[Hornlist] re: Korean hornplayer
Hi, Listers. I'm trying to get a hold of a Michael Harcrow (I think that's how you spell his name) who played (and may still play) with the Korean Symphony Orchestra back in '96-'97. I studied with him then and am back in Korea courtesy of Uncle Sam. Would like to make contact again. Thanks for any leads you can give me on his whereabouts... William Lynn 2ID Band Camp Red Cloud, Korea ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] re: Korean hornplayer
As far as I know, he is teaching at the Fine Arts, - you remember the new Arts building in the center. If you cannot get hold of him, try to contact Dr.Kim Young-Yul, who is the horn professor there. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Sunday, October 19, 2003 10:42 AM To: [EMAIL PROTECTED] Subject: [Hornlist] re: Korean hornplayer Hi, Listers. I'm trying to get a hold of a Michael Harcrow (I think that's how you spell his name) who played (and may still play) with the Korean Symphony Orchestra back in '96-'97. I studied with him then and am back in Korea courtesy of Uncle Sam. Would like to make contact again. Thanks for any leads you can give me on his whereabouts... William Lynn 2ID Band Camp Red Cloud, Korea ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] something to think HR
We once played Siegfried with Jean Cox fort he title role. Well, Jean Cox in his high days could resemble Tarzan easily, so ideal figure for the role and very good singer/actor too. But that night our famous Bruennhilde was ill another emergency singer had to be called. The only available singer was Mrs. Hunt, excellent singer of Afro-American origin, which does not matter. But she needed at least three men to surround her. Jean Cox had never met her before nobody had informed him about the size of the Bruennhilde. I was on stage, watching. When Siegfried first encountered Bruennhilde on stage, he had to turn his face to the back of the stage to hide his laughter. ...But professionalism enabled him to sing his role beautifully. Or imagine a rather short skinny Othello to kill a Desdemona of the size of Mrs. XY (name withheld) of 6´4 190 pounds . by his bare hands ? All what I said about physical abnormalities regarding embouchure does not count very much under regular circumstances but under extreme stress at super demanding tasks. As with other discussions, the answers made it evident, that people take it all personal not as it should be taken, just as general rule. Nobody is a coward if declining a task which would exceed his or her (at the moment or permanent) possibilities. It would be wise to decline a task perhaps accepting it later. But this seems not being compatible with the educational system or the life philosophy on the other side of the big pond, obviously. That is the problem, not the big lip. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Paul Kampen Sent: Sunday, October 19, 2003 2:54 PM To: The Horn List Subject: RE: [Hornlist] something to think HR Message text written by The Horn List The audience would starting laughing, special when he encounters the 6 feet + Bruennhilde of 150 pounds. His voice will not matter then. If he wears high heels, he would walk on stage quite comical degrade to a caricature of the role. But he might be very good as recording artist. Dear All This one reminds me of a famous Welsh opera singer, a vertically challenged man of slight build. He tells the story of recording an opera with Claudio Abbado on the rostrum and a certain soprano of ample proportions as leading lady. They did several takes of a duet, and the two singers were satisfied with the results but Abbado was not. When Abbado came out of the 'box', having listened to another take, the soprano turned round to our hero and said he want do it again, I no want do it again, he start, I faint, you catch! And this is what happened; except that holding up this statuesque lady was far too much of a TALL (geddit?) order for our hero and both collapsed in a heap on the floor to Abbado's fury and general hilarity in the orchestra. Sorry folks, although the tenor in question loves to tell this story in the canteen, the names must be withheld to protect the innocent. But it does illustrate Prof Pizka's point; I do know that this same tenor once did Don Jose in 'Carmen' with a leading lady who apparently got the part mainly because she was the only person available who is smaller than he is. He sang superbly as he always does; but she was not comfortable in the role and the results were not good. Cheers Paul A. Kampen, 4th horn - Orchestra of Opera North (Leeds UK) Horn Tutor - Leeds Music College ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] choosing a horn to buy
hello, could you give a review on besson, jupiter, conn, king, holton, alexander, atkinson and yamaha horns? which is a reasonable buy and is able to last long as in i'll be able to play it professionally... the current horns that i can get from a local dealer (im in Malaysia) is besson, jupiter, conn, king and yamaha. the rest i'll be able to order them online.. is there any second hand horns that you would recommend? thanks, Ian - Do you Yahoo!? The New Yahoo! Shopping - with improved product search ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] choosing a horn to buy
Hi Ian, My first horn ever was a Holton 179 in high school. Unfortunatly it was the schools. I finally bought my own in 1998. It's a F.E. Old and Sons can't remember the model. It's a hand me down horn with great range, clear sound and minor dints and dings. If you want professional, go with either a Holton or Conn. Personally I'd prefer the Holton. Just find a horn that fits your attitude. the horn will pick you. Good luck! __ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] something to think HR
How about the movie Gattica. I would like to think that the ideal of striving for the highest is the most important. I think Hans is right, if you are not ready or capable of taking a position, you should not. But it goes against everything I have seen in any field in any aspect of life to say that those who are naturally inclined towards a particular profession or activity should be the only ones capable of mastering it or even becoming the best in their field. A child with polio may never be an Olympic runner. Oh wait, Wilma Rudolph did that didn't she. Hmmm. Something to think about at least. Joe -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of [EMAIL PROTECTED] Sent: Saturday, October 18, 2003 12:12 AM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] something to think HR I suggest we all take a break from this bantering and watch the movie Rudy About a less than worthy football player trying to make it at Notre Dame. The story is quite appropriate. Hoss ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/jkaluza%40uh.edu ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] something to think HR-Thomas Quasthoff
that reminds me of Thomas Quasthoff. Thomas Quasthoff is famous baritone with some physical deformities, but has made some great recordings and often performs in concert opera performances as well as oratorios etc. I heard recently that he performed, or will perform in a staged opera though. --- Hans Pizka [EMAIL PROTECTED] wrote: ...SNIP See the example of the phantastic heroe tenor singer. But he is just 5 1/2 feet. Can you hire him for the title role in Siegfried ??? The audience would starting laughing, special when he encounters the 6 feet + Bruennhilde of 150 pounds. His voice will not matter then. If he wears high heels, he would walk on stage quite comical degrade to a caricature of the role. But he might be very good as recording artist. SNIP == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Friday, October 17, 2003 9:06 PM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] something to think HR Professor Pizka and others, While you continually make this point about some people are not suited for some things, I feel that you go about it in the wrong fashion. It seems that your take on the matter is that if someone tries to make it in the world of horn playing, who does not have an ideal tongue, or lips, etc. then he is out to ruin the profession. Is there idealism in music? Of course. Idealistically Beethoven would not have become deaf. Yet, almost every conductor still ends their tenure with an orchestra with his Ninth symphony. Audiences still love it. If a hornist with thick lips or an imperfect embouchure can play the music, no matter what Hans Pizka thinks is the definition of music, and the audience enjoys it, they will get hired. Even if this person has to work slightly harder than the posterboy hornist, but can play, what's to stop him from trying? Biased orchestral hornists who feel that only their way is right; the same people that will only let their section play a Conn 8D, or an Alexander, or a Paxman. While there is constant dissuasion to not letting the irregulars try, there seems to be no reasoning for it. There is reasoning for why they may not make it, whether it is biases or that the person simply isn't good enough, but there is no reasoning why this person may not try. While you say that you are not trying to discriminate, in effect, you are. Keep more of an opened mind, and maybe keep your eyes closed from that guy with the thick lips playing a Holton really well. While practice may never make him perfect, he can get just about as close as anyone else. Michael Scheimer, Pittsburgh, Pennsylvania 2003 Interlochen Arts Camp Concert Band, 2002, 2003 PMEA Honors Band and 2003 District Orchestra Founding co-member of Fünf Brass Quintet ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/tedesccj%40yahoo.com __ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] something to think HR
That's interesting that you mention that, because I thought the same thing one day in class listening to Verklerte Nacht. I listened to a decent amount of the 2nd Viennese school this past year, as I took a class about Freud and Fin De Siecle` Vienna (pardon that if it's horriblely missppeled), and we talked a lot about expressionist musicians, architects and artists etc. and I enjoyed a lot of things I heard. I noticed that some performances I listened to were very, as you put it, cold and intellectual, but others were very organic and expressive. It was the latter performances that I was able to relate to much more than the former. Of Schoenberg, Berg, and Webern, Berg is usually considered the most accessible and I agree. I personally enjoyed Wozzeck a lot as I thought it was a combination of new, yet good music. None of the non-standard things, like sprechestimme sound like effects. They, to me, are merely different sounds. I remember listening to a lot of Strauss and Mahler the summer before I took that class, so at least aurally, I was pretty much going in chronological order, so noticing the progression was possible. I think most people first hear the 2nd Viennese school in music history(myself included) and it usually is very difficult to comprehend because of the gaps in our own listening. I know for me personally, the earliest music that i know is Monteverdi's Orfeo, but then I essentially skip over most of the baroque(which obviously I should not) until a bit of Handel and from Mozart to the 2nd Viennese school i'm fairly well rounded. I have to admit that I have many gaps in the 20th, 21st century when it comes to listening. I'm young, i have a whole life to patch up my ears. Chris --- Robert Ward [EMAIL PROTECTED] wrote: Hi all, Was moved to write by Hans comment below - over the years, my thinking on Schoenberg and his buddies has changed - when I was a student and then as a young professional, I used to think of that style of 12-tone music as very intellectual and cold - but now, I have realized that the key to having it sound right is to approach it and interpret it as a Romantic style, since that is the genesis of this genre of music. There are many more modern composers that I do think are excessively academic and largely devoid of emotional content, but Schoenberg and Berg are not among them, in my opinion. All the best to you, worldwide, Bob On Saturday, October 18, 2003, at 12:30 AM, Hans Pizka wrote: For Schoenberg: you just need to play the written notes as exact as possible. Do you really enjoy Schoenberg ? Bob Ward Acting Principal Horn San Francisco Symphony http://home.earthlink.net/~rnward ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/tedesccj%40yahoo.com __ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Umlauts etc on MS Word packages
Thanks, Brian Baker, for the tips on making international characters and diacriticals in WORD from the keyboard, from which I made a handy chart for myself. To round it out, can anyone tell me the names of : - the double-s character [ß] produced by CTRL + SHIFT + , then s; - the little circle [å] produced by CTRL + SHIFT + @, then the letter; - the slash or symbol [Ø] produced by CTRL+ /, then O? Also, is there a way to make a makron (dash over a vowel as in [a]), or a breve (ends-up crescent over a vowel as in [e]), using the keyboard, i.e., not from INSERT/SYMBOL? ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] something to think HR-Thomas Quasthoff
He cannot perform in a staged opera due to his physical status. If you have seen him or done a concert with him you would know it. But his voice is really something special and he is a great artist having limitations, not in the singing but acting. But anyway, it is not fair quoting the extremes as samples. We talk about the average not about the sensations. If we would just talk about the extremes, we would reduce our forum to the level of the cheapest daily newspapers. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Chris Tedesco Sent: Sunday, October 19, 2003 8:05 PM To: The Horn List Subject: RE: [Hornlist] something to think HR-Thomas Quasthoff that reminds me of Thomas Quasthoff. Thomas Quasthoff is famous baritone with some physical deformities, but has made some great recordings and often performs in concert opera performances as well as oratorios etc. I heard recently that he performed, or will perform in a staged opera though. --- Hans Pizka [EMAIL PROTECTED] wrote: ...SNIP See the example of the phantastic heroe tenor singer. But he is just 5 1/2 feet. Can you hire him for the title role in Siegfried ??? The audience would starting laughing, special when he encounters the 6 feet + Bruennhilde of 150 pounds. His voice will not matter then. If he wears high heels, he would walk on stage quite comical degrade to a caricature of the role. But he might be very good as recording artist. SNIP == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Friday, October 17, 2003 9:06 PM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] something to think HR Professor Pizka and others, While you continually make this point about some people are not suited for some things, I feel that you go about it in the wrong fashion. It seems that your take on the matter is that if someone tries to make it in the world of horn playing, who does not have an ideal tongue, or lips, etc. then he is out to ruin the profession. Is there idealism in music? Of course. Idealistically Beethoven would not have become deaf. Yet, almost every conductor still ends their tenure with an orchestra with his Ninth symphony. Audiences still love it. If a hornist with thick lips or an imperfect embouchure can play the music, no matter what Hans Pizka thinks is the definition of music, and the audience enjoys it, they will get hired. Even if this person has to work slightly harder than the posterboy hornist, but can play, what's to stop him from trying? Biased orchestral hornists who feel that only their way is right; the same people that will only let their section play a Conn 8D, or an Alexander, or a Paxman. While there is constant dissuasion to not letting the irregulars try, there seems to be no reasoning for it. There is reasoning for why they may not make it, whether it is biases or that the person simply isn't good enough, but there is no reasoning why this person may not try. While you say that you are not trying to discriminate, in effect, you are. Keep more of an opened mind, and maybe keep your eyes closed from that guy with the thick lips playing a Holton really well. While practice may never make him perfect, he can get just about as close as anyone else. Michael Scheimer, Pittsburgh, Pennsylvania 2003 Interlochen Arts Camp Concert Band, 2002, 2003 PMEA Honors Band and 2003 District Orchestra Founding co-member of Fünf Brass Quintet ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/tedesccj%40yahoo.com __ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] something to think HR
David Thompson wrote: It often seems that is has never occurred to the student to step back and view the work as a highly Romantic and lyrical one, and to try focusing on playing long, expressive lines, rather than concentrating on the short-term technical challenges. Isn't that really quite natural for most people? I always find that difficult technical passages get in the way of being played lyrically until the technical part is mastered. Of course, I also find that hearing the lyrical, expressive phrase and viewing the written music that way helps to make the technical part easier (assuming the technical part is within reach of my limited skills...) . A line I've started using with my children is play the measures, not the notes, to help them find downbeats in 3/8 and 2/2 pieces with new (to them) rhythms. That can be expanded to play the phrases, not the measures, when they get comfortable with the rhythms. Ted Durant Milwaukee, WI USA ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] something to think HR-Thomas Quasthoff
Hans is correct, talking about the 'extremes' does not usually help the vast majority who are somewhere in the middle. Hans' views are realistic, and not discrimination - I am sure he would acknowledge great playing by any person - even if the player was an 'extreme'. Jay Kosta Endwell NY USA Not a member of the 'Pizka Fan Club', but Hans has been solidly corrert in this discussion. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] re: Korean hornplayer
In a message dated 10/19/2003 3:03:51 AM Pacific Standard Time, [EMAIL PROTECTED] writes: Hi, Listers. I'm trying to get a hold of a Michael Harcrow (I think that's how you spell his name) who played (and may still play) with the Korean Symphony Orchestra back in '96-'97. I studied with him then and am back in Korea courtesy of Uncle Sam. Would like to make contact again. Thanks for any leads you can give me on his whereabouts... William Lynn 2ID Band Camp Red Cloud, Korea Hi, The spelling is correct. You might try the Korean National University of Arts. Regards,Jerry in Kansas City ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] something to think HR
C'mon now. Opera has a visual element which is extremely important, even crucial to the presentation. Using your logic, I suppose you'd like to see Danny DeVito replace Stallone in Rambo. After all, DeVito is much better at showing raw fury than Stallone. Perhaps you'd like to see Bette Midler replace Nicole Kidman in Moulin Rouge? I'm sure she'd be real sexy, and her voice is much better than Kidman's. I'm obviously joking here, but you get the point. Over time, we've developed some really stupid, and counterproductive ideals here in the States. We only teach kids half of what they should know. We say The sky's the limit Johnny/Suzy, you can be whatever you want. All you have to do is work hard. This is great. It encourages them to keep an open mind, to explore all the possibilities. What we don't say, but should, is that after you've given something a try, REALLY tried, and the results aren't justifiable, try something else, and keep trying until you find what you were meant to do! Movies like Rudy are fine, but its just a movie, and movies are exaggerations of the truth. For every Rudy that exists, there are thousands out there that failed miserably and ruined their lives. If you want to risk it all, then be equally prepared to lose it all. Hans is simply saying that if someone is dead-set on making it into the top echelon of the horn playing world, but has shortcomings which they cannot, or have constant difficulty overcoming, maybe there are other avenues out there which would be more fulfilling. Go ahead and give it your best, but if you aren't getting anywhere, use your head. Josh - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Saturday, October 18, 2003 11:27 AM Subject: Re: [Hornlist] something to think HR You ideals are very third world- I accept my neighbor do you? Can't you see the beauty inside the 5'5 sigfried? Maybe you missed the point? The elephant like woman probably has more character and heart and understanding of the world then you ever will- if this is true how can you express more in the music than she can Hoss ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hornpreux%40hotmail.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Lip size
Clayton Whetmore, here: Ben Kiel wrote: Dang, this discussion the past few days has been really depressing. snip it seems that if you aren't the perfect mold for horn playing, or have really big lips even, you will probably be relegated to second rate orchestras for the rest of your life, no matter how hard you try. snip P.S. I suppose if the whole thing doesn't work out in my favor, I could just start a successful business, If one is really honest and objective about the money most musicians make, one has to realize that the majority are not wealthy. There is nothing wrong with assuring yourself that you have the ability to support yourself, whether or not you are fortunate enough to become a world renowned artist. Now that you are in college, you are wise to not simply get by. Pay attention, learn as much as possible, not just to pass the tests, but to know the material for life. Plan to use what you learn in your Public Relations/Marketing Communications and English, as well as the Business Management minor. With such career training, you will be free to enjoy your music, wherever it takes you. You will be freed from the worries of where your next gig will be, or if you can maintain tenure, or if your orchestra is going to make it through the next season. Continue soaking up as much as you can from your music instructors. Practice faithfully, applying what you learn. Listen, often, to good musicians, both recorded, as well as live performances. Some day, if Hans Pizka hears you playing, and cannot see your lip size, even he may enjoy listening! Above all else, remember, performing music is not reserved for just a few elite professionals. You can take yourself as far as you wish, if you are willing to invest the time and the energy. You can be a blessing to yourself, and others. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
