RE: [Hornlist] recital repertoire
Col. Arnald Gabriel not only conducts concerts without scores, but also rehearses without them, knowing everyone's parts well enough to be able to do so. This is not just for old standard repertoire pieces he's been conducting for 50 years, but also for new pieces. As he demonstrated at a rehearsal with our band one day, he loves telling stories. He was conducting a concert in a small town in Italy. After the concert, a little old lady came up to him and told him that he was a pretty good conductor, but that he could be better if he learned how to read music. Whether he does this to free his attention from the printed page thus enabling him to better connect with the band, or because it's part of his shtick I neither know nor care. As Hans said, what matters most is the result. John Baumgart -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of hans Sent: Sunday, February 04, 2007 12:48 AM To: 'The Horn List' Subject: RE: [Hornlist] recital repertoire Hello Rebecca, world famous Wagner conductor late Hans Knappertsbusch had been asked why he were using the score when conducting while many other conductors did not use it. He responded: I CAN READ MUSIC. Off course, he & many other famous conductors could do all their pieces without the score, but they had the score there for security. I know all my solo pieces & most demanding operas by heart, but never played any piece (except Long Call) from memory during nearly full 50 years playing professionally as principal in top level orchestras or as soloist or recitalist, but I practised most solo pieces without the music when freshing up pieces, as soon as they were studied very well. Inform the relevant decision makers, that the heard RESULT would count & not the music sheet if used or not. Prof.Hans Pizka ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] recital repertoire
Margaret Dikel comments, as usual, sagely: > Giving departments an ultimatum never works. When you back them into a corner they usually come out fighting, and between you, me, and the door, you will not win. Put more generally, never, ever attempt a political power play against those who hold all the high cards. You'll always lose, if not the battle, then certainly the war. Howard Sanner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] recital repertoire
Margaret, why did you say "the Strauss will not be easy" ??? It is easy to remember & it is a quite easy piece with no special difficulties except the final very very relaxed written long held piano-pianissimo ab-g-ab-g - ab-g-ab-g - ab - ab -. Well, it is a bit tiring & full of romantic emotion. Otherwise you had good arguments how to deal with the recital requirements. Well, one thing comes to mind, when reading such requirements set up by a school, not by a high grade academy. They seem to frustrate a lot of young talents, so no wonder these fail at real auditions as young professionals. I give the gauntlet to the teachers, as they cowardly cannot or will not oppose such stupid & useless regulations set up by ignorant failed province soloists, who did not make it into the professional orchestra world & worse the administrators. Third, ask why you are being required so much memorization. You already have 2 pieces, the Strauss will not be easy, so why do they insist on Hindemith? Ask for an explanation. Might be they are looking at length of piece vs number of pieces. Carry a copy of the Hindemith with you so it can be reviewed by all. Do not go into this meeting alone. Again, where is your teacher and why is he/she not speaking on your behalf. Fourth, accept the final decision and move on. No one ever said you will get everything you want in life. You will graduate, you will get past this, and you will vow to never make your own students go through it. Step up to the challenge. If there is a problem, you will not be the first person who has had a memory slip mid-way through a piece, and you will certainly not be the most famous performer who has ever done this. Learn to handle adversity in a concert with grace and aplomb, a much harder experience to overcome. Margaret (okay, credentials. BM/Peformance, Boston Conservatory. Worked there for 6 years, then at MIT for 3, then at Worcester Polytechnic Institute for 4 before becoming an independent consultant. Yes, I still play, but I am not gigging. Just playing.) Margaret F. Dikel Horn / Librarian / Webmaster JCC Symphony Orchestra 11218 Ashley Drive Rockville MD 20852 301-881-0122 [EMAIL PROTECTED] www.jccso.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] recital repertoire
At 02:33 PM 2/3/2007 -0800, you wrote: Sorry for the double post. I am in desperate need of information. I have proposed a recital program to my department for my senior recital, which is about a year from now. They are starting to make a requirement that our recitals must be memorized, and so I have to petition to not memorize something. Here is the proposed program: sacred piece (less than 5 minutes, memorized) Mozart horn quintet (15-20 minutes, no repeats except in last movement, not memorized) Franz Strauss nocturne (5-6 minutes, memorized) Hindemith horn sonata (15-20 minutes, not memorized) The area where the friction lies is the Hindemith. My teacher does not want me to memorize it, but 2 of the 3 people making the decision want me to. One of the professors (who is not a horn player) claimed that the Hindemith is easy to memorize, and is not a hard piece. I have already informed the department that I won't play it unless I don't have to memorize it. I am also only a music education major, not a performance major. So my questions are as follows: Is this a legitimate college-level (music education) program? Should I be required to memorize this piece? Does anyone have any suggestions for a 20th century piece that would be easy to memorize? If the people responding to this can also supply their credentials in their responses, that would be helpful. Thanks. As a former college student, college administrator, and someone who has performed recitals, let me offer my opinion and some suggestions: First, what are the requirements for your recital as spelled out in the college's course catalog in effect the year you began your program of study? Seems to me the requirements, including memorization of pieces, should be spelled out there. (If you didn't know, the course catalog in effect the year you began your program of study is essentially a contract stating your requirements for completing your program, and any later changes to these requirements cannot be enforced upon you. Check with the college's Registrar for the statement of your required credits plus check the college library for a copy of that catalog.) I remember from my undergrad days that the MusEd majors were required to perform one piece from memory, while the Performance majors were not. However, we did 2 recitals to their 1. Second, why are *you* arguing with the committee when your teacher is "releasing" you from this requirement? Why isn't he/she speaking to them on your behalf and why isn't he/she being given the final say in your required program? Talk to your teacher, then talk to the department head one-on-one. Giving departments an ultimatum never works. When you back them into a corner they usually come out fighting, and between you, me, and the door, you will not win. Ask for help, don't go in demanding. Third, ask why you are being required so much memorization. You already have 2 pieces, the Strauss will not be easy, so why do they insist on Hindemith? Ask for an explanation. Might be they are looking at length of piece vs number of pieces. Carry a copy of the Hindemith with you so it can be reviewed by all. Do not go into this meeting alone. Again, where is your teacher and why is he/she not speaking on your behalf. Fourth, accept the final decision and move on. No one ever said you will get everything you want in life. You will graduate, you will get past this, and you will vow to never make your own students go through it. Step up to the challenge. If there is a problem, you will not be the first person who has had a memory slip mid-way through a piece, and you will certainly not be the most famous performer who has ever done this. Learn to handle adversity in a concert with grace and aplomb, a much harder experience to overcome. Margaret (okay, credentials. BM/Peformance, Boston Conservatory. Worked there for 6 years, then at MIT for 3, then at Worcester Polytechnic Institute for 4 before becoming an independent consultant. Yes, I still play, but I am not gigging. Just playing.) Margaret F. Dikel Horn / Librarian / Webmaster JCC Symphony Orchestra 11218 Ashley Drive Rockville MD 20852 301-881-0122 [EMAIL PROTECTED] www.jccso.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] recital repertoire
Hello Rebecca, world famous Wagner conductor late Hans Knappertsbusch had been asked why he were using the score when conducting while many other conductors did not use it. He responded: I CAN READ MUSIC. Off course, he & many other famous conductors could do all their pieces without the score, but they had the score there for security. I know all my solo pieces & most demanding operas by heart, but never played any piece (except Long Call) from memory during nearly full 50 years playing professionally as principal in top level orchestras or as soloist or recitalist, but I practised most solo pieces without the music when freshing up pieces, as soon as they were studied very well. Inform the relevant decision makers, that the heard RESULT would count & not the music sheet if used or not. Prof.Hans Pizka -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of rebecca ferris Sent: Saturday, February 03, 2007 11:33 PM To: horn@music.memphis.edu; yahoo hornlist Subject: [Hornlist] recital repertoire Sorry for the double post. I am in desperate need of information. I have proposed a recital program to my department for my senior recital, which is about a year from now. They are starting to make a requirement that our recitals must be memorized, and so I have to petition to not memorize something. Here is the proposed program: sacred piece (less than 5 minutes, memorized) Mozart horn quintet (15-20 minutes, no repeats except in last movement, not memorized) Franz Strauss nocturne (5-6 minutes, memorized) Hindemith horn sonata (15-20 minutes, not memorized) The area where the friction lies is the Hindemith. My teacher does not want me to memorize it, but 2 of the 3 people making the decision want me to. One of the professors (who is not a horn player) claimed that the Hindemith is easy to memorize, and is not a hard piece. I have already informed the department that I won't play it unless I don't have to memorize it. I am also only a music education major, not a performance major. So my questions are as follows: Is this a legitimate college-level (music education) program? Should I be required to memorize this piece? Does anyone have any suggestions for a 20th century piece that would be easy to memorize? If the people responding to this can also supply their credentials in their responses, that would be helpful. Thanks. -Rebecca - We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] recital repertoire
In a message dated 2/3/2007 5:34:11 P.M. Eastern Standard Time, [EMAIL PROTECTED] writes: So my questions are as follows: Is this a legitimate college-level (music education) program? << Yes. IMO, it's more than enough. >> Should I be required to memorize this piece? << No >> Does anyone have any suggestions for a 20th century piece that would be easy to memorize? << Not really. I think it is ridiculous that you have to memorize anything at all. Ask that so-called professor that if he/she is so smart, then why ain't they rich?" >> Good luck, Rebecca. Kendall Betts _www.horncamp.org_ (http://www.horncamp.org) _www.lawsonhorns.com_ (http://www.lawsonhorns.com) Rebecca's full inquiry: << Sorry for the double post. I am in desperate need of information. I have proposed a recital program to my department for my senior recital, which is about a year from now. They are starting to make a requirement that our recitals must be memorized, and so I have to petition to not memorize something. Here is the proposed program: sacred piece (less than 5 minutes, memorized) Mozart horn quintet (15-20 minutes, no repeats except in last movement, not memorized) Franz Strauss nocturne (5-6 minutes, memorized) Hindemith horn sonata (15-20 minutes, not memorized) The area where the friction lies is the Hindemith. My teacher does not want me to memorize it, but 2 of the 3 people making the decision want me to. One of the professors (who is not a horn player) claimed that the Hindemith is easy to memorize, and is not a hard piece. I have already informed the department that I won't play it unless I don't have to memorize it. I am also only a music education major, not a performance major. So my questions are as follows: Is this a legitimate college-level (music education) program? Should I be required to memorize this piece? Does anyone have any suggestions for a 20th century piece that would be easy to memorize? If the people responding to this can also supply their credentials in their responses, that would be helpful. Thanks. -Rebecca >> ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] recital programming...was:it's not over yet!
Clever & tasteful decision, indeed. Mozarts music does fit any settings (nearly) & one can find (nearly) any combination, which can be (re)produced in a recital without much compromise. That´s the way things should be arranged. Bravo ! If the teachers decide all & everything & do it e.g. in the Britten Serenade way, well, blame the teacher as irresponsible. Many teachers, by the way, are much too ambitious with their students & ruin more than to improve with this kind of recital programming. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of David Jewell Sent: Wednesday, October 25, 2006 5:24 PM To: The Horn List Subject: [Hornlist] recital programming...was:it's not over yet! Howard Sanner <[EMAIL PROTECTED]> wrote: Hans Pizka rightly wonders: Howard, than I ask why these folks select this piece for the recital ??? Probably because their teacher assigns it. I don't know how it is anywhere these days, but in the U.S. when I was in school, your teacher assigned EVERYTHING you played, and there was little room for student preference. Recital programs, like lesson assignments, were essentially handed down by the teacher, and followed whatever requirements the school had for recitals (e.g., length, style periods that had to be included, number of "major" works to be played). If I could relate a personal experience... by the time I attended my community college they had discontinued the requirement that graduating students do a small recital. Having learned of this bit of history I went ahead and programmed and performed one about an hour or so in length. It got me out of my semester jury requirement, provided me with one fantastic performance experience, and to this day gives me a good feeling when I relive it in my head. This relates because I chose everything on it myself, my teacher provided coaching, encouragement, and a little sanity and perspective on the whole thing, but I was able to include two friends, one a tenor [yep - "Auf dem strom"] and a mandolin player ["Deh veinni all finestra" from Don Giovanni].Should anyone desire more specific information on the program and such, please email me offline. thanks for listening. paxmaha - Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
re: [Hornlist] Recital
Mathew, Depending on what kind of ensemble you're planning on: Victor Ewald has several nice brass quintets. You might choose a movement of one of those, but I wouldn't recommend the whole thing if you're playing the Gliere concerto after it. There is also an arrangement of Tschesnokov's "Salvation is Created" for brass quintet, I don't recall the arranger, but it is available from Thompson Edition. Hope that helps, Anna > > > > Hey list, looking for a little feedback. > > > > I am doing a recital this year and have put together this so > > far as my rep > > > > *From Russia with horn (or somtheign cool and witty me thinks!)* > > ** > > *Four Pieces for Horn and Piano. - Gliere* > > **1. Romance > > 2. Valse Triste > > 3. Intermezzo > > 4. Nocturne > > > > *(Need to put an adaptation here to fill either ensemble or > > unaccompanied by a russian composer... ideas?)* > > ** > > *-Intermission-* > > ** > > *Concerto for horn and orchestra in B flat op.91 - Gliere* > > ** > > *(if encore needed the usual. Long Call)* > > ** > > *-End* > > ** > > as you can see its is russian based... one in paticular... so > > any thoughs on filling that one spot.??? > > And feedback as well would be awesome > > > > Mathew James - 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/archive%40jab.org
RE: [Hornlist] Recital
> -Original Message- > From: > [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > du] On Behalf Of Herbert Foster > Sent: Wednesday, October 11, 2006 12:47 PM > To: The Horn List > Subject: RE: [Hornlist] Recital > > The only reason I knew the reference to Horn & Hardart is > because my wife is a New Yorker. Most on the list don't even > know what an automat is. Please explain. http://en.wikipedia.org/wiki/Horn_&_Hardart and follow the links to "automat" for further info. -S- > Herb Foster > > --- Steve Freides <[EMAIL PROTECTED]> wrote: > > > I would like to suggest the > > > > Concerto for Horn and Hardart > > > > by P.D.Q. Bach, although Hardart players are hard to find > these days, > > and automats even harder. > > > > Steve "tongue firmly in cheek" Freides > > > > > > > -Original Message- > > > From: > > > [EMAIL PROTECTED] > > > [mailto:[EMAIL PROTECTED] > > > du] On Behalf Of Mathew James > > > Sent: Monday, October 09, 2006 3:29 PM > > > To: horn list > > > Subject: [Hornlist] Recital > > > > > > Hey list, looking for a little feedback. > > > > > > I am doing a recital this year and have put together this > so far as > > > my rep > > > > > > *From Russia with horn (or somtheign cool and witty me thinks!)* > > > ** > > > *Four Pieces for Horn and Piano. - Gliere* > > > **1. Romance > > > 2. Valse Triste > > > 3. Intermezzo > > > 4. Nocturne > > > > > > *(Need to put an adaptation here to fill either ensemble or > > > unaccompanied by a russian composer... ideas?)* > > > ** > > > *-Intermission-* > > > ** > > > *Concerto for horn and orchestra in B flat op.91 - Gliere* > > > ** > > > *(if encore needed the usual. Long Call)* > > > ** > > > *-End* > > > ** > > > as you can see its is russian based... one in paticular... so any > > > thoughs on filling that one spot.??? > > > And feedback as well would be awesome > > > > > > Mathew James > > > > > > > > > -- > > > Mathew James > > > ___ > > > post: horn@music.memphis.edu > > > unsubscribe or set options at > > > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > > > computer.com > > > > > > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at > > > http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com > > > > > __ > 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://music2.memphis.edu/mailman/options/horn/steve%40fridays > computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Recital
The only reason I knew the reference to Horn & Hardart is because my wife is a New Yorker. Most on the list don't even know what an automat is. Please explain. Herb Foster --- Steve Freides <[EMAIL PROTECTED]> wrote: > I would like to suggest the > > Concerto for Horn and Hardart > > by P.D.Q. Bach, although Hardart players are hard to find these days, and > automats even harder. > > Steve "tongue firmly in cheek" Freides > > > > -Original Message- > > From: > > [EMAIL PROTECTED] > > [mailto:[EMAIL PROTECTED] > > du] On Behalf Of Mathew James > > Sent: Monday, October 09, 2006 3:29 PM > > To: horn list > > Subject: [Hornlist] Recital > > > > Hey list, looking for a little feedback. > > > > I am doing a recital this year and have put together this so > > far as my rep > > > > *From Russia with horn (or somtheign cool and witty me thinks!)* > > ** > > *Four Pieces for Horn and Piano. - Gliere* > > **1. Romance > > 2. Valse Triste > > 3. Intermezzo > > 4. Nocturne > > > > *(Need to put an adaptation here to fill either ensemble or > > unaccompanied by a russian composer... ideas?)* > > ** > > *-Intermission-* > > ** > > *Concerto for horn and orchestra in B flat op.91 - Gliere* > > ** > > *(if encore needed the usual. Long Call)* > > ** > > *-End* > > ** > > as you can see its is russian based... one in paticular... so > > any thoughs on filling that one spot.??? > > And feedback as well would be awesome > > > > Mathew James > > > > > > -- > > Mathew James > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at > > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > > computer.com > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com > __ 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://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recital
Mathew James wrote:
... recital ... russian based ...
Want to make 'em cry? Try something like "Dark Eyes" ("Ochi chornya")
or "There were days" (westerners will recognize this as "Those were the
days" (my friend, we thought they'd never end...). Either
unaccompanied, or perhaps with a liquid clarinet or violin along with
you. There won't be a dry seat in the house.
Check out: http://russia-in-us.com/Music/Romance/
for several real audio versions (look below the yellow line - under Rada
and Nikolay Volshaninovs).
Such lush sadness!
--
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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RE: [Hornlist] Recital
Greg, there would be a lot of other pieces to put on the program & to fill a two or three hour or longer program. But isn´t the program long enough with the four pieces & the concerto ? The player has just one pair of lips -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Greg Campbell Sent: Tuesday, October 10, 2006 6:00 AM To: The Horn List Subject: Re: [Hornlist] Recital Mathew James wrote: > *(Need to put an adaptation here to fill either ensemble or > unaccompanied by a russian composer... ideas?) Buyanovsky Pieces for solo horn. (pub. McCoy) Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Recital
Wouldn´t it be better to prepare a nice calm piece as encore instead of a "squeezed" Long Call (after the whole program). Are you really thinking about the Long Call or about the Call from Siegfrieds Rhine Journey ? A nice calm piece would be Tcherepnine´s "Esquisse", short & calm, just showing nice lines & tone quality. Or Scriabine´s Romance. Both not big effect pieces but easy & beautiful as encore. As often said, less is often more. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Mathew James Sent: Monday, October 09, 2006 9:29 PM To: horn list Subject: [Hornlist] Recital Hey list, looking for a little feedback. I am doing a recital this year and have put together this so far as my rep *From Russia with horn (or somtheign cool and witty me thinks!)* ** *Four Pieces for Horn and Piano. - Gliere* **1. Romance 2. Valse Triste 3. Intermezzo 4. Nocturne *(Need to put an adaptation here to fill either ensemble or unaccompanied by a russian composer... ideas?)* ** *-Intermission-* ** *Concerto for horn and orchestra in B flat op.91 - Gliere* ** *(if encore needed the usual. Long Call)* ** *-End* ** as you can see its is russian based... one in paticular... so any thoughs on filling that one spot.??? And feedback as well would be awesome Mathew James -- Mathew James ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recital
Mathew James wrote: *(Need to put an adaptation here to fill either ensemble or unaccompanied by a russian composer... ideas?) Buyanovsky Pieces for solo horn. (pub. McCoy) Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Recital
Yes, somebody was telling me that it's actually an H&H. I grew up just outside of Philadelphia, where H&H originated, and they were a fixture of the landscape back then, even more so in my parents' generation. I'll have to try the one in the city. -S- > -Original Message- > From: > [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > du] On Behalf Of [EMAIL PROTECTED] > Sent: Monday, October 09, 2006 4:32 PM > To: horn@music.memphis.edu > Subject: Re: [Hornlist] Recital > > Steve new automat in the Village > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recital
Steve new automat in the Village ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recital
A piece with a Russian/Polish character I've gotten good response to is Miniatury, for horn and piano, by Czeslaw Grudzinski, in six short movements. The horn part is quite low, with the piano pulling a lot of the weight, so it gives you a break between the fireworks. With the right accompanist, it can add a lot of color to a recital, but extract a very small price. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 9 Oct 2006 1:29 PM Subject: [Hornlist] Recital Hey list, looking for a little feedback. I am doing a recital this year and have put together this so far as my rep *From Russia with horn (or somtheign cool and witty me thinks!)* ** *Four Pieces for Horn and Piano. - Gliere* * *1. Romance 2. Valse Triste 3. Intermezzo 4. Nocturne *(Need to put an adaptation here to fill either ensemble or unaccompanied by a russian composer... ideas?)* ** *-Intermission-* ** *Concerto for horn and orchestra in B flat op.91 - Gliere* ** *(if encore needed the usual. Long Call)* ** *-End* ** as you can see its is russian based... one in paticular... so any thoughs on filling that one spot.??? And feedback as well would be awesome Mathew James -- Mathew James ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Recital
I would like to suggest the Concerto for Horn and Hardart by P.D.Q. Bach, although Hardart players are hard to find these days, and automats even harder. Steve "tongue firmly in cheek" Freides > -Original Message- > From: > [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > du] On Behalf Of Mathew James > Sent: Monday, October 09, 2006 3:29 PM > To: horn list > Subject: [Hornlist] Recital > > Hey list, looking for a little feedback. > > I am doing a recital this year and have put together this so > far as my rep > > *From Russia with horn (or somtheign cool and witty me thinks!)* > ** > *Four Pieces for Horn and Piano. - Gliere* > **1. Romance > 2. Valse Triste > 3. Intermezzo > 4. Nocturne > > *(Need to put an adaptation here to fill either ensemble or > unaccompanied by a russian composer... ideas?)* > ** > *-Intermission-* > ** > *Concerto for horn and orchestra in B flat op.91 - Gliere* > ** > *(if encore needed the usual. Long Call)* > ** > *-End* > ** > as you can see its is russian based... one in paticular... so > any thoughs on filling that one spot.??? > And feedback as well would be awesome > > Mathew James > > > -- > Mathew James > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recital suggestions
That reminds me, Gail Williams mentioned at a workshop this past year at BGSU that she has never played a transcription until that recital where she played the Gliere. yeah shiga, Chris --- David Goldklang <[EMAIL PROTECTED]> wrote: > Generally when it comes to planning a senior recital, your teacher will > be the best source for repertoire pickings. Some teachers already have > a program in mind while others may want you to choose the pieces > yourself, but your teacher is probably more familiar with your playing > than anyone else and will therefore be able to suggest music which is > ideal for your particular horn playing abilities. What I suggest > (aside from talking with your teacher) is to listen to as many > recordings of pieces for horn and piano as you can find. Decide what > pieces you really like and would be best suited to your own strengths. > Try to represent various styles/periods and mix the piece lengths - > alternating between long and short pieces makes it more enjoyable for > the audience. > > Something else to consider is the piano accompaniment. When you > perform a recital with horn and piano, it is best to stick to music > actually written for that combination (or transcribed from music for > another instrument and piano) and to avoid music written for horn and > orchestra that has been reduced. The reduction of the orchestra part > to Strauss 1 is cumbersome for any pianist and often the result is > difficult for an audience to listen to. Don't detract from your own > amazing performance by selecting music that will leave the pianist > flailing behind you. > > Off the topic of repertoire, but related to recital presentations, > there are two very important things you can do to enable better > connection with your audience... > > 1. Memorize your music. Having a music stand between you and the > audience creates a physical barrier that distances you from them. The > idea is to engage your listeners and making direct eye contact, or at > least the illusion of eye contact, is a great way to connect with them. > Also, performing music memorized is more impressive. > > 2. Talk to the audience. Whenever possible, you should speak to the > audience between pieces. This personalizes the performance and also > makes the recital more interesting for the listeners. You can talk > about the composers, the repertoire, yourself, the horn, or anything > else that might enhance the experience for everyone. This is also the > perfect opportunity to educate people about horn playing. Answer all > those questions that everyone always asks, such as: "why do you put > your hand in the bell?" or "why is it called a French horn?" I've had > people approach me after recitals and comment on how much they > appreciated that I spoke during the recital and how it became more > enjoyable than other performances they had attended where the > performers didn't do any speaking. > > -David > > +-- v -- .__. - . [EMAIL PROTECTED] --+ > |\ \ /\ /| .:: David Goldklang\ > \ \ \| Dürk |,' | . New World Symphony \ > \ \ \ D4 /_. | '::: Miami Beach, Florida USA \ >\ +-- `' - \| -- ': http://www.davegk.com + > \|| > > On Monday, August 4, 2003, at 06:55 AM, Lanetra Carther wrote: > > > I am not sure if anyone recieved my email about recital suggestions > > for my senior recital that I will be putting on late in the fall. I > > had a junior recital last year and it was excellent, according to my > > professor. I played Hindemith's horn sonata, the beethoven sonata and > > Intermezzo by Gliere. I meant to play a contemporary piece with no > > pianist also, but for some reason, I misplaced the music shortly > > before my recital. So, I went with three pieces, which turned out to > > be enough. I am now seeking material for my senior recital. I have > > learned the Strauss No. 1 and have played different movements at > > different times. I figured I'd do the whole thing for my recital. > > So, Strauss is on the list for sure. As far as what else to do, that > > is where I could use suggestions. I plan to play three solo pieces > > and two brass quintet pieces. I think that would be plenty to do. > > Other than Strauss, I'm in the dark. Suggestions would be great. > > Thanks. > > > > -LaNetra > > > > _ > > MSN 8 with e-mail virus protection service: 2 months FREE* > > http://join.msn.com/?page=features/virus > > > > ___ > > post: [EMAIL PROTECTED] > > set your options at > > http://music.memphis.edu/mailman/options/horn/dave%40davegk.com > > > > > > ___ > post: [EMAIL PROTECTED] > set your options at http://music.memphis.edu/mailman/options/horn/tedesccj%40yahoo.com
RE: [Hornlist] Recital suggestions
Yep, I'm the black girl you met:-) From: "Loren Mayhew" <[EMAIL PROTECTED]> Reply-To: The Horn List <[EMAIL PROTECTED]> To: "'The Horn List'" <[EMAIL PROTECTED]> Subject: RE: [Hornlist] Recital suggestions Date: Tue, 5 Aug 2003 07:53:32 -0700 I agree that there were few black players, but I think there were more than two. I met a very tall handsome black man and a black woman and don't forget Mr. Pelletier who is simply a marvelous player. Loren Mayhew \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Lanetra Carther Sent: Monday, August 04, 2003 8:18 PM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] Recital suggestions Hey, I was at that workshop too!!! There were only 2 black horn players there, and I am the female. I was impressed by her ability for such a small woman. That was the first horn workshop that I had ever been to. It was a very informational weekend for me. I tried out for the solo competition, but I did not win anything. I won three critique sheets. I am a pretty good horn player, so I was a wee bit upset when I found out that I didn't advance. It took me about two hours to get over it, and I was good as new. I now have learned to take experiences like that with me to the practice room. >From: Chris Tedesco <[EMAIL PROTECTED]> >Reply-To: The Horn List <[EMAIL PROTECTED]> >To: The Horn List <[EMAIL PROTECTED]> >Subject: Re: [Hornlist] Recital suggestions >Date: Mon, 4 Aug 2003 18:29:14 -0700 (PDT) > >That reminds me, Gail Williams mentioned at a workshop this past year at >BGSU >that she has never played a transcription until that recital where she >played >the Gliere. > >yeah shiga, >Chris > >--- David Goldklang <[EMAIL PROTECTED]> wrote: > > Generally when it comes to planning a senior recital, your teacher will > > be the best source for repertoire pickings. Some teachers already have > > a program in mind while others may want you to choose the pieces > > yourself, but your teacher is probably more familiar with your playing > > than anyone else and will therefore be able to suggest music which is > > ideal for your particular horn playing abilities. What I suggest > > (aside from talking with your teacher) is to listen to as many > > recordings of pieces for horn and piano as you can find. Decide what > > pieces you really like and would be best suited to your own strengths. > > Try to represent various styles/periods and mix the piece lengths - > > alternating between long and short pieces makes it more enjoyable for > > the audience. > > > > Something else to consider is the piano accompaniment. When you > > perform a recital with horn and piano, it is best to stick to music > > actually written for that combination (or transcribed from music for > > another instrument and piano) and to avoid music written for horn and > > orchestra that has been reduced. The reduction of the orchestra part > > to Strauss 1 is cumbersome for any pianist and often the result is > > difficult for an audience to listen to. Don't detract from your own > > amazing performance by selecting music that will leave the pianist > > flailing behind you. > > > > Off the topic of repertoire, but related to recital presentations, > > there are two very important things you can do to enable better > > connection with your audience... > > > > 1. Memorize your music. Having a music stand between you and the > > audience creates a physical barrier that distances you from them. The > > idea is to engage your listeners and making direct eye contact, or at > > least the illusion of eye contact, is a great way to connect with them. > > Also, performing music memorized is more impressive. > > > > 2. Talk to the audience. Whenever possible, you should speak to the > > audience between pieces. This personalizes the performance and also > > makes the recital more interesting for the listeners. You can talk > > about the composers, the repertoire, yourself, the horn, or anything > > else that might enhance the experience for everyone. This is also the > > perfect opportunity to educate people about horn playing. Answer all > > those questions that everyone always asks, such as: "why do you put > > your hand in the bell?" or "why is it called a French horn?" I've had > > people approach me after recitals and comment on how much they > > appreciated that I spoke during the recital and how it became more > > enjoyable than other performances they had attended where the > > performers didn
RE: [Hornlist] Recital suggestions
I agree that there were few black players, but I think there were more than two. I met a very tall handsome black man and a black woman and don't forget Mr. Pelletier who is simply a marvelous player. Loren Mayhew \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Lanetra Carther Sent: Monday, August 04, 2003 8:18 PM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] Recital suggestions Hey, I was at that workshop too!!! There were only 2 black horn players there, and I am the female. I was impressed by her ability for such a small woman. That was the first horn workshop that I had ever been to. It was a very informational weekend for me. I tried out for the solo competition, but I did not win anything. I won three critique sheets. I am a pretty good horn player, so I was a wee bit upset when I found out that I didn't advance. It took me about two hours to get over it, and I was good as new. I now have learned to take experiences like that with me to the practice room. >From: Chris Tedesco <[EMAIL PROTECTED]> >Reply-To: The Horn List <[EMAIL PROTECTED]> >To: The Horn List <[EMAIL PROTECTED]> >Subject: Re: [Hornlist] Recital suggestions >Date: Mon, 4 Aug 2003 18:29:14 -0700 (PDT) > >That reminds me, Gail Williams mentioned at a workshop this past year at >BGSU >that she has never played a transcription until that recital where she >played >the Gliere. > >yeah shiga, >Chris > >--- David Goldklang <[EMAIL PROTECTED]> wrote: > > Generally when it comes to planning a senior recital, your teacher will > > be the best source for repertoire pickings. Some teachers already have > > a program in mind while others may want you to choose the pieces > > yourself, but your teacher is probably more familiar with your playing > > than anyone else and will therefore be able to suggest music which is > > ideal for your particular horn playing abilities. What I suggest > > (aside from talking with your teacher) is to listen to as many > > recordings of pieces for horn and piano as you can find. Decide what > > pieces you really like and would be best suited to your own strengths. > > Try to represent various styles/periods and mix the piece lengths - > > alternating between long and short pieces makes it more enjoyable for > > the audience. > > > > Something else to consider is the piano accompaniment. When you > > perform a recital with horn and piano, it is best to stick to music > > actually written for that combination (or transcribed from music for > > another instrument and piano) and to avoid music written for horn and > > orchestra that has been reduced. The reduction of the orchestra part > > to Strauss 1 is cumbersome for any pianist and often the result is > > difficult for an audience to listen to. Don't detract from your own > > amazing performance by selecting music that will leave the pianist > > flailing behind you. > > > > Off the topic of repertoire, but related to recital presentations, > > there are two very important things you can do to enable better > > connection with your audience... > > > > 1. Memorize your music. Having a music stand between you and the > > audience creates a physical barrier that distances you from them. The > > idea is to engage your listeners and making direct eye contact, or at > > least the illusion of eye contact, is a great way to connect with them. > > Also, performing music memorized is more impressive. > > > > 2. Talk to the audience. Whenever possible, you should speak to the > > audience between pieces. This personalizes the performance and also > > makes the recital more interesting for the listeners. You can talk > > about the composers, the repertoire, yourself, the horn, or anything > > else that might enhance the experience for everyone. This is also the > > perfect opportunity to educate people about horn playing. Answer all > > those questions that everyone always asks, such as: "why do you put > > your hand in the bell?" or "why is it called a French horn?" I've had > > people approach me after recitals and comment on how much they > > appreciated that I spoke during the recital and how it became more > > enjoyable than other performances they had attended where the > > performers didn't do any speaking. > > > > -David > > > > +-- v -- .__. - . [EMAIL PROTECTED] --+ > > |\ \ /\ /| .:: David Goldklang\ > > \ \ \| D?k |,' | . New World Symphony \ > > \ \ \ D4 /_. | &
Re: [Hornlist] Recital suggestions
Hey, I was at that workshop too!!! There were only 2 black horn players there, and I am the female. I was impressed by her ability for such a small woman. That was the first horn workshop that I had ever been to. It was a very informational weekend for me. I tried out for the solo competition, but I did not win anything. I won three critique sheets. I am a pretty good horn player, so I was a wee bit upset when I found out that I didn't advance. It took me about two hours to get over it, and I was good as new. I now have learned to take experiences like that with me to the practice room. From: Chris Tedesco <[EMAIL PROTECTED]> Reply-To: The Horn List <[EMAIL PROTECTED]> To: The Horn List <[EMAIL PROTECTED]> Subject: Re: [Hornlist] Recital suggestions Date: Mon, 4 Aug 2003 18:29:14 -0700 (PDT) That reminds me, Gail Williams mentioned at a workshop this past year at BGSU that she has never played a transcription until that recital where she played the Gliere. yeah shiga, Chris --- David Goldklang <[EMAIL PROTECTED]> wrote: > Generally when it comes to planning a senior recital, your teacher will > be the best source for repertoire pickings. Some teachers already have > a program in mind while others may want you to choose the pieces > yourself, but your teacher is probably more familiar with your playing > than anyone else and will therefore be able to suggest music which is > ideal for your particular horn playing abilities. What I suggest > (aside from talking with your teacher) is to listen to as many > recordings of pieces for horn and piano as you can find. Decide what > pieces you really like and would be best suited to your own strengths. > Try to represent various styles/periods and mix the piece lengths - > alternating between long and short pieces makes it more enjoyable for > the audience. > > Something else to consider is the piano accompaniment. When you > perform a recital with horn and piano, it is best to stick to music > actually written for that combination (or transcribed from music for > another instrument and piano) and to avoid music written for horn and > orchestra that has been reduced. The reduction of the orchestra part > to Strauss 1 is cumbersome for any pianist and often the result is > difficult for an audience to listen to. Don't detract from your own > amazing performance by selecting music that will leave the pianist > flailing behind you. > > Off the topic of repertoire, but related to recital presentations, > there are two very important things you can do to enable better > connection with your audience... > > 1. Memorize your music. Having a music stand between you and the > audience creates a physical barrier that distances you from them. The > idea is to engage your listeners and making direct eye contact, or at > least the illusion of eye contact, is a great way to connect with them. > Also, performing music memorized is more impressive. > > 2. Talk to the audience. Whenever possible, you should speak to the > audience between pieces. This personalizes the performance and also > makes the recital more interesting for the listeners. You can talk > about the composers, the repertoire, yourself, the horn, or anything > else that might enhance the experience for everyone. This is also the > perfect opportunity to educate people about horn playing. Answer all > those questions that everyone always asks, such as: "why do you put > your hand in the bell?" or "why is it called a French horn?" I've had > people approach me after recitals and comment on how much they > appreciated that I spoke during the recital and how it became more > enjoyable than other performances they had attended where the > performers didn't do any speaking. > > -David > > +-- v -- .__. - . [EMAIL PROTECTED] --+ > |\ \ /\ /| .:: David Goldklang\ > \ \ \| Dürk |,' | . New World Symphony \ > \ \ \ D4 /_. | '::: Miami Beach, Florida USA \ >\ +-- `' - \| -- ': http://www.davegk.com + > \|| > > On Monday, August 4, 2003, at 06:55 AM, Lanetra Carther wrote: > > > I am not sure if anyone recieved my email about recital suggestions > > for my senior recital that I will be putting on late in the fall. I > > had a junior recital last year and it was excellent, according to my > > professor. I played Hindemith's horn sonata, the beethoven sonata and > > Intermezzo by Gliere. I meant to play a contemporary piece with no > > pianist also, but for some reason, I misplaced the music shortly > > before my recital. So, I went with three pieces, which turned out to
Re: [Hornlist] Recital suggestions
Don't like Mozart? The Haydn concerti are comparable I think. They are more technically difficult, but I think that they are as good of pieces. They are a bit more baroquey though. Chris --- Lanetra Carther <[EMAIL PROTECTED]> wrote: > Wow. That's one hell of a program. I am getting ahead of myself with my > program, because it will not happen until November 13th. School will be > starting soon and I will surely get most of my ideas from my teacher. > However, I would like to decide what my program will be. I like the solo > called Reveries by Saint-Saens. That is so pretty. I played it in high > school and I kinda enjoy coming back to solos that I have played in middle > and high school. They sound so much better the more mature you get as a > horn player. I am not a big Mozart fan, but I will put a couple of > movements on my recital if I need to. Thanks for the suggestions. > > > >From: Chris Tedesco <[EMAIL PROTECTED]> > >Reply-To: The Horn List <[EMAIL PROTECTED]> > >To: The Horn List <[EMAIL PROTECTED]> > >Subject: Re: [Hornlist] Recital suggestions > >Date: Mon, 4 Aug 2003 10:04:50 -0700 (PDT) > > > >When it comes to recital programming, there are a lot of different ways to > >organize your rep. My teacher explained to me that he thinks a "well > >rounded" > >recital is best for undergrad and what not. My junior recital was in this > >order > > > >Berg - Horn Lokke (Modern and Unaccompanied) > >Mozart 4 (A staple of rep, classical, and the longest work, therefore > >making it > >the "anchor) > >Glazunow - Reverie (short and romantic) > >Bozza - Sur Les Cimes (hyper-sleezy and french) > > > >My next recital is going to be similarly programmed although the order > >isn't > >for certain > > > >Mozart 1 (Another staple, and classical) > >F. Strauss - Nocturne (short and romantic) > >Dukas - Villanelle (french and sleazy) > >Schumann - Konzertstuecke first movement with my quartet(we are also > >performing > >this movement with our wind ensemble a couple weeks after my recital, so > >this > >is partially why it's programmed on my recital) > > > >If you are using Strauss 1 as your anchor you have a few options for > >programming. > > > >You could do > > > >Strauss 1 - Romantic and the anchor > >Bozza - En Foret - french > >Something shorter and modern, possibly unaccompanied > >perhaps something classical, but not too long like the concert rondo > >etc.etc. > > > >I don't mean to use the Classical, Romantic, Modern, French has a mold, but > >the > >idea is to play things of contrasting style. That is, I would save your > >Ultra-Sleezy-All-Bozza-Recital for later. > > > >Chris > > > >PS. Before I die, I WILL do an all Bozza recital entitled "The Worst > >Composer > >Ever: E. Bozza" > > > > > >--- Lanetra Carther <[EMAIL PROTECTED]> wrote: > > > I am not sure if anyone recieved my email about recital suggestions for > >my > > > senior recital that I will be putting on late in the fall. I had a > >junior > > > recital last year and it was excellent, according to my professor. I > >played > > > Hindemith's horn sonata, the beethoven sonata and Intermezzo by Gliere. > >I > > > meant to play a contemporary piece with no pianist also, but for some > > > reason, I misplaced the music shortly before my recital. So, I went > >with > > > three pieces, which turned out to be enough. I am now seeking material > >for > > > my senior recital. I have learned the Strauss No. 1 and have played > > > different movements at different times. I figured I'd do the whole > >thing > > > for my recital. So, Strauss is on the list for sure. As far as what > >else > > > to do, that is where I could use suggestions. I plan to play three solo > > > pieces and two brass quintet pieces. I think that would be plenty to > >do. > > > Other than Strauss, I'm in the dark. Suggestions would be great. > >Thanks. > > > > > > -LaNetra > > > > > > _ > > > MSN 8 with e-mail virus protection service: 2 months FREE* > > > http://join.msn.com/?page=features/virus > > > > > > ___ > > > post: [EMAIL PROTECTED] > > > set your options at > >http://music.memp
Re: [Hornlist] Recital suggestions
Generally when it comes to planning a senior recital, your teacher will be the best source for repertoire pickings. Some teachers already have a program in mind while others may want you to choose the pieces yourself, but your teacher is probably more familiar with your playing than anyone else and will therefore be able to suggest music which is ideal for your particular horn playing abilities. What I suggest (aside from talking with your teacher) is to listen to as many recordings of pieces for horn and piano as you can find. Decide what pieces you really like and would be best suited to your own strengths. Try to represent various styles/periods and mix the piece lengths - alternating between long and short pieces makes it more enjoyable for the audience. Something else to consider is the piano accompaniment. When you perform a recital with horn and piano, it is best to stick to music actually written for that combination (or transcribed from music for another instrument and piano) and to avoid music written for horn and orchestra that has been reduced. The reduction of the orchestra part to Strauss 1 is cumbersome for any pianist and often the result is difficult for an audience to listen to. Don't detract from your own amazing performance by selecting music that will leave the pianist flailing behind you. Off the topic of repertoire, but related to recital presentations, there are two very important things you can do to enable better connection with your audience... 1. Memorize your music. Having a music stand between you and the audience creates a physical barrier that distances you from them. The idea is to engage your listeners and making direct eye contact, or at least the illusion of eye contact, is a great way to connect with them. Also, performing music memorized is more impressive. 2. Talk to the audience. Whenever possible, you should speak to the audience between pieces. This personalizes the performance and also makes the recital more interesting for the listeners. You can talk about the composers, the repertoire, yourself, the horn, or anything else that might enhance the experience for everyone. This is also the perfect opportunity to educate people about horn playing. Answer all those questions that everyone always asks, such as: "why do you put your hand in the bell?" or "why is it called a French horn?" I've had people approach me after recitals and comment on how much they appreciated that I spoke during the recital and how it became more enjoyable than other performances they had attended where the performers didn't do any speaking. -David +-- v -- .__. - . [EMAIL PROTECTED] --+ |\ \ /\ /| .:: David Goldklang\ \ \ \| Dürk |,' | . New World Symphony \ \ \ \ D4 /_. | '::: Miami Beach, Florida USA \ \ +-- `' - \| -- ': http://www.davegk.com + \|| On Monday, August 4, 2003, at 06:55 AM, Lanetra Carther wrote: I am not sure if anyone recieved my email about recital suggestions for my senior recital that I will be putting on late in the fall. I had a junior recital last year and it was excellent, according to my professor. I played Hindemith's horn sonata, the beethoven sonata and Intermezzo by Gliere. I meant to play a contemporary piece with no pianist also, but for some reason, I misplaced the music shortly before my recital. So, I went with three pieces, which turned out to be enough. I am now seeking material for my senior recital. I have learned the Strauss No. 1 and have played different movements at different times. I figured I'd do the whole thing for my recital. So, Strauss is on the list for sure. As far as what else to do, that is where I could use suggestions. I plan to play three solo pieces and two brass quintet pieces. I think that would be plenty to do. Other than Strauss, I'm in the dark. Suggestions would be great. Thanks. -LaNetra _ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/dave%40davegk.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recital suggestions
Wow. That's one hell of a program. I am getting ahead of myself with my program, because it will not happen until November 13th. School will be starting soon and I will surely get most of my ideas from my teacher. However, I would like to decide what my program will be. I like the solo called Reveries by Saint-Saens. That is so pretty. I played it in high school and I kinda enjoy coming back to solos that I have played in middle and high school. They sound so much better the more mature you get as a horn player. I am not a big Mozart fan, but I will put a couple of movements on my recital if I need to. Thanks for the suggestions. From: Chris Tedesco <[EMAIL PROTECTED]> Reply-To: The Horn List <[EMAIL PROTECTED]> To: The Horn List <[EMAIL PROTECTED]> Subject: Re: [Hornlist] Recital suggestions Date: Mon, 4 Aug 2003 10:04:50 -0700 (PDT) When it comes to recital programming, there are a lot of different ways to organize your rep. My teacher explained to me that he thinks a "well rounded" recital is best for undergrad and what not. My junior recital was in this order Berg - Horn Lokke (Modern and Unaccompanied) Mozart 4 (A staple of rep, classical, and the longest work, therefore making it the "anchor) Glazunow - Reverie (short and romantic) Bozza - Sur Les Cimes (hyper-sleezy and french) My next recital is going to be similarly programmed although the order isn't for certain Mozart 1 (Another staple, and classical) F. Strauss - Nocturne (short and romantic) Dukas - Villanelle (french and sleazy) Schumann - Konzertstuecke first movement with my quartet(we are also performing this movement with our wind ensemble a couple weeks after my recital, so this is partially why it's programmed on my recital) If you are using Strauss 1 as your anchor you have a few options for programming. You could do Strauss 1 - Romantic and the anchor Bozza - En Foret - french Something shorter and modern, possibly unaccompanied perhaps something classical, but not too long like the concert rondo etc.etc. I don't mean to use the Classical, Romantic, Modern, French has a mold, but the idea is to play things of contrasting style. That is, I would save your Ultra-Sleezy-All-Bozza-Recital for later. Chris PS. Before I die, I WILL do an all Bozza recital entitled "The Worst Composer Ever: E. Bozza" --- Lanetra Carther <[EMAIL PROTECTED]> wrote: > I am not sure if anyone recieved my email about recital suggestions for my > senior recital that I will be putting on late in the fall. I had a junior > recital last year and it was excellent, according to my professor. I played > Hindemith's horn sonata, the beethoven sonata and Intermezzo by Gliere. I > meant to play a contemporary piece with no pianist also, but for some > reason, I misplaced the music shortly before my recital. So, I went with > three pieces, which turned out to be enough. I am now seeking material for > my senior recital. I have learned the Strauss No. 1 and have played > different movements at different times. I figured I'd do the whole thing > for my recital. So, Strauss is on the list for sure. As far as what else > to do, that is where I could use suggestions. I plan to play three solo > pieces and two brass quintet pieces. I think that would be plenty to do. > Other than Strauss, I'm in the dark. Suggestions would be great. Thanks. > > -LaNetra > > _ > MSN 8 with e-mail virus protection service: 2 months FREE* > http://join.msn.com/?page=features/virus > > ___ > post: [EMAIL PROTECTED] > set your options at http://music.memphis.edu/mailman/options/horn/tedesccj%40yahoo.com __ Do you Yahoo!? Yahoo! SiteBuilder - Free, easy-to-use web site design software http://sitebuilder.yahoo.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/cheraine20%40hotmail.com _ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recital suggestions
When it comes to recital programming, there are a lot of different ways to organize your rep. My teacher explained to me that he thinks a "well rounded" recital is best for undergrad and what not. My junior recital was in this order Berg - Horn Lokke (Modern and Unaccompanied) Mozart 4 (A staple of rep, classical, and the longest work, therefore making it the "anchor) Glazunow - Reverie (short and romantic) Bozza - Sur Les Cimes (hyper-sleezy and french) My next recital is going to be similarly programmed although the order isn't for certain Mozart 1 (Another staple, and classical) F. Strauss - Nocturne (short and romantic) Dukas - Villanelle (french and sleazy) Schumann - Konzertstuecke first movement with my quartet(we are also performing this movement with our wind ensemble a couple weeks after my recital, so this is partially why it's programmed on my recital) If you are using Strauss 1 as your anchor you have a few options for programming. You could do Strauss 1 - Romantic and the anchor Bozza - En Foret - french Something shorter and modern, possibly unaccompanied perhaps something classical, but not too long like the concert rondo etc.etc. I don't mean to use the Classical, Romantic, Modern, French has a mold, but the idea is to play things of contrasting style. That is, I would save your Ultra-Sleezy-All-Bozza-Recital for later. Chris PS. Before I die, I WILL do an all Bozza recital entitled "The Worst Composer Ever: E. Bozza" --- Lanetra Carther <[EMAIL PROTECTED]> wrote: > I am not sure if anyone recieved my email about recital suggestions for my > senior recital that I will be putting on late in the fall. I had a junior > recital last year and it was excellent, according to my professor. I played > Hindemith's horn sonata, the beethoven sonata and Intermezzo by Gliere. I > meant to play a contemporary piece with no pianist also, but for some > reason, I misplaced the music shortly before my recital. So, I went with > three pieces, which turned out to be enough. I am now seeking material for > my senior recital. I have learned the Strauss No. 1 and have played > different movements at different times. I figured I'd do the whole thing > for my recital. So, Strauss is on the list for sure. As far as what else > to do, that is where I could use suggestions. I plan to play three solo > pieces and two brass quintet pieces. I think that would be plenty to do. > Other than Strauss, I'm in the dark. Suggestions would be great. Thanks. > > -LaNetra > > _ > MSN 8 with e-mail virus protection service: 2 months FREE* > http://join.msn.com/?page=features/virus > > ___ > post: [EMAIL PROTECTED] > set your options at http://music.memphis.edu/mailman/options/horn/tedesccj%40yahoo.com __ Do you Yahoo!? Yahoo! SiteBuilder - Free, easy-to-use web site design software http://sitebuilder.yahoo.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recital suggestions
Lenetra, What does your horn teacher suggest ? In the context of my experience, anyway, the horn professor will have some helpful ideas. I realize that in an earlier post, you indicated that this recital was optional, nevertheless, I am sure that you teacher has some definite ideas. Mark L. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
