Re: [Hornlist] *eugene bozza*
Out of curosity, what is your piece like? I guess it has a few unrelated musical ideas that are direct quotes from other composers, with little to no transition in between. Bonus points if you quote yourself directly in your own piece.? Chris PS Actually, I like Bozza even though I make fun. I'm playing Sur Le Cimes on my recital and I played En Foret last year. --- joseph fuller <[EMAIL PROTECTED]> wrote: > I am doing a 20th century project on Bozza and I > > have looked everywhere possible. The presentation for > > the project has to be 7 minutes long and the piece I > > wrote in the style of Bozza is only a minute and a > > half long. The most I could find was a paragraph of > > information in the new groves second edition. I know > > the dates he was born and died and about his awards at > > > the paris conservatory, the Prix de Rome, and about > > his job at Ecole Nationale de Musique in Valenciennes. > > > This is not enough for 7 minutes so I was wondering if > > > anyone knew any more information or could point me to > > some books that would be useful. > > Thank you for any information you can provide. > > > joseph fuller > [EMAIL PROTECTED] > Henderson State University > > > __ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com > ___ > Horn mailing list > [EMAIL PROTECTED] > http://music.memphis.edu/mailman/listinfo/horn __ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] *eugene bozza*
I can't get into of the usual suspect abstracting and indexing services this evening. Hard to believe there's not a dissertation or some article... Don't have either volume at hand, but I would be surprised if there's not something on Bozza in the "French Music for Low Brass" or "Program Notes for the Solo Tuba," both IU Press. Tuba players can't get through a conference without someone playing Bozza. Carole Nowicke [EMAIL PROTECTED] ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Reynolds Partita
-- [ Picked text/plain from multipart/alternative ] Anybody ever perform the Reynolds Partita? I just started studying it. The horn part is quite playable. What has been your guys experiences with that piece. Did the pianist enjoy it? Tom in Iowa ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] *eugene bozza*
Howard Sanner wrote: > > (Die Musik in Geschichte und Gegewart) The last word should be "Gegenwart." The title means Music in History and the Present Day. Howard Sanner [EMAIL PROTECTED] ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] *eugene bozza*
joseph fuller wrote: > > I am doing a 20th century project on Bozza and I > > have looked everywhere possible. I'm at home and can't do any quick checking for you, so you get some questions instead. Did you check Baker's? If he isn't in the current edition, try some of the earlier ones if possible. Baker's has a tendency to drop people if they are no longer current and interest in them drops. Be sure to have a look at MGG (Die Musik in Geschichte und Gegewart). Overall I think it's better than New Grove, esp. New Grove 2nd ed., which really doesn't impress me. The German is on about an 8th grade level, not too tough for someone with a couple of semesters of undergrad German to figure out. (I managed it.) So even if you don't know any German you may be able to prevail upon a friend to give you a summary. If possible, have a look at Ricordi-Fasquelle and the Lavignac Larousse encyclopedique de la musique (or whatever the exact titles are). I suspect they're more likely to give you details about a French composer than Grove or Baker's. Again, the French involved isn't that hard. I'm ashamed to say I don't know enough about Bozza or his career to make more specific suggestions. Bonne chance. Howard Sanner [EMAIL PROTECTED] ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] *eugene bozza*
I am doing a 20th century project on Bozza and I have looked everywhere possible. The presentation for the project has to be 7 minutes long and the piece I wrote in the style of Bozza is only a minute and a half long. The most I could find was a paragraph of information in the new groves second edition. I know the dates he was born and died and about his awards at the paris conservatory, the Prix de Rome, and about his job at Ecole Nationale de Musique in Valenciennes. This is not enough for 7 minutes so I was wondering if anyone knew any more information or could point me to some books that would be useful. Thank you for any information you can provide. joseph fuller [EMAIL PROTECTED] Henderson State University __ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Re: Hearing protection
On Sun, 8 Dec 2002, Carlberg Jones wrote:
> But if David wishes to continue putting facial and toilet tissue in his
> ears, more power to him. One thing about E*A*R plugs is that they are
> considerably easier to reuse.
I'm sure I agree. Though I do find Charmin easier to deal with than
ScottTissues. I hope that Carlberg will test the available Mexican brands
of tail-towels and report back to us.
Jaja. What I meant to say in my post is that you can improvise
effectively in an emergency situation rather than endure the pain. I
don't know E*A*R brand - I have some unknown brand plugs which in fact
*are* Mexican - and they are too quiet for playing in an orchestra. I
bought them in Puerto Vallarta in order to get some sleep at night because
I stayed in very inexpensive, very loud hotels. If anyone here is going
to PV, don't believe what you hear about hotels having to cost $100US or
more during high season (Christmas/New Year). We got by for about
$25/night. Plus earplugs.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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[Hornlist] Re: Hearing protection
Some additional information about hearing protection for muscians - http://user.uniserve.com/~lwk/flutesor.htm Jay Kosta Endwell NY USA ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Re: Hearing protection
Dear Listers - While I have tried wadding up various things to put in my ears, nothing has been as effective as ear plugs, my favorite being the E*A*R brand because they work fairly well, are inexpensive and are readily available. But if David wishes to continue putting facial and toilet tissue in his ears, more power to him. One thing about E*A*R plugs is that they are considerably easier to reuse. Regards, Carlberg At 8:20 PM -0500 12/8/02, David Goldberg wrote: >Anytime you find yourself too near loud instruments or loud anything, you >can wad up some facial tissue, toilet paper, even newspaper or a strip of >cloth, etc. into your ears and enjoy great relief from the aural assault. >It's free and effective. Such quick-fixes may even work better than >professionally designed earplugs since you can still hear what's going on >around you. Carlberg Jones Colima, Col., Mexico mailto:[EMAIL PROTECTED] Tel. 001-52-312-330-3531 Cel. 001-52-312-320-1701 ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Re: Hearing protection
Anytime you find yourself too near loud instruments or loud anything, you
can wad up some facial tissue, toilet paper, even newspaper or a strip of
cloth, etc. into your ears and enjoy great relief from the aural assault.
It's free and effective. Such quick-fixes may even work better than
professionally designed earplugs since you can still hear what's going on
around you.
Just survived a week in the Gilbert & Sullivan pit, about 2 ft from the
bells of two trumpets.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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[Hornlist] Conn11D
-- [ Picked text/plain from multipart/alternative ] I was wondering if anyone out there plays on a Conn11D. I am possibly in the market for one, making the switch from a large-throat bell to a medium-throat bell. If anyone out there has any opinions of this horn at all (good, bad, anything), please email me privately. Thanks. Brad ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Blood Pressure Medications and Horn Playing
For the last several months, I have taken high blood pressure medication (Micardis). The Doctor asked me to keep him informed if there were any reactions or if things started to "feel wierd". Luckly, there have been no side-effects. However, a few weeks ago, I performed a solo with an orchestra. While I did experience a slightly 'nervous' left knee (I play standing) however, I felt calm and collected otherwise. Thinking this scenario was slightly suspicious, I asked if my pharmacist if this medication was a beta-blocker. To which he responded to the affirmative. I have been ambivolent about the use of beta-blockers. I have been fortunate to not need them. In fact I enjoy playing with an adrenaline 'edge.' It helps me bring a little more to my performance. I guess now that things may change. I had never given it much thought until these recent posts. I certainly am not advocating medicating onesself, nor do I want to start this entire ugly thread again. I am just relating my experiences and ones experiences change significantly over the course of ones career. Sincerely, Eldon Matlick = Dr. Eldon Matlick, Horn Professor, University of Oklahoma Principal Hornist, OK City Philharmonic 500 W Boyd Norman, OK 73019 (405) 325-4093 off. (405) 325-7574 fax UMI Educational Artist http://music.ou.edu/divisions/applied/horn/studio.html __ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Question from Cabbage on horn bells
site is http://members.aol.com/josefina3.guide.html Material is copyrighted 1998 by Ameerah Morsy and found under "Acoustical differences in materials of Horn Bells." The original info for the declaration by Aneerah came from Bruce Lawson and Walter Lawson of Lawson Brass Instruments. The comparison was between yellow brass horns (the harder the brass in the bell of the horn) versus nickel-silver horns (the softer the metal on the bell of the horn). Finding would mean there is a sound level difference that can be measured if I play my Conn 8D in all nickel-silver and then my fellow horn player's Conn 8D in Rose Brass ( which is nickel silver as is mine but with a rose brass bell flare). jim buchholz ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Hypertension and horn playing
On Sunday, December 8, 2002, at 12:00 PM, [EMAIL PROTECTED] wrote: Date: Sun, 08 Dec 2002 12:34:04 -0500 From: Margaret Dikel <[EMAIL PROTECTED]> At 12:12 PM 12/6/2002 -0600, Tom Dettman wrote: I have high blood pressure and my doctor wants me to take medication. Would anyone be willing to share how anti-hypertensive medication has or has not effected their horn playing? Tom, I take Zestoretic, an ACE-inhibitor, with a diuretic. It does not affect my horn playing at all, but you have to plan for bathroom breaks in the morning. :-) My doctor has me taking an angiotensin converting enzyme inhibitor too. The only horn playing consideration I know of for these is that they can make some folks throats sensitive and more susceptible to coughing. An acquaintance had to switch medications because the coughing for him was excessive (perhaps also because he hangs out in smokey taverns too much...). I notice this effect slightly but it isn't a problem. I just keep a few cough drops in my pocket; I rarely need them. -ct ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Re: Horn Materials
-- [ Picked text/plain from multipart/alternative ] > Jim B wrote > > In experiments done it was found that when comparing brass instruments and > nickel silver alloy instruments that to get the same level of dynamic power > out of two identical instruments, the nickel silver instrument bell has to > be thin and the brass instrument bell thicker (again to project equal > dynamic levels). > *** > Could you cite the reference(s) for this result? Thanks. > > Gotta go, > Cabbage > I would be interested as well. This looks like BS to me. KB ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Re: Hearing protection
-- [ Picked text/plain from multipart/alternative ] Herb Foster writes: > I have found that the ER-20 from http://www.etymotic.com are much more > satisfactory than the foam or wax type. Their flatter frequency response > makes > for better music and speech hearing. Since they insert deeply in the ear, > there > is less drumming from one's own speech and playing. In noisy environments > they > help speech comprehension for me. Definite ear savers in an enclosed pit > where > I had a trumpet playing at my ear. They had lowered the pit, extended the > stage > over it, and enclosed the sides. > I'll second the motion on these plugs. I use them as necessary as do many others in the MO. They work as well as the custom plugs at about a 10th of the cost. I would go with the custom, though, if you are in a situation that requires you to wear plugs all the time. KB ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Hypertension and horn playing
At 12:12 PM 12/6/2002 -0600, Tom Dettman wrote: I have high blood pressure and my doctor wants me to take medication. Would anyone be willing to share how anti-hypertensive medication has or has not effected their horn playing? Tom, I take Zestoretic, an ACE-inhibitor, with a diuretic. It does not affect my horn playing at all, but you have to plan for bathroom breaks in the morning. :-) I think if your concerns may be with beta-blockers, but speak with your doctor. Might be he's not thinking about your lifestyle. Make him/her aware of any and all concerns. Margaret Margaret Dikel, MSLIS 11218 Ashley Dr. The Riley Guide Rockville, MD 20852 www.rileyguide.com 301-881-0122[EMAIL PROTECTED] 301-984-6390 FAX ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] NYTimes.com Article: Giving More Puccini to the People
Opera it appears has moved out of the opera house: >This article from NYTimes.com >Giving More Puccini to the People > >December 8, 2002 >By WILLIAM WRIGHT >PUCCINI would be proud. His 1896 opera, "La Bohème," is >currently the big excitement, not at the Met or the New >York City Opera, but on Broadway, where it opens tonight to >go toe to toe with "The Producers" and "Hairspray." This >brave new version of what is probably the most popular of >all operas was conceived and directed by the audacious >Australian wunderkind Baz Luhrmann, who did a similar >production in 1990 for the Sydney Opera. > >For many who saw this innovative interpretation on PBS in >1994, it was an operatic epiphany. Among the enthusiasts >were two of the producers of Jonathan Larson's >"Bohème"-based 1996 hit, "Rent" - Jeffrey Seller and Kevin >McCollum - along with their general manager, Emanuel >Azenberg. They remember thinking how great it would be to >have their updated "Bohème" playing at the same time as the >real thing. Six years later, they have made this happen. > >Mr. Luhrmann's real-thing "Bohème," as in Sydney, has >young, attractive singer-actors (three rotating sets of >principals to avoid voice strain) and 1950's Parisian >settings. It also has a good bit of the boisterous tumult >that marked his tour de force film "Moulin Rouge" last >year. But fear not, Puccini devotees, Mr. Luhrmann's fervid >inventiveness has not spilled over to the music. The score >will be sung as written. > >"It's still Puccini's `La Bohème,' " he said last weekend, >"but opera was the popular entertainment of its day. I see >our mission as taking this work back to the broad audience >for whom it was written: the child, the adult, the street >sweeper, the king, everyone." > >There is nothing unusual about opera on Broadway. Starting >with >George Gershwin's "Porgy and Bess," through the Menotti >operas and on to Scott Joplin's "Treemonisha," opera shows >up as regularly in Broadway houses as Jackie Mason. But >there is something very different about Mr. Luhrmann's >"Bohème." It is being sung in Italian (with English >titles). Since most of the world's great opera houses often >translate classic operas into the local language, this >rigid adherence to authenticity strikes many as above and >beyond the respect due a masterpiece. > >On this subject Mr. Luhrmann waxed doctrinaire during an >interview at his Midtown hotel. "The language is inherent >and fundamental to the music," he said. He then added with >a charming lack of commercial savvy, "It just doesn't sound >right in English." > >Aside from Mr. Luhrmann's "Bohème" complementing "Rent," >there is another bit of theatrical symmetry in its Broadway >presentation. The opera opens at the Broadway Theater, the >same theater in which another updated opera, Oscar >Hammerstein II's "Carmen Jones," played to full houses for >502 performances in 1943 and 1944. Hammerstein struck a >ringing blow at the distinction between operas and >musicals, but tortured efforts at definition turn up with >tedious regularity. (Mr. Luhrmann finds the attempts >"embarrassing.") > >No matter what categorizing distinctions are put forward, >exceptions immediately come to mind to refute them. A >fundamental difference, however, seems to lurk in the >presence of songs in standard pop formats. Most newcomers >to opera, lost in a sea of music, strain to find aesthetic >life rafts, recognizable songs. If they don't hear any, >they are probably watching an opera (or a truly bad >musical). Kurt Weill's 1947 "Street Scene" was mostly sung >and certainly had the sweep and range of an opera, yet >while the songs were identifiable, they broke free of Tin >Pan Alley formulas. Whatever the differences, many >producers have refused to see them as insurmountable >barriers and have - recklessly, impractically - greatly >enriched Broadway's history. > >One of the first operas to impress Broadway was perhaps the >greatest, "Porgy and Bess," which opened in 1935. More than >a decade earlier, Gershwin had written a 22-minute opera, >"Blue Monday," for "George White's Scandals of 1922," but >the piece was considered misplaced in the snappy revue and >was cut after the first performance. For years, Gershwin >talked of writing a full-scale opera that would draw on the >traditions of European grand opera but still be accessible >to everyday American audiences. One of his main motives was >a frustration that songs he considered first-rate vanished >in flop shows. Opera smacked of permanence. > >When "Porgy and Bess" opened at the Alvin Theater, the >critics recognized that something important had occurred, >but they had quibbles and it ran only an unprofitable 124 >performances. Given the quickly recognized greatness of >"Porgy and Bess," its lack of box-office success might have >discouraged others from pushing opera onto Broadway, but it >didn't. > >Even before "Oklahoma!," his history-changing triumph with >Richard Rodgers, Hammerstein was
Re: [Hornlist] 2DWK-Military Repairmen
Message text written by INTERNET:[EMAIL PROTECTED] Lawrence Yates said:- >On arriving at one notable venue where the band was required to march around a field he discovered that although he had the very many all but useless accessories, he had not brought his tuba. Obviously a reprimand was in order and duly received, but it was what happened next which amazed him. He was ordered to adopt the pose of a tuba player and take his place in the band and march around the field miming his part. No doubt if in combat he had forgotton his rifle we would have found him terrorising the enemy by running around the battlefield shouting "bang". < Dear All This reminds me of an old school friend (now Public Relations Director of a leading newspaper) who was a musician in one of the leading British Guard's regiments. At a parade in London he came in 'spare' at one point and the band sergeant ordered him to go to the barracks and do two hours extra practice as punishment. So he went to a practice room, put his cornet on his knees and placed a magazine on the music stand which he proceed to read. After a while, the door opened and a Sargeant Major - who was purely a soldier and not a musician - came in and bawled -"you there , Wot der ye think yer' doin' lad!!" My friend replied - "I came in wrong in the parade so I was ordered to do two hours practice counting bars!" The sergeant major shouted - "then get on with it lad!" and left, leaving my friend continuing with his magazine. A well known oboist in Northern England (now semi-retired and running a music publishing company from a small town in Lincolnshire) once told me that his head was so big, there were no standard issue army caps for him when he was in the forces. So he was excused headgear; except that this never percolated down to the NCOs who were constantly putting him on 'jankers' for not wearing proper uniform which the more senior officers then had to countermand. By the way, I once applied for the job of horn teacher at Britain's premier military music school. Whilst waiting to go in, men with holstered guns on their hips came into the room and proceeded to play piano duets (very well too) and gossip about appointments in various army bands. Not until my time came did I realise that these men were my armed escort for the audition. The principal flute (recently retired) of one of Britain's leading orchestras - where I used to 'dep' in my freelance days - used to polish not only the uppers of his shoes in the band room but also the soles. He used to comment that he could never get out of his guard room habits from his army days. Cheers Paul A. Kampen - 4th horn (Orchestra of Opera North (Leeds UK) Horn Tutor - Leeds Music College ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Hearing protection
At 01:05 PM 12/7/2002 -0800, Herbert Foster <[EMAIL PROTECTED]> wrote: >I have found that the ER-20 from http://www.etymotic.com are much more >satisfactory than the foam or wax type. ... >When I was using foam plugs, I had a wax blockage resulting in total loss of >hearing in one ear. It was scary until I found out it was just wax. - If you do use the foam style ear plugs be sure to insert them in the proper way, so as to NOT force wax/dirt deeper into your ear. ROLL the plug with your 'clean' thumb and 1st finger to reduce the diameter of the plug so it is small enough to be PLACED (not pushed) into the ear. The plug will then expand to the shape of your ear and will stay in place. Before starting to use ear plugs, it might be a good idea to use one of the commercial (non-prescription) ear cleaning products from a drug store. I suggest this in order to reduce the amount of wax that might already be present. When using plugs on a regular basis, good ear hygiene is necessary. Jay Kosta Endwell NY USA ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
