[Hornlist] virus abundant

[Hans Pizka]

The W32.Ganda.A  virus is abundant in the net. My virus killer kills up
to ten every time I download my mail. Be aware.

There are some fake Microsoft messages to install a certain patch
attachment. Never do that. If you get the official update message for
Windows, go to their site & update from there. Nothing else.

Prof.Hans Pizka, Pf.1136
D-85541 Kirchheim - Germany
Fax: 49 89 903-9414 Phone: 903-9548
home: www.pizka.de
email: [EMAIL PROTECTED] 



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Re: [Hornlist] The pweor of the hmuan mnid NHR

[David Goldberg]

On Fri, 19 Sep 2003 [EMAIL PROTECTED] wrote:

> Aoccdrnig to rscheearch codnutced at Cmabrigde Uinervtisy...
> ...Amzanig huh?

Yes, waht a spoutnudes adamncevent in retroacenail lustingicis and
wrapoldy!


{  David Goldberg:  [EMAIL PROTECTED]  }
{ Math Dept, Washtenaw Community College }
 { Ann Arbor Michigan }


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[Hornlist] Fwd: Cost-cutting operas

[Ted Durant]

Cost-cutting for the San Francisco Opera Co. - Great repertoire 
suggestions
for any impecunious opera company!

Possible operas for coming seasons.

The Ha'penny Opera
The Reduction of the Seraglio
The Two of Spades
Nixon in Chinatown
The Elopement of Figaro
The Love for One Orange
Costco
Billy Budget or Billy Bud Light
poOrfeo
Debt in Venice
Hemi-Demi-Semiramide
Vot Check?
Debt Man Knocking
I Owe Lanthe
Motello
The Ballad of Borrowed Dough
Judas Back-a-pay-us
Lucia di Lammermoor-or-less
Loan-Grim
Manon Lessdough
Madame I-Can't-Believe-it's-not Butterfly
The Repo of Ulysses
Das Rhinestone
The Magic Piccolo
The Bargain Bride
Payless et Melisande
Spamson
The Flying Scotsman
Rigo-Less-o
The Debt of Klinghoffer
Poor-is Good-enough
The Italian Girl in Arrears
The Love of Two Kings
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[Hornlist] The pweor of the hmuan mnid NHR

[pinestump]

For all you spell checkers...> 

The pweor of the hmuan mnid

> > Aoccdrnig to rscheearch codnutced at Cmabrigde
Uinervtisy, it deosn't mttaer in waht oredr the ltteers 
in a wrod are tpyed, the olny iprmoetnt
 tihng is taht the frist and lsat ltteer be in the
rghit oedrer. The rsetcan be a total mses and you 
can sitll raed it wouthit porbelm. Tihs 
is bcuseae the huamn mnid deos not raed ervey lteter by istlef,
but the wrod as a wlohe.

 Amzanig huh?

Bcrue Tbbus

Sign up today for your Free E-mail at: http://www.canoe.ca/CanoeMail 
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[Hornlist] Re: Ballet? To whose music? (Robert Marlatt)

[John Dutton]

Bob writes:

Uhh yes. I often don't know who the composer is until I pick up the 
music. I'm looking forward to Don Quixote with the same enthusiasm as 
a trip to the dentist for a root canal.

Bob Marlatt
Boston Ballet Orchestra

ps: Considering the brevity of the known composition "Stars and 
Stripes" I anticipate more music to play beyond Sousa's march. It 
would be nice to tell my wife I have a 3 hour gig, play for five 
minutes, and then spend 2 hours and 55 minutes in a tavern. Hmmm
--

For those that don't already know, Sousa was a prolific composer of
light opera/operetta as well.  While these works didn't seem to transcend to
our times as well, they were the "toast of the town" in Sousa's own era.
Some of his well know marches were actually stolen from his larger works.
Sousa was also know as an arranger of good repute.  I am already too long
winded but here is a list of some of his operettas:

Operettas (15)
The American Maid (The Glass Blowers) (1909) Libretto by Leonard Leibling. 
The Bride Elect (1897) Originally called The Wolf (1888). 3 acts, first
produced at the Knickerbocker Theater, New Haven, 12/28/1897. 
El Capitan (1895) Libretto by Charles Klein and Tom Frost. 3 acts, first
produced at the Lyric Theater, New York, 7/10/1897. 
The Charlatan (The Mystical Miss) (1898) Book by Charles Klein. 3 acts,
first produced in Montreal, 8/29/1898. Produced in England as The Mystical
Miss. 
Chris and the Wonderful Lamp (1899) 
Desiree (1893) Libretto by Edward M. Taber and John Maddison Morton. 2 acts,
first produced in Washington, D.C. 
The Devil's Deputy (unfinished) (1893) 
Florine (unfinished) (1881) 
The Free Lance (1905) Book by Harry Bache Smith. Comic opera in 2 acts. 
The Irish Dragoon (1913) 
Katherine (1879) Book by W.S. Gance and Sousa. 3 acts. 
The Queen of Hearts (1885) Libretto by E.W. Faber One act, first produced in
Washington, D.C. 
The Smugglers (1882) Libretto rev. by Wilson Vance. Comic opera in two acts.

The Victory (unfinished) (1915) 
The Wolf (1888)

While not the greatest of all composers, I sometimes feel Sousa gets short
shrift due to the overwhelming popularity of his marches.

The Jack Attack!
[EMAIL PROTECTED]
(at the moment "stuck" here in Yellowstone-man what a terrible place to be!)

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[Hornlist] Horn Buying

[Eldon Matlick]

Readers:

Earlier this semester, I posted an extensive article about purchasing a
horn on the yahoo list.  I do not wish to bother those that subscribe
to the other list to wade through the posting again.  However, with the
recent query regarding this specific topic here, I would encourage all
interested parties to read my rather extensive clinic at my website:

http://ouhorns.com

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
Conn-Selmer Educational Artist
http://ouhorns.com

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[Hornlist] Randy Gardner Recital/Masterclass - reminder

[Bob Osmun]

Randy Gardner
Recital/Masterclass
Saturday, September 20th, 4 pm to 6 pm
at Osmun Music (5 Forest St., Arlington, MA)

Randy Gardner is Professor of Horn and Chair of Winds and Percussion
Department at University of Cincinnati, College Conservatory of Music.
For 22 years,  he was second hornist of The Philadelphia Orchestra under the
batons of music directors Wolfgang Sawallisch, Riccardo Muti,  and Eugene
Ormandy.  His horn teachers include Philip Farkas, Christopher Leuba, Ethel
Merker, and William Adam.He is the author of the book, "Mastering the
Horn's Low Register."

Free admission.  Please call
781-646-5756 or email us at [EMAIL PROTECTED] for reservations and
directions.

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Re: [Hornlist] Joshua Johnson Freshman horn thesis 2002

[Jjhosshorn]

Thank you List for all of your constructive critisizm.  I wrote this paper a 
year ago and have since changed some of my views about what I wrote.  I sent 
it to the list to see how far off I was.  Thanks for all of your individual 
comments, keep em commin,

Best of wishes,

Joshua Johnson
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Re: [Hornlist] Joshua Johnson Freshman horn thesis 2002

[Tom Warner]

On Friday, September 19, 2003, at 05:36 AM, [EMAIL PROTECTED] wrote:

Engelbert Schmid



He is one of the few builders not to use tuning
slides.
A slip of the fingers perhaps?



All the best,
Tom
--
My ol' grandaddy taught me to always;
post in plain text,
quote only that portion to which you are replying,
post replies at the bottom.
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Re: [Hornlist] Horn Buying

[Billbamberg]

Back when I was a freshman, you got a single F with an Eb crook, and were 
glad of it.  Seriously, I didn't get my first decent horn until I was a junior.  
It was a brand new Reynolds.  I would have preferred an 8D, but my band 
director didn't know an agent for 8D, only John Coffee in Boston, and he had 
Reynolds and Holton.  The Reynolds had a higher list price than the Holton or the 8D, 
so I picked the Reynolds.  Even though I have collected nearly twenty horns 
since then, I still have the Reynolds, and I've yet to find a big horn that is 
demonstrably better.  I do have an Elkhart 8D, that is really nice, but I 
still like the Reynolds better.  Interestingly, The Reynolds I got is one of the 
early heavy bell Chambers models, and it really is that good, just by chance.  
The Holton I turned down was the original model 77, and the few I've come 
across from that era in the late fifties, early sixties, have all been exquisite 
horns, cherished by their owners.  The discounted price for the Reynolds was 
$479, on a list of $715, compared to list of $695 for the Conn and Holton.  Not 
too long ago I got an Abilene Chambers for my wife, for $210, on eBay, and it 
plays great, now that the bell isn't crushed.  She greatly prefers it to the 
8D.  As good as the 8D is, she finds it fatiguing, which negates her nice 
sound.  I just put a Lawson pipe on the 8D, and I'm loaning it to a guy making a 
comeback in the Saddleback Orchestra.

I'm just throwing this all out to point out the personal nature of horns, and 
the perception of value that tribal myth adds to the confusion.  I was lucky 
when I got my first horn.  Of course, I was a junior, and your only a 
freshman.  And back then you had to be pretty nearly an adult to go to high school.  I 
drive by the last few years, and see they're letting little kids in now.

I started collecting horns in an attempt to find out for myself what makes a 
horn good or bad.  If you line them up, it should be easy.  What I've found is 
that I need at least two horns to cover the range of music I play.  I need a 
big horn if I'm going to play flat out with the big boys, and a smaller, agile 
horn makes playing quieter, and more complex music so much more enjoyable.  
As a big horn, my Reynolds is untouchable.  It's a great all around horn, but 
nobody can overblow it.  It's forte is forte.  Really cranking, several 
conductors have commented that it adds a 'shimmer' to the whole section sound, but it 
was designed specifically to match an 8D, so Chambers could play it in the 
New York Phil.  According to his interview with Osmun, he only used it two or 
three seasons.  For a small horn, I play a Paxman 42, medium bell, double Bb, 
but with an F attachment.  It weighs far less than a triple, but gives me the 
option of playing C, E, and G on an open F horn to keep my tone honest, but I 
was taught to play fourth horn mostly on the B side.  When combined with the F 
alt capabilities, this horn has more usable range than any horn I've ever 
played.  It also has the beautiful Paxman sound if I'm playing in that kind of 
section where the 8D clone might be inappropriate.  This horn was a great deal, 
but not cheap, $2700, when I got it from Osmun.  It's from the seventies, but in 
beautiful shape, and I could sell it here in LA for far more than I paid.

 From my collection, I could put together several other combinations of two 
horns.  My wife is taking a real liking to a small, King, Bb horn that really 
came to life when I recently tightened the bearings.  Converting her old 8D to 
the Lawson pipe seems to have made it a better all around horn, but her 
Chambers is a better choice for big stuff, now that she has the option to play 
intricate parts on the small horn.

Since I rely on two completely different instruments, I find I can now make 
valid comparisons between different horns, but I compare to only one of my 
horns.  The ironic thing is, if I found a horn that was specifically better than 
one of my present working horns, I could probably pick it up cheap because it 
won't be a satisfactory all around player.

You probably can't go wrong buying a new 8D, I got lucky.  However, the one 
myth I find that does have some basis in fact is that vintage instruments are 
better than what they're making now.  Over the years, the dogs get trashed, and 
the good ones get cherished.

In your position, since you have access to a workable big horn, I'd sink my 
money into a really good smaller horn.  Even though you'll find yourself using 
the smaller horn most of the time, you'll have the big school horn if you have 
to play outdoors, or something.  A really high end used horn is within your 
price range.  Some of the Geyer wrap horns might be good candidates.  There are 
worldwide listings on the web.  I bought my Paxman, sight unseen, from Osmun 
when I was living in San Jose.  We exchanged a check for the horn, and he held 
the check until I had a good chance to try it out.

Re: [Hornlist] Horn Buying

[Anne & Larry Brunelle]

Another source for both new and used is Wichita
Band Instrument.
http://www.wichitaband.com/
A number of years ago, they could and would arrange
factory visits into Holton and, I believe, Conn,
and the prices were better than anywhere else, period.
(And if you wanted either a Holton or a Conn, you
certainly wanted to pick it out, since the consistency
of manufacture was nothing like Yamaha's.)
After a look at the website, I'm not sure their price
advantage remains absolute, but they are indeed worth
checking out.  They will indeed ship on approval (you
pay the freight, of course).  I don't see either new
Yamahas or Conns, but Holtons, Alexanders, and Paxmans.
It appears they own a piece of Paxman.  Used stuff is,
of course, any make they happen to have.
[EMAIL PROTECTED] wrote:
Hello everyone, Im thinking of buying a horn for myself, Im a
freshman in HS and I am playing on a repaired Holton H180 (in 8th
grade i was playing on a Holton H179, the valves sounded like a
percusion section.). I take lessons and such. I wanna buy a new
french horn for myself, so I dont have to worry about the school
taking it, and I dont want to play on something people have treated
like crap. I was thinking of buying a Conn 8D with gold or rosebrass
and a detachable bell, what model would that make it? Or a Hans Hoyer
horn, (my lesson teacher is using one, and I lover her sound), but I
dont know which model. There is one problem, my local music store
doesnt have horns on shelf, or in there stock (there not gonna have
$3000 instruments on shelf when they are not in demand down here.),
so what they do is, they special order them for the serious customer,
so I cant try them out. Niether can my lesson teacher. Are Conn 8D's
and Hoyer Horns more consistent from horn to horn (same brand and
model) now days, with our technology? Should I special order one?
What are the chances it plays like a piece of crap? Also what other
models of horns from different brands do you recommend that are good
(and are very consistent from horn to horn, without trying them out)
, and are within a $2500-$4200 price range? Your comments and advice
will greatly be appreciated.
Michael K.

P.S. How are the Conn 8D horns nowadays (new, not old ones) and the
Hoyers? And what model would a Conn 8D be if I wanted it in gold or
rosebrass, with a detachable bell? Thank you. 
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RE: [Hornlist] Horn Buying

[Hans Pizka]

If you are just in a past beginner state of horn playing, why do you
think so much about buying a new one ? Keep your money together until
you have advanced to a higher class of playing. I had a 14-year boy in a
recent class in New Zealand. He played on a old single F military no
name horn & produced a very nice sound. I tried the horn & played a solo
piece for the class, as I liked the sound of the horn.

It is the player, who makes the sound. Keep the old school horn in good
condition & care about if it were yours & new. Study carefully to
advance. (Remember: I said Carefully not Hard).

If you have arrived at near pro level (or higher class amateur level),
you have enough time & money to shop around for your own new horn.

Check the bumpers on your valves, use some thicker oil for he linkage to
reduce the noise. Watch, if the valves rattle if you play common stuff
or if they just get noisy when you try to move them fast, which does not
happen in the literature except for valve trills.
===

-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf
Of [EMAIL PROTECTED]
Sent: Friday, September 19, 2003 4:47 AM
To: [EMAIL PROTECTED]
Subject: [Hornlist] Horn Buying

Hello everyone,
   Im thinking of buying a horn for myself, Im a freshman in HS and I am

playing on a repaired Holton H180 (in 8th grade i was playing on a
Holton H179, 
the valves sounded like a percusion section.). 


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