technique wasn't so > blazing that day. Someone on the comittee gave me some good advice. > Play something you can play flawlessly. Some audition comitte members > will not be horn players. They are impressed by good rhythm, > intonation, sound and musicality. They don't like clams! > CORdially, > Luke Zyla > 2nd horn, WV Symphony Orchestra > www.wvsymphony.org > > > Mark J. Syslo wrote: > > >When auditioning for an orchestra, virtually everyone asks for a solo of > >your choice. However, are most audition committees expecting to hear > either > >the first movements of Mozart #2 or #4, or Strauus #1 or #2? Are the > other > >staples of the literature (En Foret, Saint Saens Concertpiece, Adagio & > >Allegro) appropriate for an orchestra audition? > > > > > >Mark J. Syslo > >___ > >post: horn@music.memphis.edu > >unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/lzyla%40charter.net > > > > > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de > -- SigfridFafner the under ground horn player from Vienna 5 GB Mailbox, 50 FreeSMS http://www.gmx.net/de/go/promail +++ GMX - die erste Adresse für Mail, Message, More +++ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Wagner tuba question
Yes, d-daaah-dh-daaah-dooo - nice & effective. But the most exciting Tuba parts are in "Frau ohne Schatten" (R.Strauss). Janacek used them also. I published 4 volumes of Wagner Tuba studies (excerpt books). Visit my Web Site to know more: www.pizka.de/Pizka-music.htm Vienna Philharmonic used the Wagner Tuba for Heldenleben & Don Quixote. There is also a very difficult Wagner Tuba part in Josephslegende (ballet by R.Strauss), really difficult single Tuba part. But the first horn part is like hell. The last page of tzhe 90min. piece just high a2 & high d3, the only piece, where I used the descant for the last page. Terrible embouchure killer, but fun to play up & down & up again (exception lasdt page). Really challenging. Still, greetings from Shanghai, 05:50 morning Thursday. Last night the skyscrapers were in the clouds, really. The opera house just 5 min. from my hotel at Nanjing Road is a masterpiece of contemporanean architecture as are some of the tall buildings like the pagoda style Jin Mao building with 420,5 m & the Pearl Tower with 468 m. Exciting. Traffic like in New York. When I was here the first time 1984, cars were seen hardly. You could cross the main streets with closed eyes, but now - hallelujah - you get difficulties crossing at the zebras. And the food .. gorgious . abalones .. lobster termidor ... fresh fish ... no rice at the parties ... keeps you slim. People knowing me would not believe, I lost more than 32 lbs. since last August Played a perfect Long Call last night using a borrowed horn on the spot & a borrowed mouthpiece. Just lucky. Because of Mao-Tai, perhaps. Another exception. = == > > On Wednesday, May 4, 2005, at 03:52 PM, Paul Rincon wrote: > > > Off the top of my head, I only know of the following: > > > > Bruckner Symphonies Nr. 7,8,9 > > Wagner RING Cycle > > Strauss: Elektra > > Stravinsky: Rite of Spring > > > Doesn't "The Pines of Rome" also call for Tuben? > > Paul Mansur > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna +++ Neu: Echte DSL-Flatrates von GMX - Surfen ohne Limits +++ Always online ab 4,99 Euro/Monat: http://www.gmx.net/de/go/dsl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music for Rosetti Concerto for 2 horns in F Major
They were using my publication for thzeir recording. By the way, his name is Klaus not Klauss. Remind me after May 15th, to send it to you, as I am writing from Shanghai at the moment. What a incredible change since I was here last time in 1996. This city outbids Tokyo & Hongkong & has undergone the same big change as did Bangkok the last thirty years, but here they scrapped one area after the other. When I was here first time in 1984, there was no Pudong area where some of the wqorlds tallest construction stay nearby each other (Pearl Tower, Jin Mao tower etc., the new Opera House in its futuristic design, many skyscrapers still under construction. And one becomes a real shopping addict maniac, really. I did not expect that. All people extremely friendly, food super superb, policemen very helpful, taxi driver no cheating, easy immigration. A place to visit befor prices will boom up more. Heading for Luoyang tomorrow, to visit the famousa Longmen Buddha grottoes. Get some info about by searching under Google "Longmen". Warmest greetings from 30 centigrades Shanghai. We travel WITHOUT even the mouthpiece. Wonderful. Hans > Hi everyone, > I was listening to the recording of Klauss > Wallendorf and Sarah Willis playing the Rosetti > Concerto in F Major for Two Horns and Orchestra and > was wondering if anyone knew where I could get the > music, either orchestral score or piano reduction. It > sounds great and a friend and I wanted to give it a > shot. Thanks in advance! > -Kipp > > __ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna +++ Lassen Sie Ihren Gedanken freien Lauf... z.B. per FreeSMS +++ GMX bietet bis zu 100 FreeSMS/Monat: http://www.gmx.net/de/go/mail ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Is that you, Hans?
After tomorrow I will be back home. Greetings from Musikverein in Vienna > > > Is that you, Hans, or has someone now 'pinched' your pass-word for the > horn list?? > > If they did that, then, you will need to get a new one from Cabbage HQ, > and that is, sadly, to be done only between 1:00 AM and 1:03 AM, on Sundays. > Otherwise, Cabbage HQ is not available for ordinary business activities > -- yours may not be ordinary, however!! > > Have a good visit with your own bed!! > > Joe Duke > > ___ > post: [EMAIL PROTECTED] > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna Superg?nstige DSL-Tarife + WLAN-Router f?r 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 21, Issues 14, 13, 12, 11, 10, etc.........
attention, this message by M.P. must be a fake, as he had even mixed up Macchu Pichu, the former capital of the Inka Imperium, with (the Man of La) Mancha, compagnion of Dox Quixote, which we play tomorrow night in Madrid. And, Macchu Pichu id not at the Amazonas but high above. Thus, what has the distinguished Amazonian Horn Club to do, except if this club is not named after its location but according to its membership of amazons, perhaps. The offered Tone Free Model Horn (if real) would fit at best for Dr.William Scharnbergs (former president of IHS) "Piece for Horn solo", which I also performed in a recital once very successfully. If this horn would come as a clay horn I would believe the Inka-Amazonian story eventually, but as a brass instrument ? And if it is a clay instrument, how could it hold for the entire career of the esteemed Prof.Gestopftmitscheisst, as he usually drops horns on the concert podium - to entertain the audience -. Even Nero-san or his friend Walter could not fix the horn then. So, your answer must be a fake. Greetings from a beautiful hotel room in Madrid, nicely & functional including a 220 cm wide bed (??useless??) & a ceiling high mirror of wall size (??but useless??) - the question marks are for colleagues in similar situations. The high speed internet access is free here. Really, an up to date hotel. If you go to Spain, search for Melia Hotels. But they are not cheap. Internet booking helps a lot pricewise. == > > In a message dated 9/12/04 10:01:12 AM, [EMAIL PROTECTED] writes: > > > > Exclusive Bundy, Carl Fischer, Olds Ambassador, Sansone and Conn Artist > Who > > Does Not Get His Horns For Free > > > Dear Sir: > A representative from our company recently heard your performance with the > NJ > Turnpike Authority Drum and Bugle Corps, "The Phantom Lane Changers" > What a shame that an artist of your stature has to purchase his own > instruments. > Our company would like to offer you an Artist Clinician position and (of > course) a free horn > if you would consider performing on and sponsoring our newly designed > "TONE FREE MODEL" quadruple horn. > It is superbly made by well trained craftsman from Manchu Pichu who have > been > constructing horns > for over five centuries and who guarantee it for the life of your career. > A recent review of the horn appeared in the Amazonian Horn Club's latest > digest. > The reviewer found the horn to be" unbelievable in all respects" > adding, "if I had such a horn, I would never have another worry about the > direction of my career" > Hoping you will accept our offer, all we require is a money order to > secure > your flight to Manchu Pichu for presentation of the horn and pictures for > our > brochure (approx. $4000 US). > Hoping for your fast and enthusiastic response, > we remain sincerely in awe of your qualifications, > the guys from M. P. > > ___ > post: [EMAIL PROTECTED] > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna Superg?nstige DSL-Tarife + WLAN-Router f?r 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 21, Issues 14, 13, 12, 11, 10, etc.........
Some people use this sterilizing procedure or another, to prevent out of pitch entrances or other wrong notes, clams etc. As I have no possibility to sterilize my horn while on concert tour, I have to hang to the traditional methods to prevent clams, wrong entries, out of pitch playing. May-be, lip sterilizing would work also. A small towel, a bit of 100-proof clear alcohol, . but be careful, most careful, the effect could work the other direction. == > In a message dated 12/09/2004 18:45:09 GMT Daylight Time, > [EMAIL PROTECTED] writes: >The best way to sterilise your horn (and yourself too) > is in boiling water.> . -- SigfridFafner the under ground horn player from Vienna Superg?nstige DSL-Tarife + WLAN-Router f?r 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Stopped Horn Pitch
This is quite an helpful article, but Why does the writer use concert pitch (using F-Horn) ? This is just disturbing. Why does the author say "for any given fingering" ? The fingering is not relevant at all as it just changes the length of the sounding wave. The phenomenon is more or less equal, tending to result in sharp pitch or flat pitch according to length of the tube, but remaining the same basically. If the valve is activated, the tube´s length will be increased, but the "jumping effect" will also occur. If the samples would be reduced to the plain (no name) row of natural tones (pitches), the function would remain better understandable for the average horn player, - but the article might be shorter also. For extensive research results, I would recommend Dr.Robert Pyle´s studies again. > carson smith schreef: > > > Does anyone know what issue Dr. Robert Pyle's article can be found in? > > Or any other articles on this subject? Thanks, Carson > > > > I don't know if this is what you're looking for, but there is an article > here http://www.well.com/user/smalin/hornstop.htm > Michiel van der Linden > Bruges, Belgium > ___ > post: [EMAIL PROTECTED] > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna Supergünstige DSL-Tarife + WLAN-Router für 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Stopped Horn Pitch
It seems a bit difficult to fill the mouth with helium at many places where stopping occurs right after a very short pause of just half a measure or less, like before the last written long held "e" in the Long Call. And to Carson: timber & timbre a most different things. To William: the F horn came first place not because of the abilities to produce a better pitched stopped sound. It came as first choice because of the sound qualities (4 - 5 additional sounds enriching the quality, while the Bb horn has 1 - 3, the high F just the mere wave). Indeed, one can arrive at similar sound qualities with a well blown Bb horn, and sometimes the Bb horn must be the only choice for the best result. Also, these decisions are not for the average non professional but for the very professional who really controls the horn. William & Karl gave quite excellent explanations for the "gestopft" & "gedaempft" (Echo horn is not the same as "hand muted" or "gedaempft" , it is a different effect), while Graeme pointed to the complexity of this thematic & its only relevance for academic research without any practical benefit. Knowing what to do rigt for the best possible result is much more important than all theories. For those interested earnestly, I would recommend to read the articles provided by acoustician & horn player Dr.Robert Pyle, some 15 years ago in the Horn Call. Greetings from Madrid Hans (on tour with Zubin Mehta, Don Quixote & Heldenleben) == <<< A similar effect happens when you > introduce dense air into the > column - try filling your horn (and mouth) with helium (very dense > compared to nitrogen) and > you'll notice the pitch rise quite a bit and a stopped horn tone quality > without the hand in the > bell. . -- SigfridFafner the under ground horn player from Vienna Superg?nstige DSL-Tarife + WLAN-Router f?r 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Schoeck Concerto
There are also two CDs containing Dennis Brains live performance of the Schoeck Concerto, - financed by the late maezenas Dr.Willi Aebi, who sponsored composition & performance -, in the Tonhalle in Zuerich of May 4rth, 1956 with the Paul Sacher Chamber Orchestra under Paul Sacher. The Jecklin JD715-2 CD contains also the violin concerto, played by Stefi Geyer in a recording of Feb. 6th, 1947, Volkmar Andrae conducting. I have also published the Schoeck performance with Dennis Brain, but years earlier (1996) than Jecklin. It is HPE-CD02, together with the Beethoven Sonata, the Danzi Concerto (Live) & the Hindemith Sonata.. Radek Baborak has also recorded the Schoeck. If I recall right, Baumann did it at the Vienna Horn Symposiums Gala Concert with the Austrian Radio Symphony right after Tarjani had played the Hidas Concerto, with a long pause to the following Britten Serenade (myself playing on Viennese single F Pumpenhorn), as we had to swap our concert dress, as Tarjani had forgotten to bring the tails with him. I listened to Baumanns performance & enjoyed it very much, most mature & perfect. Greetings from Torino Hans > Hello > > My copy is an authorised photocopy from Boosey & Hawkes' archive. I > think it's still possible to get it this way from B&H. > > There is a good recording of the Schoeck Concerto with Bruno Schneider, > the Swiss horn player. (Successor to Ifor James as Professor of horn in > Freiburg, Germany.) > I'm afraid I can't remember which orchestra, but to aid searching, the > other piece on the CD is the Schoeck violin concerto with the BBC > Scottish Symphony Orchestra and a soloist whose name I have forgotten. > The violin concerto sounds like it has interesting horn parts. > > There is also, I believe a recording with Hermann Baumann where he uses > a lot less rubato than I had to in order to get through just the first > movement of this very strenuous piece once. There are not many > opportunities to get the mouthpiece away from your chops. On this > recording the second movement also follows the first with a barely > perceptible break, a thing which an ordinary mortal horn player in a > live performance probably wouldn't want to do. > The last movement demands great technical facility. > > I think it's a nice piece and should be performed more often. Has > anyone ever heard it performed live in a public concert? > > best Wishes, > > Benno > > (Playing 3rd in The Brahms Academic Overture tonight, what a lovely > part! And many thanks to the Horn Excerpts website for helping with the > music. The Schumann Konzertstück is also on the program so there should > be a few horn players in the audience, probably) > > > > On Friday, September 10, 2004, at 04:08 AM, Don & Judy Birchett wrote: > > > My daughter, a senior at Northern Arizona University, is planning to > > work up Othmar Schoeck's Concerto for Horn, Op. 65. Does anyone have a > > spare copy to sell? > > > > I see versions by Alfred and by Boosey and Hawkes. Any preferences? > > > > Any performance suggestions would be greatly appreciated. > > > > Thanks, Don Birchett > > ___ > > post: [EMAIL PROTECTED] > > unsubscribe or set options at > > http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de > > > > ___ > post: [EMAIL PROTECTED] > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna Supergünstige DSL-Tarife + WLAN-Router für 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Schoeck Concerto
Boosey & Hawkes should be the right choice. The Schoeck Society told me one or two years ago, that they plan to get the concerto published again soon, but no progress since. I tried to get the rights, but they declined. So we have to wait or to search around for a used exemplare, because Boosey & Hawkes are quite curious to persecute any illegal copying. Greetings from Torino Prof.Hans Pizka === > My daughter, a senior at Northern Arizona University, is planning to work > up Othmar Schoeck's Concerto for Horn, Op. 65. Does anyone have a spare > copy to sell? > > I see versions by Alfred and by Boosey and Hawkes. Any preferences? > > Any performance suggestions would be greatly appreciated. > > Thanks, Don Birchett > ___ > post: [EMAIL PROTECTED] > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna NEU: Bis zu 10 GB Speicher f?r e-mails & Dateien! 1 GB bereits bei GMX FreeMail http://www.gmx.net/de/go/mail ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Eastman horn - a review
Hello Kendall, I only can confirm your impression of these horns. I was in the factory in Tenjin in China in 1994 & watched, how the women workers assembled the valves without inspecting the provided parts. We told the engineers how to improve the assembling style, but they promised but did not. It is a pitty. But nevertheless, the horns are not bad at all, but require a few hours to improve them. It is a real bargain if you compare invested money & playing qualities with other much more expensive products. I also used one of these horns for a concert. Not bad. But if we just look for the bargain, we will ruin our own horn makers by the time. It is woth trusting our makers & pay the higher prices, as we have their warranty & their service at hand. They do their best to provide us with the best possible horns. Greetings from Torino (Don Quixote & Heldenleben with Zubin tonight). Hans > Hello Listers, > > I recently purchased a Paul Eastman horn from an E-bay seller. I paid > $808 > including shipping. I spent a week with Walt Lawson and Co. earlier in > August > working on various projects, one of which was to analyze the Chinese made > instrument. Here is a review. > > We were first truly amazed at the finish. The seller had written that it > is > was nickle silver and also silver plated. It is neither, but a brass horn > with bright nickle plating. Walter said this is a good finish but will be > problematic in removing dents as it will tend to flake off when worked. > Lowell had > mentioned the pitting problem as well, but remember, you will have the > same > problem with hard laquer. It does look very nice, though. > > Upon arrival, the change valve was sticking and no amount of oil helped. > When I got it apart, we discovered that all the valves were poorly fitted > as they > had just put them together and sent it off with no lapping or finishing. > The > slides had not been deburred as well and several were out of line. I > spent > about four hours disassembling the horn, lapping and refitting the valves, > deburring and refitting the slides, drilling the plating out of the string > holes > on the levers, and reassembling. Bruce measured the valve tolerance when > I was > finished and had them working fine. He said they were at .003", about the > same as Holton. The bearings are tight and the valves spin freely. All > the > slides are now fitted properly and it is very, very shiny. > > To summerized the quality, this horn was 4 hours labor shy of a finished > product. Go figure but there are more expensive horns out there that are > 4 hours > or more shy of finished, also. > > Playing characteristics of this instrument are quite good, especially > considering the price. Response is good and intonation is excellent, much > to our > surprise as it is an obvious Conn 8D copy. They apparently did not copy > Conn > intonation! The sound was also surprisingly good, though a bit dead > compared to > real NS. The soft end was particularly fine. The loud end has a tendency > to > blatt out rather than edge. > > The case is a very nice copy of the Pro Tec form case. Nicely finished > and > well fitted. > > I think this is an excellent student horn, especially at that price. > Figure > $50 and hour labor and it cost me about a grand. Does it play $1500 > different > than a new Conn? No. It plays better, IMHO, than the new 8D's. Was the > workmanship $1500 different than a new Conn? No. More like $500 > difference. I > would have liked the sound better if it had a Conn bell, I'm sure. Is > this a > bargain? Yes, if you are willing to have the horn finished by a tech. > > BTW, Martin Smith of the Pittsburgh Symphony and his wife both tried the > horn > as well and agreed that it was an excellent student instrument. We > figured > this horn would get someone through HS and non-conservatory college > studies > without much trouble at all. Will you see these in major orchestras? > Probably > not but you never know. There are some pretty cheap pros out there! > > I haven't decided yet what to do with it. I'll let you know if I put it > up > for sale on hornplayer.net or e-bay, whatever. Or, if there is a real > cheapskate amongst y'all who needs a new horn, make me an offer!!! > > All best wishes, > > Kendall Betts > ___ > post: [EMAIL PROTECTED] > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna NEU: Bis zu 10 GB Speicher f?r e-mails & Dateien! 1 GB bereits bei GMX FreeMail http://www.gmx.net/de/go/mail ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tchaik 5
Catherine, play it like a love song, very relqxed but full of love. Do not power !! Please. If you seem to be not loud enough, well, ask the conductor to keep the string sound at a real piano level. Do breath enough but not too deep, just normal. Divide the solo into phrases if you were playing a string instrument. Good luck. Greetings from Bruxelles Hans === > Hello all, > > I hope everyone's summer went well. > > This Tuesday I start rehearsals for my first season performing Tchaik 5 > (playing principal). I was wondering if anyone has any stories (good and > bad!) about rehearsing or performing the piece, since the solo and the piece > is such an important part of the repertoire. Any tips are appreciated too. > I was a able to work on the solo in a lesson with Dale Clevenger a few > weeks ago, so I have most of my plan worked out, but all ideas are welcome. > > Also, what, if any, differences are there when playing it in audition vs. > in the orchestra. I will be playing it for college auditions in the spring > and I don't know how to approach it in that setting. > > Thanks! I look forward to some stories! > > Catherine Eisele > West Chester, PA > ___ > post: [EMAIL PROTECTED] > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna NEU: Bis zu 10 GB Speicher f?r e-mails & Dateien! 1 GB bereits bei GMX FreeMail http://www.gmx.net/de/go/mail ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] haydn concerto piano reduction
Scott, and this recording was done using the Leloir score of the Haydn (? I have to check myt books when home !). And, how do you know, that Kling added notes to Mozarts say K.495, as the first movement & the main part of the 2nd movement are not preserved as autograph , but just in the earliest edition initiated by Andre & by Leutgeb himself (the Viennese Art d' Industrie Edition weeks after the shortened Andre first edition) And, every serious horn player will recognize poor or good interpretation of the piano reduction, which anyway will be a poor replacement for the full score. How about the new Urtext editions by Henle in Munich ? The elaboration was done by my very young solo flutist colleague Hendrik Wiese. We were forced (??) by surprise to use it for an audition. The piano reduction was arranged by a well known pianist. Well, just in short: to make sales easy, the piano part wasa reduced to a minimum difficulty & sounded such. It was to run away in shame. The horn section does not allow any further use of that poor elaboration. This just to illustrate the momentanean situation. Working on such masterpieces as by Haydn or Mozart needs a bit of real wisdom, a student might not have acquired yet. The same is about phrasings: we in Austria have inherited the Mozart & Haydn style by mouth-to-mouth direct tradition. We live with it. The phrasings for both composers goes along with the special idiom of our mother language, the Southern German idiom, spanning from Suebia to West Hungary & parts of Bohemia to most northern Italy (South Tyrol). That' s it. This is our advantage. It does say nothing about the playing qualities, off course. Other nations have other advantages. Leave it to them. Leave it to us. We leave your advantage to you. Other topic: while on tour, Fox or BBC or CNN are often the only source of quick information. My question is now: why must it be that participients on political discussions on these stations quack-quacke like belfing dogs each other. Isn't there any chance to get this civil;ized ? Greetings from near the Laotian border Hans -- SigfridFafner the under ground horn player from Vienna Superg?nstige DSL-Tarife + WLAN-Router f?r 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] haydn concerto piano reduction
Scott, if you have not seen the Leloir or Musica Rara piano reduction, how does it come that you compare your edition with others ? This is something strange. I do not know any other edition of the double concerto in question. And regarding the Mozart concertos: I have had the chance to listen to many new editions, which are absoluytely garbage & stylish perverse compared to the Henri Kling edition, which are not pianistic, but one has to be able to play them the right way, --- and they sound. And the phrasings of many modern editions are set in a way, that a listener grown up with the direct Mozart tradition (in Austria) starts rolling on the floor for laughter. May I kindly ask you, Scott, what you used as source for your edition of the Haydn two horn concerto ? Would be very interesting to know. I am reading this mail not so far from #the roof of the world# just 60 mls off the Tibetan border in Shangri-la PRC Yuennan Province at an altitude of 12.000 ft. Monday we were welcomed at the Chuxiong Torch festival by 75 #over-the-mountain-horns#, all made of brass. Two of them were really very big. Some others were like a pot with an extendable tube, some played additional buffalo horns. Very interesting. Pictures will be on my Web site after my return mid september. Greetings to all Hans > All: > > As stated before, I have seen neither the Leloir (full > score or piano reduction - in fact, I was unaware of > their existence prior to being kindly informed by > Professor Pizka) -- SigfridFafner the under ground horn player from Vienna NEU: WLAN-Router f?r 0,- EUR* - auch f?r DSL-Wechsler! GMX DSL = superg?nstig & kabellos http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] haydn concerto piano reduction
Scott, if you have not seen the Leloir or Musica Rara piano reduction, how does it come that you compare your edition with others ? This is something strange. I do not know any other edition of the double concerto in question. And regarding the Mozart concertos: I have had the chance to listen to many new editions, which are absoluytely garbage & stylish perverse compared to the Henri Kling edition, which are not pianistic, but one has to be able to play them the right way, --- and they sound. And the phrasings of many modern editions are set in a way, that a listener grown up with the direct Mozart tradition (in Austria) starts rolling on the floor for laughter. May I kindly ask you, Scott, what you used as source for your edition of the Haydn two horn concerto ? Would be very interesting to know. I am reading this mail not so far from #the roof of the world# just 60 mls off the Tibetan border in Shangri-la PRC Yuennan Province at an altitude of 12.000 ft. Monday we were welcomed at the Chuxiong Torch festival by 75 #over-the-mountain-horns#, all made of brass. Two of them were really very big. Some others were like a pot with an extendable tube, some played additional buffalo horns. Very interesting. Pictures will be on my Web site after my return mid september. Greetings to all Hans > All: > > As stated before, I have seen neither the Leloir (full > score or piano reduction - in fact, I was unaware of > their existence prior to being kindly informed by > Professor Pizka) -- SigfridFafner the under ground horn player from Vienna NEU: WLAN-Router f?r 0,- EUR* - auch f?r DSL-Wechsler! GMX DSL = superg?nstig & kabellos http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] haydn concerto piano reduction
Sorry, Amy, if Scott uses the scores available on the market (edited bz Edmond Leloir - former KaWe or the other score from Musica Rara) instead of any score from complete Haydn Works (I do not know it yet), he is breaching the copyright law, as he is using copyrighted materal. If he travels to Germany to see the set of parts from the Oettingen Wallerstein Collection, writing his own score & making his own piano reduction from material he prepared himself, well, no objection at all. But the two scores mentioned above, are protected, as Leloir & von Pringsheim invested a lot of work to eliminate writing errors, set better clear phrasings etc. Jumping on board of a car which is running well, is too easy. Greetings from near Shangri-la Hans +++ > If Scott has done his own piano reduction from the full score, however, > he's not breaking copyright, is he? > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf > Of Hans Pizka > Sent: Saturday, August 07, 2004 7:36 PM > To: The Horn List > Subject: Re: [Hornlist] haydn concerto piano reduction > > Hello Scott, > > the piano reduction for that double concerto is not #out of print since > long#, very sorry, it is available at any time in Edmond Leloirs > reduction > >from the original score, which is protected under copyright. It is K.100 > or > K.099 as full score & the parts are available as well. > > Greetings > Prof.Hans Pizka, on tour in Yuennan South Western China heading for > Shangri-la. > > ___ > post: [EMAIL PROTECTED] > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna NEU: WLAN-Router f?r 0,- EUR* - auch f?r DSL-Wechsler! GMX DSL = superg?nstig & kabellos http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] haydn concerto piano reduction
Hello Scott, the piano reduction for that double concerto is not #out of print since long#, very sorry, it is available at any time in Edmond Leloirs reduction from the original score, which is protected under copyright. It is K.100 or K.099 as full score & the parts are available as well. Greetings Prof.Hans Pizka, on tour in Yuennan South Western China heading for Shangri-la. > All: > > Some of you may know from postings/discussion from > several months back that I'll be performing the Haydn > (attributed, but we'll call it that for the sake of > convenience) concerto for two horns this fall (with > orchestra.) My fellow soloist and I have met several > times to rehearse and make some artistic decisions > (grace notes, etc.) and we've been using a rehearsal > pianist playing a reduction done by myself. To the > best of our knowledge, only one piano reduction was > ever done, and its now long out of print. My reduction > is very playable and, being a piano player as well, I > tried to keep the part "pianistic." I know that this > concerto has received some recent attention on the > list - I thought I'd offer my reduction to any listers > who might be interested, for perhaps four or five > bucks (Basically, what it will cost me to go buy large > manilla envelopes and pay shipping.) As far as I know, > this work is in public domain, and I'm not violating > any copyright laws; if I'm wrong, I'm sure someone on > the list will set me right! If interested, let me > know. > > Scott in Altoona > > > > > __ > Do you Yahoo!? > New and Improved Yahoo! Mail - 100MB free storage! > http://promotions.yahoo.com/new_mail > ___ > post: [EMAIL PROTECTED] > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at > -- SigfridFafner the under ground horn player from Vienna NEU: WLAN-Router f?r 0,- EUR* - auch f?r DSL-Wechsler! GMX DSL = superg?nstig & kabellos http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] new Viennese Horn on ebay
Hurry up, there is a brand new Viennese Pupmpenhorn on ebay to be auctioned the next 30 hours. It is by Jiracek. The price is quite moderate. I have not played it, but the seller says, that he used it for a few performances of Bruckner Symphonies but he got a historic instrument now, so he must sell this one. It is still covered by warranty of the maker. http://cgi.ebay.de/ws/eBayISAPI.dll?ViewItem&item=3735497781&ssPageName= STRK:MEWA:IT 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] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Cerminaro
Hello friends, I received an exciting CD with LIVE recordings from John Cerminaro, playing Gliere, Strauss 2, Mozart 2 & Amram. His playing is incredible good, beautiful, warm, brilliant, convincing, admirable, superb. John asked me to produce this CD within my series of historic recordings. As authors rights are included, the CD will be in the middle price range. I hope to produce it until the Christmas shopping. Let me know, please, if you are interested. BTW: two copies of the Strauss op.11 concerto piano version in the composers hand writings (very clear) cloth bount & one leather bound copy are still available. Greetings from Munich recovering from the coldest July I ever remember. Hans 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] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] to Ken Pope
Hello Ken, a virus has destroyed most of my letters & adresses. Would you kindly contact me privately with your mailing address included, so I can send you the part for Leighs horn. Sorry to the list, for this private letter. Greetings from Munich Hans 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] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] another beautiful site
We played Mozart´s opera "Idomeneo, Re di Crete" with the beautiful wind quintet in the theatre, where Mozart conducted the first performance of this "baroque" opera, the famous Cuvillies Theatre from about 1733, with all the beautiful decorations made of wood carvings. This theatre was saved from the demolition of the 2nd.World War, as the decorations were demounted & stored in under ground storage in the Bavarian Alps. The building did not survive the bombings but became rebuilt earlier than the National Theatre, another treasure. It is another beautiful place, as there many world premieres took place: Tristan, Rheingold, Walkuere, Mastersingers, Die Feen - jus to name the Wagner Operas. 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] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] beautiful sites to play
Thirty years ago, I played Verdi´s famous opera "Othello" (partly) at the original place of the play, the Ducal Palace in Venice, partly as some parts play in Othello´s house (still existing ?? I dont know if it is really his house, but there is a house with a dark gentleman´s head looking over the door) and in Cyprus. It was a double beautiful site as there was a real storm with lighnings & thunder when we played the beginning. Another beautiful location was the Dome of Siena, where we performed the Brahms Requiem with singers as Fischer-Dieskau & Julia Varady, Sawallisch conducting. Wonderful acoustic & the right mystical surrounding for the Requiem. Playing Elektra in the antique Herodes Atticus Theatre in Athens was another beautiful location. Unfortunately these antique theatres are better for drama than music. But the surroundings just below the Acropolis. 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] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Strauss op.11
Have left some seven more copies of the R.Strauss op.11 horn concerto piano part with instrumentation indicated, all by R.Strauss hand writing, beautifully, plus beautifully bound in dark blue cloth. Incl. shipping (air) registered EURO 41,02 (about 50.- USD), extremely rare. Was available since 30 years, but few knew about, so there were some copies left from the limited 500. I acquired them to sell them to list members. Hurry up ordering with incl. your address & credit card info (safe with my computer, will not be stored on the computer after billing your card). Greetings from moderate tempered Munich Hans 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] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] unusual concert venues
We video taped Haendels Fireworks Music & Watermusic back in 1969 during our summer opera festival in July. The recording begun near to Midnight as we had a Don Giovanni performance that night. The recording took place in the former prince electors famous garden at Schleissheim castle, right at the fountains (Water Music). There was a magnificent Fire Works in the back ground. And we had to act like playing, meant playing actually. No problem. We had recorded the sound already, so we played along the tape. As the time progressed during this summer night, we got some refreshments, also alcoholica. You can imagine the ensemble after 03:00 A.M., and it became late night early morning cool, but we had to play again & again for some other shots. Everything became wet & the sound was like "cats music". The terrible thing was, we had to keep concentrated & earnest faces for the close ups. Quite strange. So as the morning arrived & we had to drive back home, we had to call taxis, as we were unable to drive because (see above). ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] fun (NHR)
Little Fritz approaches his father to explain him what politics is like. Father says: " Off course, I will explain politics to you. Let´s start with our family. I bring the money home, - that´s capitalism. Mother administrates the money, - that´s the government. We both care about your welfare, consequently you are the people. Our maid belongs to the working class and your little brother, still in diapers, represents the future. Did you get this ?" The son is not secure with that & like to sleep it over for one night. He awakes during the night, because his brother shit full his diapers & cries. So he gets up & knocks at the parents sleeping room, but mother is in deep sleep & cannot be waked up. Consequently he goes to the maids room, but finds his father in the maids bed, but both dont let get them disturbed. So Fritz returns to his bed & continues sleeping. Father asks Fritz the next morning, if he had understood politics now & if he could explain it with his own words. Fritz said: " Yes, I know it now. Capitalism abuses working class, while government asleep. people ignored completely & future full of shit." 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] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Wagner's anti-Semitism
While I can agree with you on most points I might ask you one thing: Were the composers of the German & Austrian Marching music anti-Semitic, just because their compositions were used by any SS-brass band ? No, they weren´t, as even the hornists of an SS-brass band or a fire guard band blew straight into the horn while the sounds escaped cracked quite often. There was a difference indeed, as the cracking horn player of the SS-brass band had to stand guard for another night perhaps, or if he cracked too often, he was transferred to the front troupes. You cannot say, that the music influences politics, but I agree, that the right emphatic music can be abused & became abused often, to enthusiasm common people as well as people of high education. The world is some kind of irrational, special in the music or around the music. You also should consider - you did it to a greater extent already - that there is a big difference between anti Judaism (related to religion) and anti Zionism (a mere political issue). You also might consider, that despite of Wagners´s anti judaistic speeches & writings, many German speaking people of Jewish tradition became enthusiastic about Wagner´s artistic creation. Some of them became great interpreters of his art as singers or conductors (e.g. Levi). Hans Richter was an anti semite , but he had reason which you might understand if you read about the music politics at the Vienna Imperial Opera House around 1900 with all the intrigues which culminated by replacing Richter by Gustav Mahler. So it was just personal hate. We could discuss this topic for weeks, but it might be better to return to enjoy Wagner´s music. I enjoy reading the facsimiles of his scores in all their perfection, created by a most imperfect human being. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jonathan West Sent: Tuesday, June 29, 2004 10:13 AM To: The Horn List Subject: RE: [Hornlist] Wagner's anti-Semitism > As a human being, Wagner was a disgusting man. But what an artist. There lies the main issue. It seems to me that various points follow on from this. 1 ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mouthpiece popping
Toscanini did that, and I witness the Joseph Keilberth did it once during Falstaff. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of John McCoy Sent: Tuesday, June 29, 2004 1:31 AM To: The Horn List Subject: RE: [Hornlist] Mouthpiece popping Well, I've never seen a score instruction that the conductor should throw a baton at someone, but I've seen them do it. Maybe this is the logical result of certain jazz-nicks extreme emphasis on improvisation? == john == John McCoy [EMAIL PROTECTED] --- Hans Pizka <[EMAIL PROTECTED]> wrote: > Why did no composer ask for "kick the composer into > his aß" or "Hit the > conductor with your music stand" or "throw a garbage > can over the > conductors head" ?? > > Most of them are "eunuchs", they know how it should > work, but they > cannot do it themselves." ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Mouthpiece Popping
If composers would use this mpc popping effect as a joke, well, "effect du surprise", why not, but their problem is it, that they use it just because it is possible. And they use it on places where it would not be logic. This disqualifies them. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of BVD Press Sent: Tuesday, June 29, 2004 1:41 AM To: The Horn List Subject: RE: [Hornlist] RE: Mouthpiece Popping >But WHY - In serious music, it is shit, mere shit. Humor has and always will be part of music. Even if the music is serious! Shit happens, Bryan Doughty BVD Press 79 Meetinghouse Lane Ledyard, CT 06339 [EMAIL PROTECTED] 860 536-2185 http://www.bvdpress.com/ ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mouthpiece popping
Why did no composer ask for "kick the composer into his aß" or "Hit the conductor with your music stand" or "throw a garbage can over the conductors head" ?? Most of them are "eunuchs", they know how it should work, but they cannot do it themselves." == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Benno Heinemann Sent: Monday, June 28, 2004 10:24 PM To: The Horn List Subject: Re: [Hornlist] Mouthpiece popping Why didn't Orlando Gibbons write Brahms' 4th Symphony? Why didn't Montiverdi write Beethoven's 9th? (Come to think of it, why DID Beethoven write it?) ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Wagner's anti-Semitism
If you are that bigot, you have to turn yourself away from most arts & artists, who frequented brothels, drank excessively, used drug (Mozart did both), committed adultery frequently (Mozart is one of the best examples), betrayed friends voluntarily or out from their incapability handling money (Wagner), or served to the one or other regime like whores (most composers - even Beethoven dedicated the Eroica to Napoleon, even he eventually cancelled that dedication later). If you see all from the view of the hypocritical Bush aera, hallelujah, would you be better than those political religious fanatics on both sides of the Jordan river ??? Let´s examine the stuff for Wagners operas: Liebesverbot, a story about the very sad carnival in Venice, made sad by a German commander. Rienzi, the last tribune, a story from medieval Rome Lohengrin, a sage from Brabant & the Holy Gral , but Brabant is in Belgium, the Holy Gral in Spain Flying Dutchman, plays in the Baltic Sea, a saga about the cursed law breaker who has to remain alive, but wants to die & finally dies freed of his curse by a loving maid. Rheingold, Walkuere, Siegfried & Goetterdaemmerung: antic Nordic - NOT GERMAN - Saga, originating from Norway & Island, several thousand years old, while Germanic tribes came from the East (Ukraine, Middle Asia) - Yes, Goetterdaemmerung plays partly at Worms on the middle Rhein, while Siegfried, incestuous product of Wotans twin children Sieglinde & Siegmund, is murdered by the son of the anti god Alberich, Hagen. Where are the Germans here ? The knights on the court of King Gunther ?? Tristan & Isolde, another Islandic Saga - NOT German The Meistersinger from Nuernberg, just a monument for a historic picture about the social artistic situation in a particular city. Well, the less than 1% minority of jews in Germany were excluded from the handicrafts. The people were catholic then. They were it all around Europe. Ooops. Tannhaeuser, another monument about medieval arts, the Minnesinger. Walter von der Vogelweide, Wolfram von Eschenbach, Tannhusaere, Landgraf Hermann von Thueringen, Holy Elisabetta, Beowulf, all lived. The Wartburg still exists, but it became also the place for Martin Luther. Parsifal, another Christian Saga, but it plays in Spain, not in Germany. Well, if you are not Christian but Jewish, you might hate this Christian stuff. But if so, you are also not better than these hatred blind people in Near East, Middle East, Afghanistan, USA, Germany, Austria or elsewhere in the world.. I know Wagner perhaps much better than anyone else on this list, and I do not find anything anti semitic in his operas. Would you call "Ehret die deutschen Meister, was gut ist und was recht ..." , would you call this rassist or anti semitic ? Then you must belong to the short sighted pharisaeans. And my dear horn player fellow, you should get more information about Richard Strauss & Herbert von Karajan. Strauss was made the president of the Reichsmusikkammer, who else as the greatest living composer then, even his daughter in law was jewish. He dismissed later anyway. Herbert von Karajan gave his party book back & was not allowed to continue conducting. I have never heard, that they were behind the expulsion & emigration of their fellow musicians. Strauss had so many friends (jewish) within the Vienna Philharmonic. Clemens Krauss sent some musicians to the front. R.Strauss eventually wrote an open postcard, writing about when the authorities would start searching for Mozarts not Aryan roots, - meant very sarcastic, but it was even dangerous for Strauss himself. How about the first performer of the 2nd horn concerto, Gottfried von Freiberg, who´s grandfather was a baptized jew from Prague. The premiere was 1943 August ??? And Carl Orff, he composed Carmina burana after the Manuscript found in Upper Bavaria in a monastery. He had to make a living & composed upon order as all do. Music is a whore. Who pays, get the say. "Who´s bread I eat, thus song I sing." Classic quotation. Do you think you are one dime better today, or that we are better today ? By no means, we are the same scrupulous, but incomparable regarding quality of arts. And Wagner´s music became abused by the Nazi, not the other way. Wagner did not plough the fields with his music, to make way for the nazi hordes. The Nazi did not throw boms in the rhythm of Wagner´s music. We, the generation after the war, we abused his music again for apocalyptic movies & to underlay war news with music to make it more impressive. And, even Wagner regarded himself a more a philosopher than a composer, he made a living by composing & conducting (Mozart & Beethoven & Weber & Mendelssohn). His attacks against jewish composers had a background, the back ground of the jewish clique around Meyerbeer in Paris, who were not so nice to him, indeed. No wonder that he wrote that well known garbage later. There was a wide anti jewish or anti Zionistic movement all over Europe
RE: [Hornlist] RE: Mouthpiece Popping
But WHY - In serious music, it is shit, mere shit. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, June 28, 2004 8:01 PM To: [EMAIL PROTECTED] Subject: [Hornlist] RE: Mouthpiece Popping Of course,,, if one takes a dry finger and rubs in around the inside of a dry mouthpiece cup while it's in the horn, and entirely different (and rude) sound can be made. Ken Pope (of course,,, I've NEVER done this..;) ) "Just Put Your Lips Together And Blow" http://www.poperepair.com U.S. Dealer: Ricco Kühn and Dietmar Dürk Pope Instrument Repair 80 Wenham Street Jamaica Plain, MA 02130 617-522-0532 ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mouthpiece popping
If I spoke of Strauss, I meant Richard not Johann. Seriously, why do so many of you point on Wagner as an anti-semite (he was, off course) & not to his perfect dramatic music. Eventually, I played Tristan last night in Chemnitz (which you might not name a communist city because it´s name was changed to Karl-Marx-Stadt while under communist regime until 1989), and I felt, one could leave off even the singers without harming this greatest of all single operas. But one needs the right education & the natural feeling, but feeling elevated from profane feeling to an higher perhaps "Milky Way" level, if you understand that. Wagner took history very serious (see Meistersinger, Tannhaeuser, Rienzi), used old sagas as stories for his operas (Lohengrin, Flying Dutchman, Ring, Tristan, Parsifal). His anti Semitism has nothing to do with his operatic creations. He paved the way for modern music, when he composed Tristan. Mozart did not take himself superior or take himself too seriously. He often fooled around, because he understood how superior he was. He composed without compromise & hated imperfection. Richard Strauss - you did not comment on him - was able to create a short cut transition from any tonality to another tonality. He followed Wagners path in the dramatic music but created an immense amount of new sounds without asking for very cheap clap-clap effects. The mpc popping sounds like the crack of a whip. We have a percussion effect instrument producing such sounds. Why (ab) using the horn ? Even Mahler using some special effects, he did it with taste & very effectful. The difference to today´s composers (not all of them) is it, that Mahler had enough good & excellent melodic ideas which could endure the rather small amount of special effects. What´s annoying with Mahler ? Well, his music is filled with special instructions so to press the orchestra into a mere corset. More freedom would be better. Last word: if you analyze contemporanean compositions, you might find much more more or less cheap effects than real substance. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Leigh Alexander Sent: Monday, June 28, 2004 4:30 PM To: The Horn List Subject: Re: [Hornlist] Mouthpiece popping Gee, I don't know.. 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 didn´t 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 ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mouthpiece popping
Question: Why didn´t 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 ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Alexander 301 Triple Horn
Most makers do not pay any license fee as patenting something new is not worth the fee you have to pay to get the patent protection worldwide. It cost 6.000.- EURO just to cover the E.U. How much would you ask for a valve mechanism license per piece ? 20.- Euro ? Would require 300 instruments in the E.U. alone to break even if there were not other administrating costs to deduct. Resolution: if something is new & the customers suggest to use this, every maker makes his own tools or forces the valve maker to make the requested new mechanism. Patent licenses are only interesting, if there is a mass production to make profit. But, there are some very interesting improvements. Young & progressive makers invent a lot. But they have not the money to initiate a bigger scale production, so they offer their invention to bigger companies, which (sometimes) buy them & let them die, because they have to sell their own first. And why should they change their product line. Alexander is a middle size company & can afford experiments. But they produce too many different models to keep the product quality very high for every single instrument. That is the problem with them. If you produce one or two models, and if an expert player is involved & can test check play every single horn, much better for equal quality. But this is only possible for a niche product of small scale. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Graeme Evans Sent: Tuesday, June 22, 2004 7:44 AM To: The Horn List Subject: Re: [Hornlist] Alexander 301 Triple Horn The 301 is an interesting horn, and should be worth trying out. The change valve mechanism is similar to that on Paxman descants and triples (I wonder whether Alex are paying a licence fee!!) ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] R.Strauss
Still 8 copies (cloth binding) plus one leather binding available from R.Strauss piano version (not reduction) of the op.11 horn concerto; absolutely clear hand writing of R.Strauss, with indication for the instrumentation. Quite rare. Facsimiled around thirty years ago. Near last copies available. Hurry to get one. Send order with address & credit card data. I thought better to get all available stock from my source & distribute it to the horn playing world rather than to other collectors. Yes, I get a small share for handling, off course, but if I do not make it public that it is available, most horn players would not know, that it exists already. Happy hunting. 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] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Horn Digest, Vol 18, Issue 19
But it is not that way always. Sometimes it goes: One-n-tw-n-three-ee-ee Or one-ee-ee- two-n-three-n or ONE --two-three Or one-two-THREE Or One-two- one-two-three - one-two Even that is not consistent as the rhythm shifts with the composers will. The best is it, if the conductor decides, but certain sections or individuals might find it better for their particular entrance, if this particular measure is conducted in a special way. If so, ask your conductor to assist you for your entrance by considering a special way of conducting. Well, this might be sound strange but it is necessary for the perfection. Some conductors (??? Not worth the term !) might feel it as an insult as any question coming up from the orchestra. Fire this kind of conductors as they ruin not only the music but also spoil your fun making music, except you are some kind of masochistic. You could ask something like: "Maestro, you would help us a great deal for our entrance at measure XY, if you would subdivide kindly measure XY " If he gets furious or refuses to do so as just suggested, give him a very hard time until he gives up or bows in. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Friday, June 18, 2004 10:04 AM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] Re: Horn Digest, Vol 18, Issue 19 The conductor of my college orchestra, a very experienced professional player used to conduct it "One, two, three-ee-ee" It worked very well. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] NHR Spell check and a bit of irrelevant info
Sorry, Klaus, "vely solly" - I thought you might name China (Lichald Stlauss Concelto conducted by Callos Kleibel, ha, ha !). Have you been there ? But they don't have this kind of difficulty. My name was printed & pronounced properly always, but not in the English or American manner, but like done by Germans or Austrians. It happen in Japan, that the poster had MOZALT CONCELTO (Kyoto !). And this story (below) did not happen to a prime minister. It is the old joke of the big meeting, where the one prime minister asks the other when discussing democracy: "We have elections every five years. How about you ?" Then the Far East prime minister responded with a big smile: "I have an election evely molning !" === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Klaus Bjerre Sent: Thursday, June 17, 2004 8:22 PM To: The Horn List Subject: Re: [Hornlist] NHR Spell check and a bit of irrelevant info on 17/06/04 21:05, Hans Pizka at [EMAIL PROTECTED] wrote: > Hello Susan, - first thanks for reminding me of Beethovens birthday > every year since how many year ? More than twenty years, very nice > indeed - > > I once had a poster for one of my concerts with big letters telling > > "MOZALT CONCELTO" > > Guess which country ??? About thirty years ago... > Could have been Thailand or Malaysia. At any rate the speakers of the native language in one of these countries have problems with the pronouncing of "L", when speaking English. They make it sound like an "R". It caused some embarrassment years back, when the prime minister at an English spoken international press conference tried to say: "I hope I will have an outstanding election tomorrow!" Klaus ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] NHR Spell check and a bit of irrelevant info
Hello Susan, - first thanks for reminding me of Beethovens birthday every year since how many year ? More than twenty years, very nice indeed - I once had a poster for one of my concerts with big letters telling "MOZALT CONCELTO" Guess which country ??? About thirty years ago... Greetings from Munich == -Original Message- ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Cor anglais & Cor de basset
Sorry, my mistake. The "Cor anglais" existed even before Mozart´s time as "Oboe da caccia" (hunting oboe) since J.S.Bach´s time. This instrument has undergone a complete transformation. It first was made of a wooden piece, split into two parts & hollowed, fixed together & wrapped with leather like the zinc. This resulted in very uneven intonation. Later it was straighten out, but the angle remained in the metal piece between mouth piece & wooden body. Now with the straight body, the inside can be drilled & the wall be smooth. (so the intonation is much better , hopefully or sometime). The English Horn has one thing in common with a good Horn: it appears as a solo instrument very lonesome often (Tristan, Tannhaeuser, Siegfried - to speak about famous solos). The "Bassetthorn" or "Cor de basset" has been invented in Passau in the middle of the 18th century. It is a small bass clarinet, so the literary translation. It first was angled as the Cor anglais, but later got the short snout, while the bass clarinet got the longer curved neck & snout. Anyway, the clarinet family is one of the younger wood wind families. For Mr.Chiu in HKG: basset means little bass. And the instrument was named "bassett horn", as the sound registers, special the mellowness, are very similar to the horn, - so the saga, to be found in larger musical dictionaries. 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] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Cor Anglais & French Horn
To add to the confusion, if you would use it for fishing, it could be named "angler´s horn", which is not any hybrid language term but genuine English.. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Benno Heinemann Sent: Wednesday, June 16, 2004 9:57 PM To: The Horn List Subject: Re: [Hornlist] Cor Anglais & French Horn So I suppose the proper name ought to be Cor Anglé. Not to be confused with Corps Anglé, which is what occurs when you bend over to pick up a dropped mouthpiece, or other fallen article. Benno > > The name "English Horn" is a verballhorning of "Cor Anglais", the horn, > built in an "angle", of which just the angle in the short metal tube at > between mouth piece & instrument remained. The "Cor Anglais" was > developed in Passau (border town between Bavaria & Austria, on the > Danube) during Mozarts time. > ___ > post: [EMAIL PROTECTED] > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de > ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Amateur Conductors!
Paul, is that guy with the Puccini the one I asked you for sometimes ago & isn´t he a very good cembalist ??? Just curious. And, isn´t he the one, who conducts that wild, that the shirt jumps out of his pants & he has trouble to get it back on its place ... before leaving the pit. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Paul Kampen Sent: Wednesday, June 16, 2004 2:11 PM To: The Horn List Subject: [Hornlist] Amateur Conductors! Message text written by The Horn List > Any conductor, whether s/he is a student, amateur, or even a polished professional, has to begin, somewhere!< Dear All This reminds me that the orchestra here is the resident orchestra for the Leeds Conductor's Competition. . reminds me of the time that a player stood up and shouted "I cann't follow the b windmill" at a well known conductor who was having problems with a Puccini opera) until, with a look of sheer panic on his face we got to the end - I think that HE got to the end a bit later. Cheers Paul A. Kampen, 4th horn - Orchestra of Opera North (Leeds UK) ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] R.Strauss op.11
Will receive some more ten copies of the Facsimile of R.Strauss op.11 horn concerto piano version by R.Strauss´ own hand writing, nicely bound in blue cloth. Very accurate hand writing with remarks for the instrumentation, some text included. They come for 41,02 EURO (about 50.- US $) including airmail registered. Order should be accompanied by credit card data, eventually split to two emails. I got two leather bound copies (price to be settled later). A beautiful present for a horn players jubilee or birthday anniversary. Will care to get it again as long as stock of my source lasts. 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] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Advice & Info
George, tell me the article & I will scan it & send as email attachement. Have both books in front of me. May I guess: the article "In memoria Lorenzo Sansone"! & "Profiles Lorenzo Sansone". Was my guess right, George ? Hope things go better health wise with you. Kindest greetings from Munich Hans -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of G Napuda Sent: Tuesday, June 15, 2004 5:33 PM To: Memphis HORNLIST Subject: [Hornlist] Advice & Info All. A crosspost. I am interested in one page from the Horn Call Vol. II No. 1 & two pages from Vol. VI No. 1. First. Neither one is available for a back issue order ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Amateur Conductors
Oh, well, another to be tyrant ! May I ask you, where do you conduct & what kind of orchestras Just a warning, for such conductors (we get them occasionally) WE PLAY AS THEY CONDUCT WITH ALL CONSEQUENCES !! I remember one colleague (or was it me) to answering to a conductor, as he pointed that we must follow his interpretation & gestures: " You should be happy, that we do not play the same as you conduct !" -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Chiu CC Sent: Tuesday, June 15, 2004 5:29 AM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] Amateur Conductors dear all, As a conductor, i just accept ideas on administration, sitting arrangement and other ideas apart from musical understanding and interpretations. For musical interpretations are my own responsibilites, taste and my profession. It's okay to make suggestions on other ideas during the rehearsal (for an amateur group, there are somthing which have to be fixed during the rehearsal ) But i don't accept musical ideas at ANY TIME CCC ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Amateur Conductors
This kind of group phenomenon , originating in certain societies preaching Siegmund Freudian self-realization, has sent its virus across the world since long & infected our way of living also. Recently, I organised a memorial concert for my late father, assembling a bigger horn ensemble playing Viennese Horns mainly. The concert was in Austria (!). It was nearly impossible during rehearsal & concert, to get the younger players to a civilized dynamic level, where they could show the beauty of the F-sound much better than in the higher dynamic. Everybody plays "to be heard" instead of performing the music as thought by the composer. This is the social defect in music. They play to be heard instead of just contributing to the whole. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Larry Jellison Sent: Monday, June 14, 2004 9:27 PM To: [EMAIL PROTECTED] Subject: [Hornlist] Amateur Conductors Hans and Fred, Thanks for your comments. This past year I played in a civic concert band, and that experience helped me to develop my endurance and high range. Part of my frustration with this band experience was the constant tutti horn playing, much in unison with the saxophones, too much loud playing, and the proclivity of everyone to play at the dynamic level that they each wanted rather than the conductor having a command over the dynamics. Regarding one's ability to change playing characteristics of the other players (through comments to the conductor or section principals), I think this is just another group psychological dynamic situation, like being in an office meeting: one needs to decide what power level one is at and where one fits into the hierarchy. Since I am "new" to this concert band and not a member of the "old guard", I don't think the group societal dynamics allow me to make assertive comments. I think there are musical groups that exist where everyone plays the way they each want to play, and they enjoy it at that level. That the case here, it isn't prudent for a new member to come in and try to improve everyone's playing, not until one puts in time to be established in the group which could be a couple of years. Maybe I am too cynical or too timid. My goal is to stay or leave the band on good terms with everyone. ___ Internet Access, Shared & Dedicated Web Hosting. Colocation and Domain Name Registration at http://www.SharedPoint.com ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Amateur Conductors
If your conductor is that kind of despotic not allowing suggestions to better the performance, he should be fired immediately, as he is not worth to conduct. Professional conductors, good conductors, accept positive suggestions, if they are clever enough, That is their secret of success. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Larry Jellison Sent: Monday, June 14, 2004 7:41 AM To: [EMAIL PROTECTED] Subject: [Hornlist] Amateur Conductors No one answered my question regarding whether it is acceptable for players to make suggestions to the conductor for achieving a better band/orchestra performance (e.g., balance the section volumes). Well, okay, I'll answer it, and the answer is "NO". Larry ___ Internet Access, Shared & Dedicated Web Hosting. Colocation and Domain Name Registration at http://www.SharedPoint.com ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Notation question
Composers & copyists do what they want to do often without any reglementation. The same happen with the understanding of mute or gestopft, cuivre, sons de echo, etc. Conductors do not better anyway. It is left up to us mostly, to decide after our experience & good taste. Ears decide best. But I will ask my colleague who did it on third last time just a year ago. To understand it right, the b-flat pedal is the one notated with five ledger lines below staff if treble clef or on 2nd line from below if bass clef, as I could not name any other note a pedal b-flat. Is it bb right below c1 (first ledger line below staff , which I could understand as middle c) or Bb as described before (which I could not understand as middle, but rather as low C & low Bb). -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Gary Greene Sent: Saturday, June 12, 2004 8:48 PM To: [EMAIL PROTECTED] Subject: [Hornlist] Notation question Recently one of the orchestra I play in did the Mahler 2nd, and at one point (in the first movement at rehearsal 15 in third horn), I was called upon to play a pedal b-flat, the one immediately below middle C. My fourth horn partner in crime joined me in this at the octave below. It occurred to me for the umpteenth time in seeing this kind of notation that it seemed strange that my note would be written in bass clef since elsewhere in my part were pitches even lower but still in treble clef. This led to me pondering anew similar such apparent inconsistencies and has led to the formation of a notation question to pose to all of you: is (was) there a convention in horn notation that sustained lower pitch notes should be put into bass clef? Or, is (was) there a convention in horn notation that sustained lower pitch notes that are doubled at the octave below are put into bass clef? Does anyone know anything about this? I'm not looking for other examples of such writing as I'm satisfied that there is a pattern here. I'm looking for references to composition texts or treatises or oral histories that indicate a conscious choice to notate such passages in this fashion. Many thanks in advance. Gary Greene _ Stop worrying about overloading your inbox - get MSN Hotmail Extra Storage! http://join.msn.click-url.com/go/onm00200362ave/direct/01/ ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Vienna Phil
For those interested in horn history: I have added two interesting pages to my site. They contain the travel & program data of the two South America Tours 1922 & 1923 of the Vienna Philharmonic. It is incredible, what they had to play. The only free day were the days on sea. Their program included all Beethoven symphonies from no.1 to no.8, the RING & 8 of R.Strauss´ symphonic poems, which they did besides other pieces during a 5 days program in Montevideo, where R.Strauss himself conducted. Have a look at www.pizka.de/VPO1922.htm 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] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Happy Birthday Richard Strauss
We did Don Quixote & Heldenleben with Zubin Mehta. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of John Baumgart Sent: Saturday, June 12, 2004 4:00 AM To: [EMAIL PROTECTED] Subject: [Hornlist] Happy Birthday Richard Strauss WFMT in Chicago served up a lot of birthday cake for Richard Strauss today (6/11). They were playing Till when I woke up, the last mvt. of the 2nd horn concerto (Baumann) and the beginning of Rosenkavalier on my way to work, and T.u.V. on my way to lunch. John Baumgart ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] London Horn Sound - Roman Carnival
I do publish this piece. It is set for 8 horns only. The setting is with FINALE. It comes with score & parts. You can order it through Paxman, if you are in GB or directly with me. Hans Pizka -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of jlmthompson Sent: Thursday, June 10, 2004 6:56 PM To: [EMAIL PROTECTED] Subject: [Hornlist] London Horn Sound - Roman Carnival Does anyone know where one can get the sheet music for Roman Carnival as heard on the 'London Horn Sound'? How many horns and what other instruments does it involve? Thanks, Jim ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Horn Cleaning
Better think of : How can I care better THAT THE HORN IS NOT SPOILED INSIDE. If a snake is needed to clean the lead pipe inside, my goodness, how long are the intervals between cleaning your horn. If you care, nothing accumulates inside the lead pipe, nearly nothing. But if you eat candies & cake during the intervals, drinking all the sugar containing refreshments and forget to clean mouth & teeth, yes, a lot of dirt will accumulate. If you consider my advise to care about the instrument, you have not to care about using a snake to scratch away all the crusts left in your horn. Snake can lose parts of the brush. These parts can be flushed into another corner of the horn & remaining there for years, perhaps, but you would wonder about some crazy noise in your horn. Inside flush your horn once a month, should be enough. Get it ultra sonic cleaned every two or three years by a good repair man who has these facilities or where else you find ultra sonic cleaning equipment bif enough to contain a horn. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of rebecca ferris Sent: Friday, June 04, 2004 8:24 PM To: [EMAIL PROTECTED] Subject: [Hornlist] RE: Horn Cleaning i don't get it, why is a snake so bad? and if a snake is not used, then how does the horn get cleaned? -rebecca >An how about the effect of a cleaning snake, where parts of the brush >get off & are swapped into the valve system ? > >Detergent, attaching the pipe of the hand brush to the lead pipe (take >care that the water does not get too hot for your hand !) & let the >water flush all through. You might take off the valve slides first. > >But snake ? Better a big No-No. Find what you are looking for with the Lycos Yellow Pages http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default .asp?SRC=lycos10 ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Horn Cleaning
An how about the effect of a cleaning snake, where parts of the brush get off & are swapped into the valve system ? Detergent, attaching the pipe of the hand brush to the lead pipe (take care that the water does not get too hot for your hand !) & let the water flush all through. You might take off the valve slides first. But snake ? Better a big No-No. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Larry Jellison Sent: Friday, June 04, 2004 9:39 AM To: [EMAIL PROTECTED] Subject: [Hornlist] Horn Cleaning Clean the inside by moving water quickly through the piping (sometimes with dish detergent and a cleaning snake); soaking in a tub doesn't provide the fluid mechanics for effective cleaning of the interior of the horn. Consider that some bathtubs and sinks have residue of abrasive cleansers that could wash into the horn tubing. ___ Internet Access, Shared & Dedicated Web Hosting. Colocation and Domain Name Registration at http://www.SharedPoint.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] horn baths
If you intend to bath your horn the first time after years and if your horn is not lacquered, well, you should use a professional soap which contains some sand so to clean away all the grid accumulated. Just joking. Real: use a mild dish washer detergent & mild warm water. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of rebecca ferris Sent: Wednesday, June 02, 2004 5:28 AM To: [EMAIL PROTECTED] Subject: [Hornlist] horn baths what's the best way to give a horn a bath? should soap be used or not? thanks. -rebecca Find what you are looking for with the Lycos Yellow Pages http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default .asp?SRC=lycos10 ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] horn music
Why not visiting my publication site at www.pizka.de/Pizka-music.htm == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Tara Islas Sent: Tuesday, June 01, 2004 3:59 AM To: Horn List Subject: [Hornlist] Horn music I¹m new to this site and I am sorry if I repeat what has already been answered: Can anyone tell me a good site to order horn music? 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
RE: [Hornlist] HELP! Linz horn made in Italy
A bit of knowledge in geography might reveal, that something is wrong with that obscure "Linz" horn "made in Italy", as Linz has nothing to do with Italy. The producer of this instrument might have nothing to do with the engravings either, but the dealer (s), who got it engraved (perhaps). Such kind of (cheap) horns are now made in countries as Brazil & Pakistan or elsewhere. To camouflage the origin they are engraved that way, but as the engravers mix up geographic terms the wrong way, they are not aware, that some people might be able to detect that. Linz is a very old city in Austria (Mozart composed his "Linzer Symphony" there. The house still exists.), once the capital of the greatest imperium ever existed on earth during the time of emperors Friedrich III. & Maximilian, including Spain, Portugal, Germany, Austria, Bohemia, Hungaria,, the Netherlands, parts of Poland, Rumania, Serbia, Montenegro, northern Italy, Sicily, whole Brazil, Mexico, Peru, Colombia, Chile, Argentina, etc. & parts of India ) - but no horn makers except Heidegger & Lorenz, who ceased since long. "made in Italy" is also a fake. Yes, I know, why "Linz" rings a bell. 1938 March 12th, the annexion of Austria by the dictator with the little moustache - not Charlie, but similar - , who also grew up there. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] R.Strauss op.11
1.- EURO equals about 1,22 USD to 1,24 USD Hans Sorry I wasn't up on my euro/dollar conversion rates. Do you take paypal? LMK (let me know) LT ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] R.Strauss op.11
Full price incl. shipping (air registered) = EURO 41,02 payable by credit card, converted into USD about 50.- PS: Normally I do not answer such inquiries by "no names". -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Saturday, May 29, 2004 6:35 AM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] R.Strauss op.11 how much would these bad boys cost to ship to US? LMK LT ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] R.Strauss op.11
Luckily, I got more ten copies of the Facsimile of the first concerto op.11 by R.Strauss. It is the superb clear hand written piano score including instrumentation. There is also some introductory text regarding the history of the concerto. This is a very important source for the young & the engaged horn player. The Facsimile is bound in fine dark blue cloth with gold name print "R.Strauss". It is of a limited edition of 500 copies. I have sold over hundred & my source seems to have a few more, even the publication is over twenty years old. Most horn players seem not to know of the avaqilability of this Facsimile. Price: EURO 41,02 total including registered airmail. Payable by credit card only. For customers within the E.U: it is just EURO 39.98, as they have to pay VAT. Again sold two, hurry to get one of the remaining 8 copies. 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
[Hornlist] R.Strauss op.11
Luckily, I got more ten copies of the Facsimile of the first concerto op.11 by R.Strauss. It is the superb clear hand written piano score including instrumentation. There is also some introductory text regarding the history of the concerto. This is a very important source for the young & the engaged horn player. The Facsimile is bound in fine dark blue cloth with gold name print "R.Strauss". It is of a limited edition of 500 copies. I have sold over hundred & my source seems to have a few more, even the publication is over twenty years old. Most horn players seem not to know of the avaqilability of this Facsimile. Price: EURO 41,02 total including registered airmail. Payable by credit card only. For customers within the E.U: it is just about 2.- EURO cheaper, as they have to pay VAT. 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
RE: [Hornlist] Career on Horn performance, HS grades, degrees, ect....
Roland Berger has been exmatriculated from the Vienna Academy when he accepted his first horn position with Vienna Philharmonic without permission by the Academy . later he became professor at the same academy WITHOUT PAPER .. Paper is good to have, but it helps you NOTHING for thejob. But it is necessary if you want your study years being recognized for pension purpose (at least in countries with similar social system as in Germany, Austria, Swiss, France, ..) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Julius Pranevicius Sent: Tuesday, May 25, 2004 7:31 PM To: The Horn List Subject: RE: [Hornlist] Career on Horn performance, HS grades, degrees, ect --- Hans Pizka <[EMAIL PROTECTED]> wrote: > Paper is paper, ink is ink, but playing is playing. > but how russians says: "bez bumazki ty kakaska" or if in english "without paper you are nothing"... __ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/ ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Cocoa Butter Chapstick
It is amazing that everything seems to be thought as done extensively, or is done extensively if recommended. Is the whole younger world going crazy. Just lick over your lip once - if you feel them dry - helps. If the air is not dry, licking is not necessary. Everything done just normal is good, everything exaggerated is of evil. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Tuesday, May 25, 2004 4:08 AM To: Horn List Subject: [Hornlist] Re: Cocoa Butter Chapstick Licking lips excessively will eventually cause them to chafe. Many lip balms contain ingredients that could compromise their response and flexibility. I have used lip moisturizer (CF22) from Mary Kay Cosmetics for several years. Although a little pricy, It moisturizes well and contains no compromising ingredients. It comes in a small container, not in stick form. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Career on Horn performance, HS grades, degrees, ect....
Paper is paper, ink is ink, but playing is playing. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Tuesday, May 25, 2004 2:21 AM To: [EMAIL PROTECTED] Subject: [Hornlist] Career on Horn performance, HS grades, degrees, ect Hello again, I would like to know how much my high school grades effect me getting accepted into a colleges music program. Thanks, Mike ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Career on Horn performance, HS grades, degrees, ect....
Michael, how old are you know ? Around sixteen ? Or past sixteen ? What have you mastered regarding horn playing already ? Just the beginning or not even that at a reasonable result. Playing & playing are two different pair of shoes. Right. Do really think of a professional career as a horn player, landing in a class A orchestra to make a decent living just by playing horn ? Is´nt that out of question at the moment, absolutely ? A professional career can be discussed, as soon as you mastered all the requirements to enter the conservatory or music academy, just with a finger snip. Not more. But with all your problems, you are far away from that. As others said before, just the best of the best will make it to the conservatory or the music academy. And the best of the graduated students will even land in professional orchestras under certain conditions: if the right chance comes in the right time AND if you are prepared to win at the top just that particular time. This means: Concentrating exclusively to the study of the instrument, including music theory, music history, society history, art history, listening & listening again to other players, compete permanently with class mates & others, younger or elder. Attending a lot of parties will be a great NO NO. Games will be a big No No. What to do, if the nervous costume is not the best ? Well, attend courses in pedagogy, learning technique, systhematic, informatic (computer science or at least working with several programs = as I say that, I mean really working with programs, knowing them very very well). These side studies will enable you to make a living also as music manager or teacher or administrator or etc. As I say that, I think of that only the super best should go for principal positions where most things most work spontaneously NOT by HARD WORK only. This would & is resulting in total musical crampness & invariability. If you have to arrange prepare EVERYTHING, you will shoot yourself from the principal chair. This could be continued ad infinitum. But I am sure, most people on the list, special the students, will oppose to what I said above, oppose because of lack of information, oppose just to oppose, or oppose because they think they know all much better. But they will get their "fat" at the next audition. This, Michael, is just a warning. Better think of becoming a decent or good player & rethink the whole idea, after you have played your first concert with a semi professional orchestra, study again, rethink it many times. It would save you a lot of head ache & a lot of your health. Come back asking the same questions as you did, but after you have mastered the college level. I do not try to intimidate you, but to tell you the truth nothing else. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, May 24, 2004 7:37 AM To: [EMAIL PROTECTED] Subject: [Hornlist] Career on Horn performance, HS grades, degrees, ect Hey everyone, My mom brought to attention my plans for my future horn playing career I was wondering how my highschool grades affected my chances of getting accepted into a colleges music program and such. What I had in mind was to perform on horn as my career, my main goal. If I get a performance major, its just a degree, how does it help me to get into orchestras? After or during college, how do I get my foot through the door to start getting paying full time Orchestra positions? After my 4 years of getting a bachelors in performance could I get my orchestra job and pay the bills or what? Thanks for your info, Mike ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Cocoa butter chapstick?
If you like the rancid stench ... in a hot climate like Texas ., you could also use a piece of raw bacon or some Diesel (go to the gas station & ask them if you could just stick your forefinger into a can of Diesel (Nafta) ... it smells bad, but it works ... and it is nearly free Cheapest solution: use your tongue & lick your lips from time to time, depending how dry the lips run . -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Sunday, May 23, 2004 8:38 PM To: [EMAIL PROTECTED] Subject: [Hornlist] Cocoa butter chapstick? Hi everyone, I was wondering if anyone has heard of some cocoa butter in a chapstick tube applicator, that you can use to keep the lips moist instead of regular chapstick...anyone? Thanks, Mike ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Hi, Hans.
Go www.pizka.de/MySiegfriedHorn.htm to get a first impression. If still interested then, well, write again so I can send you pictures "off list". -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Joe Duke Sent: Saturday, May 22, 2004 8:03 PM To: [EMAIL PROTECTED] Subject: [Hornlist] Hi, Hans. Hans! That new horn is getting a rave review from the new owner!! Congratulations! If you have pictures on line of this instrument or one of its 'brothers', where would I look to see it?? Thanks!Joe Duke ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] R.Strauss
Four more copies of R.Strauss piano & horn manuscript of the op.11 horn concerto, with introductory text, bound in nice dark blue cloth with gold name print, still available. Very hard to get. I do not know, if I will discover more, as it is out of print since long. 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
[Hornlist] signatures
Last night, I played my no.219 Fidelio & inserted the date & the name of the conductor as usual. Adam Fischer conducted the last of this years three Fidelios. He still looks like a boy, but one has to imagine, he conducted the same opera at the Bavarian State Opera the first time 26 years ago, replacing world famous Dr.Karl Boehm then. I have a very good relation with Mr.Fischer & an ideal musical understanding each other. So it was fun again, playing this challenging opera under Mr.Fischers leadership. BTW, he never used a score but gave all the cues with perfection. During one of the numbers played by third & fourth horn, I had a look upon the signatures in the back of my part & found some more interesting than the players names, - the names of the conductors: Clemens Krauss Hans Knappertsbusch Sir George Solti (Georg Solti that time) Rudolf Kempe Herbert von Karajan Dr.Karl Boehm Adam Fischer Wolfgang Sawallisch Schmidt-Isserstedt Marek Janowski Heinrich Hollreiser Meinhard von Zallinger I had played it here the first time on Jan.16th, 1967 right after the afternoon audition, where I won the solo horn position, so the performance was for the last decision. Quite a while ago. 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
RE: [Hornlist] Yamaha 668N
Depends on the human input. Sometimes you are blowing into the horn perfectly (you think doing so), but it comes out "bent", so you think the fault being the horn, --- ooops, or was it just opposite, blowing the horn incorrectly, but the horn correcting everything, so to be a good horn ? === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Unkn own Sent: Wednesday, May 19, 2004 11:10 AM To: The Horn List Subject: [Hornlist] Yamaha 668N Heya, what do you guys think of 668N? how well does it play? thanks, Ian - Do you Yahoo!? SBC Yahoo! - Internet access at a great low price. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Presperation
Michael, if you hold a lacquered horn even your hand sweating acidic a lot, the shiny are does not get dull so quickly as you describe. How long (in weeks) do you have the horn ? A T-shirt is not the right "towel" to wipe away the finger prints, as the T-shirt contains a lot of your sweat perhaps. Get a 2-pack of these micro fibre mini towels at your super market next door for 2.-USD and clean away these finger prints at any "pause" you will have during playing sessions. I doubt, if your horn is lacquered. If it was "mirror looking" & is not now, then the horn is not lacquered. Do not try to delegate sloppiness from yourself to the producers of goods you bought. The (eventual) blame is on you not on them regarding understanding things & changing a certain behaviour & implementing a different attitude. Quite simple. And, as the horn was mirror like at the beginning, it was superbly polished, as to expect from YAMAHA, but perhaps NOT lacquered. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Wednesday, May 19, 2004 4:31 AM To: [EMAIL PROTECTED] Subject: [Hornlist] Presperation Hello everyone, I was wondering how you can tell if your presperation is really acidic. My hands sweat alot when I'm playing my horn, and by the time I'm done practicing, the horn goes from nice clean and shiny to ugly grime over it, particularly the hand guard area and the inside of the bell. I wipe it down with a t shirt during playing, but completly wipe down everything with laquer cloth once a week. Im playinng on a Yamaha 668NDII, and I'm assuming its laquered Some spots seem to have a less shiny area and like some dull little specks (i got the horn like that new, could the laquer have been applied thinly to that area? Or just something that makes the metal not so mirror looking?) Best, Mike ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Brass protectors
One can do something against "quite acidic perspiration" by changing one´s alimentation. Ask a doctor who is familiar with alimentation resulting problems. I remember a colleague, who´s acidic perspiration was so bad, that it ate up the hand shield on the horn & lead pipe. But he did nothing to prevent that. Cleaning away the acid stuff from the places where touching the horn (inside bell & around valve keys) by the use of a micro fibre small towel, even quickly during a longer rest. It should not be any problem for nobody. It needs just an implementation in the brain, a change of attitude. I know, this is against etiquette, but it seems the most severe complication for players: TO CHANGE BAD HABITS or to INTRODUCE A NEW POSITIVE HABIT. The horn will thank you for the better care with a longer life. The sellers & producers of all that brass cleaning stuff will not be happy if you change your habit, even it will be most positive for the environment. JUST CHANGE YOUR HABIT. Wouldn´t that be much better than polishing the horn once or twice a month ??? And ruin the horn by a short time ? PLEASE, JUST CHANGE YOUR HABIT. It is so simple, very simple. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Caleb Peck Sent: Monday, May 17, 2004 12:25 AM To: '[EMAIL PROTECTED]' Subject: [Hornlist] Re: Brass protectors and Christmass tree ornaments . My old instructor uses this stuff once or twice a month on her Patterson Conns and swears by it. I've been very pleased with the results, takes little effort, and seems to be quite gentle. Typically it isn't available at large stores like Wal-Mart, but Ace Hardware usually has it, and I'm sure similar places would also. Hope it helps, Caleb Pasco, WA ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] R.Strauss op.11 autograph
Information: Have secured another 8 copies of the R.Strauss Horn Concerto no.1 op.11 piano reduction in the composers hand writing (facsimile), including some notes about the history of the concerto. All nicely bound in blue cloth with gold title. They will be for sale at a price of 33.- EURO net plus shipment (air, registered) 8.30 EURO, total 41,35 for non E.U. members. In Europe the price is 35.- EURO incl. VAT plus 5.- EURO shipping. All payable with card. The item is rare. I had it for sale several times, but did not find any additional copies for two or more years. All copies are mint. 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
