Re: [Hornlist] seigfried's long call
Hans Pizka wrote: > But they had to replace Kirstin Flagstad. And the first horn changed. Yes, John Culshaw tried desperately to record her Walkuere Fricka for later inclusion, but unfortunately her cancer defeated them. > I think, it was a financial problem then, as pressing the LPS asked for > much higher investment than for todays CDs, as they cost less than 1/2 > USD. The biggest problem was to pay the advance royalties to the singers > & conductors. We have a big debt to Decca and Culshaw for their courage, as many people said that it would never sell, but the numbers we have today of Ring recordings can be attributed to that to some extent. I hope the Munich one will be released on DVD one day, as I think it was available on Laserdisc Cheers, Graeme Evans (Principal Horn, Melbourne Symphony Orchestra) +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) E-mail: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Short Call
What Long Call do you have ? The one with three separate signals or the one with more signals, all off them separated by fermatas, wher Fermata means a hold. If the Long Call you have consists of just three signals, it is the Short Call. The Short Call & some further similar Short Calls are from Goetterdaemmerung (Twilight of Gods) first & third act, while the Long Call is from the 2nd act of Siegfried, just 34 or 36 minutes after the beginning, depending on the conductors tempi. The original Short Call is from Siegfried´s Rhine Journey, his boat journey. When cutting the bell of a horn, one has to consider, that the perfect job would require desoldering of the whole bell part perhaps, so the screw upper part (mother) can be slid over from the smaller end to the cut point & solder there, then to cut the bell. The lower screw part (father) is attached easily on the bell. This is the perfect but cost effective method. But, a high classified repair man can cut the bell without desoldering it. But this is a quite tricky operation & rarely performed perfectly even by the specialists. After cutting, they have to squeeze the main branch into the screw (mother), adapt it to fit inside & solder. The rest of the process is the same as in the other method. There is a third way: the screw can be cut in half and soldered on the bell (mother), so the bell can be cut right there along the screw. I have not seen that process, but it seems to be possible. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bubba Sent: Thursday, May 06, 2004 3:14 AM To: [EMAIL PROTECTED] Subject: [Hornlist] Short Call What is the short call? I have the long call, but have no idea where the short call is located. Also, I have a Holton H179 horn, and I am considering getting it made into a screw-bell horn, in essence, making it a H279. Anyone have any ideas on who can do a good job on this located in or around Tennessee? ___ Join Excite! - http://www.excite.com The most personalized portal on the Web! ___ 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] Short Call
What is the short call? I have the long call, but have no idea where the short call is located. Also, I have a Holton H179 horn, and I am considering getting it made into a screw-bell horn, in essence, making it a H279. Anyone have any ideas on who can do a good job on this located in or around Tennessee? ___ Join Excite! - http://www.excite.com The most personalized portal on the Web! ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] seigfried's long call
But they had to replace Kirstin Flagstad. And the first horn changed. Other RING recordings: the Swarowsky RING with Sueddeutsche Symphony, which was Czech Philharmonic; Yes, the Solti Ring was published as the first complete set. The takes were quite long, but there was some strong editing anyway. The Furtwaengler RING (both from Rome & from Milan) were live recordings, but not published for some years. The same happen with the Bayreuth RING cycles. One early Bayreuth publications is the RING with Karl Boehm on LP. I think, it was a financial problem then, as pressing the LPS asked for much higher investment than for todays CDs, as they cost less than 1/2 USD. The biggest problem was to pay the advance royalties to the singers & conductors. Today we have a different situation: these over 50 year old RING cycles can be published without paying any royalties to orchestra, conductor & singers. But they are very interesting. There should be a RING Cycle from Tiflis. Quality unknown. I have to check with Naxos about it. Also today, some orchestras, singers & conductors are just interested that their work with the RING might be conserved on CD, so they decline asking for any royalties. If the sale will be good or much better than expected, this excess income will be divided for the participants. Today there are no record companies who could afford a complete RING production or even a live recording. The recording companies doing such big projects, are more or less affiliated to the opera houses. Some are quite successful, but still impotent regarding the finances for such kind of a project, where every opera out of four would require an investment of minimum 200 to 500 TUSD before the first set would be sold. Most consumers have no idea about the additional promotion expenses, which go into the six digits also. I own about 25 different RING sets & I am still looking for some strange set. Thee could be one from Moscow, another one from St.Petersburg & from Warschaw. I do not know if they recorded it in Barcelona or Trieste or Venice (Suitner) or East Berlin. Another exciting RING set is with Barenboim (Bayreuth). == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Graeme Evans Sent: Wednesday, May 05, 2004 10:45 PM To: The Horn List Subject: Re: [Hornlist] seigfried's long call I think you will find the Decca Ring is the first complete version with no cuts or cast discontinuities in the main characters, and the first fully commercially released one. Cheers, Graeme Evans (Principal Horn, Melbourne Symphony Orchestra) +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) E-mail: [EMAIL PROTECTED] - Original Message - From: "Hans" <[EMAIL PROTECTED]> To: "'The Horn List'" <[EMAIL PROTECTED]> Sent: Wednesday, May 05, 2004 11:39 PM Subject: RE: [Hornlist] seigfried's long call > My fault, indeed. Thinking of so many recordings (I have some 25 RING > sets here) I forgot the most important, perhaps. For me it is the most > important. But Graeme, it was not the first recording of the complete > RING. Moralt´s RING in Vienna & the RING with Furtwaengler were around > 1951. Both were productions, but one act as a one piece session & public > concert always. The 1937 RING of the MET is probably the oldest on > record, but it was live recorded. > > The SOLTI Ring is the first ever with the "Schnipsel Techique" (= takes > & cuts & takes & cuts again, but with superb result). There was no > audience. > === > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf > Of Graeme Evans > Sent: Wednesday, May 05, 2004 10:32 AM > To: The Horn List > Subject: Re: [Hornlist] seigfried's long call > > > Hans Pizka wrote: > > > There are numerous recordings of the RING on the market: > > > > Metropolitan Opera New York (Levine), Berlin Philharmonic (von > Karajan), > > Dresden (Janovski), Bayreuth (Kempe, Keilberth, Adam Fischer, Peter > > Schneider, & many others), Buenos Aires (2 sets Wallberg & Erich > > Kleiber), Graz (Klobucar), Karlsruhe, Vienna Symphony (Moralt), etc. > > To say nothing of the first complete "Ring" recording (Decca 1958 - > 1965) > with Solti/VPO/Nilsson/Windgassen/Crespin/Hotter etc. The Long Call is > played superbly by Roland Berger. > > Cheers, > > Graeme Evans > (Principal Horn, Melbourne Symphony Orchestra) > +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) > E-mail: [EMAIL PROTECTED] > > > ___ > 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/graev%40comcen.com.au > > ___ p
Re: [Hornlist] seigfried's long call
I think you will find the Decca Ring is the first complete version with no cuts or cast discontinuities in the main characters, and the first fully commercially released one. Cheers, Graeme Evans (Principal Horn, Melbourne Symphony Orchestra) +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) E-mail: [EMAIL PROTECTED] - Original Message - From: "Hans" <[EMAIL PROTECTED]> To: "'The Horn List'" <[EMAIL PROTECTED]> Sent: Wednesday, May 05, 2004 11:39 PM Subject: RE: [Hornlist] seigfried's long call > My fault, indeed. Thinking of so many recordings (I have some 25 RING > sets here) I forgot the most important, perhaps. For me it is the most > important. But Graeme, it was not the first recording of the complete > RING. Moralt´s RING in Vienna & the RING with Furtwaengler were around > 1951. Both were productions, but one act as a one piece session & public > concert always. The 1937 RING of the MET is probably the oldest on > record, but it was live recorded. > > The SOLTI Ring is the first ever with the "Schnipsel Techique" (= takes > & cuts & takes & cuts again, but with superb result). There was no > audience. > === > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf > Of Graeme Evans > Sent: Wednesday, May 05, 2004 10:32 AM > To: The Horn List > Subject: Re: [Hornlist] seigfried's long call > > > Hans Pizka wrote: > > > There are numerous recordings of the RING on the market: > > > > Metropolitan Opera New York (Levine), Berlin Philharmonic (von > Karajan), > > Dresden (Janovski), Bayreuth (Kempe, Keilberth, Adam Fischer, Peter > > Schneider, & many others), Buenos Aires (2 sets Wallberg & Erich > > Kleiber), Graz (Klobucar), Karlsruhe, Vienna Symphony (Moralt), etc. > > To say nothing of the first complete "Ring" recording (Decca 1958 - > 1965) > with Solti/VPO/Nilsson/Windgassen/Crespin/Hotter etc. The Long Call is > played superbly by Roland Berger. > > Cheers, > > Graeme Evans > (Principal Horn, Melbourne Symphony Orchestra) > +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) > E-mail: [EMAIL PROTECTED] > > > ___ > 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/graev%40comcen.com.au > > ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Siegfried and Long Call at the Met
The Met's 2004 final Ring Cycle performance of Siegfried will be tomorrow ( Thursday May 6 at 6pm) . Joe Anderer's "long call" is fantastic. His service as Co-Principal this season has garnered much positive press and acclaim. He is truly a gifted musician with chops of steel on top of his obvious musical talents, he is simply a great guy. It has been a joy and challenge to play Assistant Principal on this production of Siegfried, particularly with the Met's Resalka ( third horn) being on the agenda tonight, followed by Siegfried tomorrow. With Joe teaching at NYU and Julie Landsman teaching at Juilliard, young hornists considering musical education in NYC have two great Met hornists as possible professors. There is a distinct advantage to having an Opera Orchestra horn player as an instructor. The development of a lyrical style is enhanced, as is technique and stamina. Julie and Joe work wonders with their horn students. It was my good fortune to study with Julie for the DMA and MM degrees at Juilliard, and I find myself thinking of her advice almost daily, particularly about Carmine Caruso. If you're in the NYC area, try and grab a ticket to the final Siegfriend tomorrow. You will be delighted by Wagner's music and Joe's long call My best, John John David Smith, DMA Horn [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] The Long Call
Well... I just discovered a simpler Long Call... just play the Short Call really, really, really s l o w l y. ;-) Bob Dickow University of Idaho ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] seigfried's long call
My fault, indeed. Thinking of so many recordings (I have some 25 RING sets here) I forgot the most important, perhaps. For me it is the most important. But Graeme, it was not the first recording of the complete RING. Moralt´s RING in Vienna & the RING with Furtwaengler were around 1951. Both were productions, but one act as a one piece session & public concert always. The 1937 RING of the MET is probably the oldest on record, but it was live recorded. The SOLTI Ring is the first ever with the "Schnipsel Techique" (= takes & cuts & takes & cuts again, but with superb result). There was no audience. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Graeme Evans Sent: Wednesday, May 05, 2004 10:32 AM To: The Horn List Subject: Re: [Hornlist] seigfried's long call Hans Pizka wrote: > There are numerous recordings of the RING on the market: > > Metropolitan Opera New York (Levine), Berlin Philharmonic (von Karajan), > Dresden (Janovski), Bayreuth (Kempe, Keilberth, Adam Fischer, Peter > Schneider, & many others), Buenos Aires (2 sets Wallberg & Erich > Kleiber), Graz (Klobucar), Karlsruhe, Vienna Symphony (Moralt), etc. To say nothing of the first complete "Ring" recording (Decca 1958 - 1965) with Solti/VPO/Nilsson/Windgassen/Crespin/Hotter etc. The Long Call is played superbly by Roland Berger. Cheers, Graeme Evans (Principal Horn, Melbourne Symphony Orchestra) +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) E-mail: [EMAIL PROTECTED] ___ 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] tuning the horn
> My new teacher said that it is not neccesary to pull > out valve slides for new horn at all(only the main > tuning slide should be adjusted). He said that i > should adapt myself to horn, not the horn for myself.. You've had plenty of other people point out the idiocy of that advice, and suggest how far the tuning slides should be pulled out. (But do check with your teacher if that is *really* what he said.) I'll just add an anecdote from a recent orchestral course I was on. One of the other horn players who had started learning as an adult was playing with all the valve slides pushed all the way in. Of course, almost everything he played was horribly sharp. He was trying to compensate (not all that successfully) and in doing so, was clenching his throat a lot when playing in the higher register, which meant that not only was he playing out of tune, but also his tone sounded strangled and he was cracking a lot of notes through trying to lip them down. I left it a day or two (I was new to that orchestra and didn't want to put people's noses out of joint), and then quietly suggested that the tuning slides were causing him problems, and described what I saw of his throat and why it was happening. He had had no idea what he was doing wrong. With his agreement, I adjusted the valve slides on both F & Bb sides to a better position. I then suggested that he make a conscious effort to avoid tightening his throat, and provide more support from the diaphragm especially on higher notes. The improvement in tuning and reduction in cracked notes was immediate & dramatic. The tone quality also improved noticably right away, and got better still as the week went on, as he gained in confidence that he could centre notes and still have them sound in tune. He noticed the difference in tone as well. Later, he asked for suggestions for exercises that would help him improve further. I suggested long notes and slurring exercises pitched generally in the upper half of the treble clef, played slowly enough to allow him to concentrate on tone quality and the relaxation of his throat. He also said he thought he would get some additional lessons, and wondered about getting a new horn. He'd seen my Alex 103 and decided he liked the tone I made from it. I suggested that he invest first in the lessons and get the best he could out of his existing horn, and then think about an upgrade if he still thought it necessary. Regards Jonathan West ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] seigfried's long call
Hans Pizka wrote: > There are numerous recordings of the RING on the market: > > Metropolitan Opera New York (Levine), Berlin Philharmonic (von Karajan), > Dresden (Janovski), Bayreuth (Kempe, Keilberth, Adam Fischer, Peter > Schneider, & many others), Buenos Aires (2 sets Wallberg & Erich > Kleiber), Graz (Klobucar), Karlsruhe, Vienna Symphony (Moralt), etc. To say nothing of the first complete "Ring" recording (Decca 1958 - 1965) with Solti/VPO/Nilsson/Windgassen/Crespin/Hotter etc. The Long Call is played superbly by Roland Berger. Cheers, Graeme Evans (Principal Horn, Melbourne Symphony Orchestra) +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) E-mail: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
