Re: [Hornlist] PMEA District Orchestra
Mike, arpeggios in whatever key are not things one MUST practise, if the horn instructions were appropriate (traditional) for the first two or three years. If you had gone through the Schantl Grant theoretical-practical Method, you had all these arpeggios right in your left hand in the lips. That´s the survival secret, you found out later by yourself. And listen, what make these arpeggios in VERDI so difficult: the transposed parts. If you read them in the original key, the writing is C-major only, means very clean. So the transposition in the several keys ios not an issue at all. Keep things going. You just passed through an interesting teaching experience Greetings Prof.Hans Pizka . [EMAIL PROTECTED] schrieb: I just got finished with the Pennsylvania Music Education Association District orchestra festival. It consisted of 44 different schools from the region and about 150 students. The guest conductor was great! He chose great music, but more about that in a minute, I want to continue about the conductor. His name is Daniel Meyer and he's the assistant conductor of the Pittsburgh Symphony, and the musical director of the Pittsburgh Youth Symphony. He really has a knack for what he is doing, he's young, too, and I wouldn't be surprised to see him the main Maestro somewhere within the next couple of years. More about the district orchestra. It was held at my high school for a very long two-and-a-half days. It started after school on Wednesday, the rehearsal ending at 8:45 P.M. The following day was an 8:00 a.m. to 8:45 p.m. day. Tough on the lips... The next day was another 8 a.m. start with the concert at 7:30. The conductor chose some great pieces. We played La Forza del Destino by Verdi, Billy the Kid Ballet Suite by Copeland, and Hungarian Dances 14 and 5. We were also supposed to play Die fliegende Hollander by Wagner, but the conductor felt that it would be better to keep it to a couple good pieces, rather than a bunch of mediocre ones. I screwed up on my auditions to continue to regional state orchestra. In La Forza del Destino there is an arpeggio at the end (you may be familiar with it) that was the one thing I really had never practiced. There were five sharps and I panicked. I nearly smacked myself afterwords when I realized I could have played every note with the second valve down. Anyway, that was PMEA District Orchestra. A cool experience, overall. I hope that soebody cares, but if none of you do, I understand that too. Sorry in advanced for all of the people I bored to tears. Mike Scheimer, Pittsburgh ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn -- Prof.Hans Pizka email: [EMAIL PROTECTED] tel.: +49 89 903 9548 - www.pizka.de (horn site) with connections to www.pizka.de/Pizka-music.html (publications) - www.pizka.de/PizClasHr.htm (instruments, mouthpieces) www.pizka.de/PizWrHorn.htm (Viennese Horns) - www.pizka.de/mpiece.htm (mouthpieces) www.pizka.de/Pizka-travel.htm (pictures, stories, experiences from my travel) - open soon mail is virus checked ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Re: Horn Repair Ethics
I found Walter Lawson's comments most interesting, especially in light of the fact that he is becoming a significant individual in the development and history of the horn himself, and there is no doubt in my mind that in the decades to come, his horns will achieve a status that like Geyer will become legendary. Like it or not, he has carved out a niche for himself in the pantheon of horn makers who are historically significant. Now this is a heavy mantle to bear and I am sure that Mr. Lawson, being a true gentleman, master craftsman and successful businessman might balk at this representation, nevertheless I believe it to be fact. Historical value is not merely the sentimentality of something old. It is usually an artifact or item which has some significance, and is unique unto itself or something made in limited quantities that has a direct bearing on a particular time, place, individual or incident. There are many items in all categories of goods that are old but lack historical value. There is a Stradivarius violin in either the British Museum or the Victoria and Albert Museum (I can't recall which now) that is on display. It is cracked. Obviously, it does have historical value, but not value as a playable instrument. The majority of existing Strads are in service, some at least part of the time, others full time and that is the way it probably should be. It appears that the Geyer horn in question is one that might be a stencil or one designated for the student market. I think that we forget sometimes that Carl Geyer, genius and craftsman (artist) that he was, was still a businessman and the fact that he used horns from other sources than his shop with a Geyer stencil is known and has been documented. In the case of this particular example on eBay, it probably has more sentimental value than historical value. If it can be used as a parts source, to keep a more significant instrument going, then that might be the best use for it. I know of two C.F. Schmidt doubles that are regularly used by amateur players. Both are very old examples, one was recently overhauled and the other while having compression problems, still plays marvelously (that one BTW was purchased from Carl Geyer's shop in 1948, used of course). Why should they be relegated to a collector when they both play well ? There appears to be a burgeoning demand, for vintage horns for whatever reason, and those who collect them seem willing to pay premium prices. The time may soon be coming when the old horns of reputable make (vintage German horns and Geyers especially and eventually Lawsons) may end up being worth more as collectibles than as playables in which case people in the repair business will be less inclined to use them for parts because they will be worth more as collectables. With regard to playing a Schmidt single F, I got to play one once. It was in 1974 or 1975 in Tucson, Arizona. The store that owned it wanted around 500 dollars for it. I recall that it was a very good horn, and I would have purchased it, if I had had the money then. I currently own a Reynolds Military Model (piston valves, nickel plated) single F circa 1943 which is a very good horn despite its condition and far different from the student single F's one finds today. It would be a great horn for a student and cost me a whopping 125 dollars on eBay, the only liability being that the piston valves would be a difficult reach for a young person with small hands. With all best wishes, Mark L. ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] PMEA District Orchestra
At 09:08 PM 2/9/2003 -0500, you wrote: I just got finished with the Pennsylvania Music Education Association District orchestra festival. It consisted of 44 different schools from the region and about 150 students. The guest conductor was great! He chose great music Mike, So glad you had an enjoyable experience at District Orchestra. I attended myself back in 1979, and made regionals. Unfortunately one of our 2 concerts was cancelled because of Three Mile Island But, like you, I had a great time, got to meet some terrific people, and the conductor was great. Margaret Margaret F. Dikel 11218 Ashley Drive Rockville MD 20852-2402 301-881-0122 fax: 301-984-6390 [EMAIL PROTECTED] ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] ÅkeHermanson Alarme
Hi listers, Does anyone know where I can get a copy of this piece of music? I know the recording with Ib Lansky-Otto, I am looking for the sheet music. Thank you, scottito ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Silent Brass
Hi, Because of ignorant, mean neighbours I eventually decided to buy the Yamaha Silent Brass system. I wrote a fairly detailed report on http://www.corno.it . Anybody who is interested in it will find a link on the homepage, in the NEW box. All the best, Daniel -- Daniel Canarutto mathematical physicist dedicated amateur hornist http://www.dma.unifi.it/~canarutto/ http://www.corno.it http://www.amadeusorchestra.org ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] SURVEY
Please, forgive this double post. Il Club del Corno, the Italian Horn Website http://www.corno.it, is promoting an opinion survey among professional horn players, based on the following list of questions. The answers will be published on the site in English and in Italian. You may wish to answer only part of the questions, or to add any consideration which you think is appropriate to the context; you are also free to write just a few words or a contribution of any length. Many thanks to all those who will contribute. Daniel Canarutto Il Club del Corno http://www.corno.it -- QUESTIONS: 1) What where the turning points in your development as a horn player? List any factor that was important to your progression as a musician (e.g. which conservatory/music school attended, influential teacher/s, particular events). 2) Do you think that your professional success could have been essentially different (either greater or lesser) if you had had other teachers? 3) How much does the possibility of becoming a competent horn player depend on a) Facial structure, b) Inborn talent, c) Application/study ? 4) Should a student who is having serious problems in the fundamentals, after studying the horn for some years, abandon the idea of becoming a professional at all, or could he/she be still brought to a level of competency by appropriate teaching metods (that is, by finding a new teacher)? 5) What is, in your opinion, the importance and use of a) Mouthpiece buzzing, b) Handled rim (rim on a stick) buzzing, c) Free lip buzzing ? 6) Do you know, use, recommend the inspiron and/or other breathing devices? 7) Do you think that progresses in one's playing happens steadily, by constant application, or by leaps? 8) Should a teacher give precise embouchure directions? And how precise? 9) Are there special directions/techniques for mastering the low and high registers? 10) How was your experience in auditioning and what advice on this matter can you give to aspiring professionals? ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] High Range Fingerings
I've read in several places to never regarde a high C as the top note on the horn. My only problem is i don't know the correct fingerings for anything higher than that. I play on a semi-new conn 8D, so if anyone could help me out, it would be great. Jared _ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] ÅkeHermanson Alarme
David Thompson can get it for you. Mark L. ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Garl Ceyer Chacago
Steve writes I actually own an exact twin of the horn that's on eBay and I also have another one that's exactly the same down to the last brace, but it's marked Beltone and I've seen some others with other names yet, so it's pretty clear it was a stencil. None of the parts have that Geyer look to them. I recognize the details from other horns I've seen but I don't know who the maker is. The bell has a wide gusset and it's kind of on the heavy clunky side. I did have offers to sell the bell for counterfeit use but I resisted So, there is a very REAL chance that some one was importing these horns and sticking Carl Beyer, Chicago on them. Like I said, there have been several Beyers show up on ebay, all older horns and none in the classic Geyer wrap. LB ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] ÅkeHermanson Alarme
In a message dated 2/10/2003 1:30:23 PM Pacific Standard Time, [EMAIL PROTECTED] writes: David Thompson can get it for you. Mark L. That would be www.thompsonedition.com If it's not in the website list contact him directly. He can find a needle in a haystack. Regards,Jerry in Kansas City ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Looking for Opinions and Info on Horn Program at USC
Hi, I'm a college student, performance major, looking at transferring into the University of South Carolina. I was wondering what people thought of the horn program there, or the music program in general. Any info you have is helpful. Thanks Wayne Miller [EMAIL PROTECTED] mailto:[EMAIL PROTECTED] ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] High Range Fingerings
- Original Message - From: Jared Miles [EMAIL PROTECTED] Sent: Monday, February 10, 2003 3:12 PM I've read in several places to never regarde a high C as the top note on the horn. My only problem is i don't know the correct fingerings for anything higher than that. I play on a semi-new conn 8D, so if anyone could help me out, it would be great. Open, F side. John Baumgart ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] NHR - Cat's 'bad hair cut'
I received this story via email, and it shows how things really CAN get worse is from Oklahoma and has a slight accent. She has cats and when she lived in the south she would take them to the groomers and have what is called a Line Cut. To her a line cut is when all of the fur hanging down below the cat's tummy is taken off (because it gets matted or snarled). When she moved to Chicago, one of the cats fur got all tangled up during the move so she took it in for a line cut. She was quite surprised when she heard the price as it was twice as much as it was down south. She confirmed with the groomer that he understood what a line cut was and he said yes, I know what a LION cut is. It seems her accent came out sounding like LION not LINE and this is how her cat was returned to her. (see PHOTO) She cried for a week...but not as much as the cat. It was November in Chicago and the cat needed all the fur it had. -- see the photo at: http://www.pronetisp.net/~jkosta/BadHairCut.jpg Jay Kosta Endwell NY USA ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Catalogue uploads: Yamaha Custom horns circa 1988
The first Yamaha line of custom horn appears to have been discontinued. Last week I found an 8 page catalogue over the 5 models, that were a Schmidt type double with piston shift valve, Geyer and Kruspe type doubles, a 4 valve single Bb, and a Vienna single F with a wrapping resembling the Uhlmann models. Please forgive, that especially the last page is marked by an existence in a home with two- and four-legged beings. The essential information is preserved. The pages have been cut rather tightly. Preserving all of the background would have increased file sizes considerably. All pages are uploaded separately in two versions, high resolution .pdf files, that allow for some zooming in on details, and .jpg's in a lower resolution, that however still makes reading text possible. The .pdf 's can be found in a folder placed at http://groups.yahoo.com/group/YorkMasterPublicPhotosXI/files/Yamaha%20custom %20horns%20circa%201988/ The .jpg's can be found in an album placed at http://photos.groups.yahoo.com/group/yorkmasterpublicphotosxi/lst?.dir=/Yama ha+custom+horns+circa+1988+catalogue For the highest resolution of the photos please either double click the thumbnails or click the Full Size link. It is no longer necessary to sign up to one of my groups to access the documentation files and photos. I finaly found out how to change the settings. Klaus ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Francis Hellstein's days in the Detroit Symphony
What I found out about Francis Hellstein and the Detroit Symphony horn section. (WARNING: probably way more than anyone would want to know) After reading the exchange amongst Ellen Manthe, Anne Megenity and our esteemed tuba-centric sister in conicality, (my spell check keeps trying to change this to comicality!?) Carole Nowicke regarding Francis Hellstein, I decided to check the out the set of D.S.O programs at N.Y.PL. to supplement my meager knowledge of this shadowy figure that seems to only crop up in Julius Watkins liner notes and Horn Call articles. I started my perusal of programs with the 1929-30 season and this was the section at that date was listed in this order: (I tried my best to locate and supply first names for at least the first appearance of an individual. This information was considered rather superfluous in early days, so there are a few that will just have to abide with first initials only) Albert Stagliano W. Macdonald Erwin Miersch Heinrich Hilmer Ernst Huebner The next 2 seasons had the horn personnel: Albert Stagliano James Stagliano (not a bad one-two, eh?) Miersch Hilmer Huebner Joseph Singer (apparently shifting over from the viola section at the time) The 1932/33 season programs are missing, but the 33/34 season had the same players, minus Joe Singer. Up to this point apparently the symphony?s program booklet were being printed by some outside benefactor for free, but they stopped doing this in 1934 and the meager sheet issue by the orchestra itself did not include any personnel info. The next season reveals the first mention of Hellstein (BTW - definitely the only way his name was ever spelled in any program.) Albert Stagliano Francis J. Hellstein Miersch Hilmer Huebner In 1936/37 we see: Hellstein Sune Johnson George Stimm Hilmer Huebner 1937/38: Theodore A. Seder Francis J. Hellstein Kenneth M. Shultz (as you will see, they never could decide between Shultz and Schultz) Sune Johnson Ernst Huebner 1939/40, 1940/41 1941/42 Albert Stagliano Hellstein Shultz Johnson Huebner I couldn?t find the next season?s programs, but the 1943/44 programs were most revealing since they listed the members of the section in two different orders. W. Hinshaw K. Schultz Merle Alvey E. Heubner F. Hellstein and, alternately Hinshaw Hellstein Schultz Alvey Huebner The fact that Hellstein appears both second and last in the list leads me to conclude that he was probably playing assistant at that point (or possibly associate, though I doubt that this sort of arrangement would have existed in Detroit back then). Interestingly, the 1944/45 through 1946/47 programs list him on top: 44/45 Hellstein Schultz Alvey Huebner Theodore (Ted) Evans Ernestine Barnes E. Stango G. Stimm Some of the programs from this season have a seating diagram of the orchestra with the player?s names keyed to numbers on the diagram and the (possibly meaningless) lineup, from left to right goes: Barnes/Huebner/Branson/Alvey/Stango/Shultz/Hellstein/Evans These names don?t totally match the personnel list (Branson and Stimm may have been non-contract players ? I have no information on either of them) but seem to possibly indicate that Hellstein was principal, assistant or co-principal with Evans at this point. 45/46 Hellstein Evans Alvey Huebner Barnes 46/47 Hellstein Evans Alvey Frank Balaam Barnes Hellstein fades from view at this point. In 1947/48 the players were: Lucius Patterson Evans Alvey Schultz Willard Darling (the beginning of a long tenure, going beyond time-span the set of programs which end in the early 1980?s ) No programs for 1948/49 through 1952/53 are in the collection. For the record the section in 1953/54 and 1954/55 was: Raymond Alonge (later of longtime NYC freelance renown) Richard Mackey (went to Boston S.O., I believe) Patterson Darling Evans Dorothy Stevens 1955/56: Alonge Donald Roth Patterson Darling Stevens 1956/57 William (Guglielmo) Sabatini Roth William Brown (I know of two Bill Browns that were active in NYC sometime after this date, but I don?t know which this would be) Darling Stevens 1957/58 Sabatini Darling Brown Roth Stevens 1958/59 Sabatini Darling Tomas Kenny Carl Karoub Keith Vernon Lastly, I include the final year that I was able to locate (1980/81): Eugene Wade (principal) Fergus McWilliam Edward Suave Willard Darling Corbin Wagner (asst.) Keith Vernon For the record, I have never been to Detroit, but I have heard their fine orchestra numerous times on tour dating back to the Paul Paray days when Art (Dave) Krehbiel was laying down the law there. That?s it. I?m sure its quite enough. Peter Hirsch ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
