RE: [Hornlist] Re: fixed bell and airlines

[hans]

If you expect trouble when checking in for your flight, you
can prevent this by informing the airline in advance, that
you have to carry your valuable musical instrument on board.
That is official and it works.

=== 

-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of arsmiley
Sent: Tuesday, March 22, 2005 4:45 AM
To: 'The Horn List'
Subject: RE: [Hornlist] Re: fixed bell and airlines

Do any traveling professionals board airplanes with only
back-up or alternate horns that pack conveniently?  I'd
imagine someone who owns a horn that is either irreplaceable
or simply darned 
expensive might find a more common horn acceptable for the
occasional TDY.   One of these could 
still be insured, and if lost, stolen, or mangled would be
much less of a loss to the owner.

-Original Message-
From:   Chris Tedesco [SMTP:[EMAIL PROTECTED]
Sent:   Monday, March 21, 2005 9:38 PM
To: The Horn List
Subject:Re: [Hornlist] Re:  fixed bell and airlines

Regarding the TSA letter.  When I was confronted with my
horn by a certain overly sassy stewardess, she said "Well,
we don't have time to check on that, so just get on the
plane".  I had an earful, but my horn was safe.

The better method is to humbly ask to put the horn in the
crew's locker because you "didn't know" it wouldn't fit and
it's too valuable and fragile to check.
When I did this, I also made sure I was the last person on
the plane, so I wouldn't hold up everyone else.

The way I see it, my horn is the single most expensive thing
I own, (including my car), so under no circumstances will I
allow it to be checked under the plane.  Make up any excuse
to keep that horn from being mangled by the airlines.


Chris
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RE: [Hornlist] RE: Music for horn and (selected instrument here)

[hans]

Why not visiting my site at:

www.pizka.de/Pizka-music.htm

And find a lot of pieces for wind trio, piano/violin/horn
trios etc.

All is divided into several categories. Do not forget
looking at KaWe  and WM categories or just Chamber Music.


=== 

-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Paul Manly
Sent: Tuesday, March 22, 2005 1:51 AM
To: The Horn List
Subject: Re: [Hornlist] RE: Music for horn and (selected
instrument here)

Some suggestions for your group:
Consider alternate arrangements - i.e. can you transpose
trombone/cello parts?  Violin/flute parts are usually
interchangeable, as well as trumpet/clarinet (as long as
they are not in extreme ranges).
- Original Message -
From: "Clarke, David E SWF"
<[EMAIL PROTECTED]>
To: 
Sent: Monday, March 21, 2005 1:18 PM
Subject: [Hornlist] RE: Music for horn and (selected
instrument here)


Help.  I'm looking for a music database that lists music for
ensemble of horn and various other instruments other than
the typical wind quintet, etc.
I've looked at Thompson, King, Southern Music, and JW Pepper
and haven't found a database that you could type in a
specific combination of instruments and get a list of pieces
written for that combo.

For those that are curious, I'm looking for music that would
fit various situations such as my family reunion where we
could have oboe, bassoon, and horn.  Or a church group
consisting of horn, violin, and piano.  Or a social group
including horn, cello, piano, and soprano voice.

If any of you want to reply with specific recommendations
please be aware that the music would need to be no more than
a moderate level of diffuculty (good high school or early
college level).

Thanks,
David Clarke

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Re: [Hornlist] Custom VS. Non Custom Yams

[Weshatch]

 
In a message dated 3/21/2005 9:46:31 P.M. Central Standard Time,  
[EMAIL PROTECTED] writes:

In all  due respect, while the non-custom Yamahas IMHO are good horns, they
don't  really compare to the custom models.  And I would think most people  
would
agree.  Moreover, the consistency on their custom models are  pretty tight. 
Having owned an 863, a 668V, now a 667V, and having played  my undergrad
studio's 881 descant extensively, I found that different horns  of the same
model were very very close to identical.  (Yes there were  two 863's in the 
same
room!  One now is played by a freshman at UW  Madison who placed first in 
their
fall orchestra auditions!)   

Does anyone else notice a $2,000 difference in the custom  models?




I recently did a conversion on a YHR 667. I installed a one-piece Sandner  
bell and my leadpipe. The horn plays and sounds great. 
 
Wes
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RE: [Hornlist] Valve cleaning

[Joe]

An interesting sidebar to the acid bath valve cleaning discussion is the
question of whether corrosion is the actual cause of your horn's sluggish
valves.  Quite frequently, the cause of hang-ups and sluggishness,
particularly in public school instruments, is misaligned slides that are
putting some sort of irregular pressure on the ports of the rotor.

A good analogy is holding an aluminum soft drink can and pressing in with
your fingers.  In the same way you can feel indentations forming in the can,
excess pressure on valve slide can cause minute indentations in the rotor
casing that causes binding to occur.  I worked in a repair shop as an
apprentice for several summers, and it is astounding how many directors
would send us a horn asking for a chem clean, when the true problem was
misaligned slides.  This problem is even more apparent in piston valve
instruments like trumpets.  The same situation is a very common cause of
sticky slides.  If a slide tends to get stuck even with slide grease
applied, the problem is most like one of alignment.

This is the primary reason it is best to have you horn checked out by a
technician.  The misalignments are usually too minute to see, but a trained
technician can find and realign these problems.  It is also a very good
reason to instill in young students the importance of caring for their
instruments and preventing dents and dings.  These type of repairs can be
time consuming and costly.

Hope that helps,

Joe Kaluza
Student, Moores School of Music
University of Houston



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Re: [Hornlist] Custom VS. Non Custom Yams

[Fred Baucom]

I've played very few Yamaha student horns, but can say that the 862 custom 
Kruspe copy I played on for 5 - 6 years was a great hornsuperior to the 
student horns I've tried.  On the other hand, when I sold this horn to a 
well known horn artist/repairman from the Chicago area, he told me that 
862's varied from horrendous to extremely good.  So I guess a person could 
take either Bill's or Chris' point of view

Fred
- Original Message - 
From: "Chris Tedesco" <[EMAIL PROTECTED]>
To: "The Horn List" 
Sent: Monday, March 21, 2005 7:45 PM
Subject: Re: [Hornlist] Custom VS. Non Custom Yams


In all due respect, while the non-custom Yamahas IMHO are good horns, they
don't really compare to the custom models.  And I would think most people 
would
agree.  Moreover, the consistency on their custom models are pretty tight.
Having owned an 863, a 668V, now a 667V, and having played my undergrad
studio's 881 descant extensively, I found that different horns of the same
model were very very close to identical.  (Yes there were two 863's in the 
same
room!  One now is played by a freshman at UW Madison who placed first in 
their
fall orchestra auditions!)

Does anyone else notice a $2,000 difference in the custom models?
Chris
--- [EMAIL PROTECTED] wrote:
In a message dated 3/18/2005 8:59:42 AM Pacific Standard Time,
[EMAIL PROTECTED] writes:
> And why is it that horns that are hand made are preferred by 
> professionals
> over
> those put together with more automated processes?  Surely not simply
because
>
> they are hand made.
>

I suppose I'm cursed because my love of engineering seems to carry over 
to my

avocations.  Not only do I do brass restorations, I also build and 
restore
stringed instruments, classical and 'popular.'  I'm just finishing a 
design
for
a new concept of electric bass, tuned to low B, four strings, but with a 
40"
scale.  I've had to design a graphite box beam structure to allow for 
such a
long neck supported only at the end of the fingerboard.  'Experts' have 
tried
to
convince me it can't be done, but my finite element analysis indicates 
that
my latest design has plenty of margin.  I'm always being thrown problems 
that

are deemed 'impossible.'  When I find a simple solution, I'm always told, 
"I
could have figured that out."

Your comment that 'professionals' always prefer handmade horns fall in 
line
with what I refer to as philosophy of The Emperor Suit Company.  Clearly, 
the

Chinese horns are hand made, but not preferred by professionals.  More to 
the

point, Yamaha has for some time offered identical instruments in either a
student form, or as a hand made custom series.  At every opportunity, I
compare one
to the other.  The student horns are uniformly good.  The hand made 
versions
can be as good as the student horns, but rarely are.  Often, I run into
students who have gotten the horn like the custom horn their teacher 
plays.
When I
point out that the student horns are more apt to be better, they agree 
they
like theirs better, but the teacher says they just aren't ready for a
professional horn.

Recently someone sent me a Chambers model horn that felt good to play, 
but it

sounded funny.  The places he took it to invariably said it needed a 
complete

valve job at a price more than it would be worth, since it was an Abilene
horn.  When it showed up, it sounded a bit like a bagpipe with a bad 
chanter
at
about 1000 Hertz.  My son and I put our acoustics expertise to work and 
came
up
with a theory that allowed me to fix the horn quite easily.  A ten second
inspection ruled out the valves.  Doing a valve job on this horn would 
have
been
grand larceny.  With the expertise of Brass Arts, I'd be curious what you
would look for.  The giveaway is in the bagpipey sound.

>From what I understand, Herr Schmid is not only extremely knowledgeable, 
>he
is also very open with sharing his expertise.  I've been told by people 
who
know him that he and I could probably spend hours swapping stories that 
would

bore most people silly.
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Re: [Hornlist] The best music I know, I learned from my friends

[Chris Tedesco]

One piece that should get more exposure than it does is the Berg Horn-Lokk. 
It's unaccompanied and recorded ridiculously well by Froydis.  

Others that come to mind immediately, while I would say are not obscure, but
are often overlooked or overshadowed.  En Foret is super-standard in the horn
rep and is very challenging, but I always thought Sur Le Cimes was much harder,
but a lot of players I know aren't familiar with the piece.  The only recording
I know of is that by Peter Damm.  On Bill Barnewitz's functionlust CD, I really
like the Donizetti "Dirti Addio".  It's super super sleazy, and his use of
vibrato is very "tasty" as my teacher put it.  


One of the few interesting things I did in my weekly performance major
masterlcass in undergrad was a class called "The best music I know is what I
learned from my friends"  Our professor talked about how he and his friends
would drinking pink champagne and watch the Rockford Files and then each week
someone would play a piece they liked.  For our class, he gave us a survey
asking about the five best or most important pieces for your instrument, and
then a larger portion asking about different favorites or things like "what do
you htink is the most beautiful piece of music you know" or "if you met an
alien what music would you give them"  It was pretty interesting.  

You could tell a lot from the results.  It wasn't a coincidence that the better
musicians had a much larger range of music listed and the lesser musicians
listed terrible and vapid music.  

--- Kyle <[EMAIL PROTECTED]> wrote:
> Hey all!  In the interests of sharing pet pieces and expanding everyone's
> repertoire, I thought it would be fun to have a thread where everyone lists
> favorite pieces they're familiar with that they think are great compositions
> but are underrepresented and not widely known amongst hornists.  In
> particular I was thinking of pieces written for horn and piano, but of course
> solo horn pieces, concertos, and anything else is great as well.  I am always
> looking for really outstanding pieces to work on that I don't have to worry
> about my studio peers also playing =)
> 
> I'll go first: an absolutely outstanding piece that completely deserves to be
> in the mainstream repertoire but isn't is Jane Vignery's 1942 Sonata for Horn
> and Piano, Op. 7.  An excellent recording is available at
> http://www.linfoulk.org for those interested.  I asked this question to Erik
> Ralske when the NY Philharmonic passed through town last month and his answer
> was Gounod's Six Melodies for Horn and Piano (James Sommerville on Marquis
> Classics).  He also mentioned that he doesn't understand why Reinecke's trio
> for clarinet, horn, and piano doesn't get the exposure it deserves while his
> trio for oboe, horn, and piano does.  So let's hear it, everyone!
> 
> Looking forward to replies,
> Kyle
> 
> 
> P.S.  I'm probably making a last-minute substitution in my recital and now
> I'm playing Bozza's En Irlande.  I know absolutely no outside information
> about the piece and can't even find a recording on amazon.com (although I
> know there's one on Robin Dauer's French music recital CD but I don't have
> access to that) so if anyone can tell me anything about the piece
> specifically that would be good for program notes, please let me know in a
> post or off-list.  Thanks!
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RE: [Hornlist] Re: fixed bell and airlines

[arsmiley]

Do any traveling professionals board airplanes with only back-up or alternate 
horns that pack 
conveniently?  I'd imagine someone who owns a horn that is either irreplaceable 
or simply darned 
expensive might find a more common horn acceptable for the occasional TDY.   
One of these could 
still be insured, and if lost, stolen, or mangled would be much less of a loss 
to the owner.

-Original Message-
From:   Chris Tedesco [SMTP:[EMAIL PROTECTED]
Sent:   Monday, March 21, 2005 9:38 PM
To: The Horn List
Subject:Re: [Hornlist] Re:  fixed bell and airlines

Regarding the TSA letter.  When I was confronted with my horn by a certain
overly sassy stewardess, she said "Well, we don't have time to check on that,
so just get on the plane".  I had an earful, but my horn was safe.

The better method is to humbly ask to put the horn in the crew's locker because
you "didn't know" it wouldn't fit and it's too valuable and fragile to check.
When I did this, I also made sure I was the last person on the plane, so I
wouldn't hold up everyone else.

The way I see it, my horn is the single most expensive thing I own, (including
my car), so under no circumstances will I allow it to be checked under the
plane.  Make up any excuse to keep that horn from being mangled by the
airlines.


Chris
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Re: [Hornlist] Custom VS. Non Custom Yams

[Chris Tedesco]

In all due respect, while the non-custom Yamahas IMHO are good horns, they
don't really compare to the custom models.  And I would think most people would
agree.  Moreover, the consistency on their custom models are pretty tight. 
Having owned an 863, a 668V, now a 667V, and having played my undergrad
studio's 881 descant extensively, I found that different horns of the same
model were very very close to identical.  (Yes there were two 863's in the same
room!  One now is played by a freshman at UW Madison who placed first in their
fall orchestra auditions!)  

Does anyone else notice a $2,000 difference in the custom models?

Chris


--- [EMAIL PROTECTED] wrote:
> In a message dated 3/18/2005 8:59:42 AM Pacific Standard Time, 
> [EMAIL PROTECTED] writes:
> 
> 
> > And why is it that horns that are hand made are preferred by professionals 
> > over 
> > those put together with more automated processes?  Surely not simply
> because 
> > 
> > they are hand made.
> > 
> 
> I suppose I'm cursed because my love of engineering seems to carry over to my
> 
> avocations.  Not only do I do brass restorations, I also build and restore 
> stringed instruments, classical and 'popular.'  I'm just finishing a design
> for 
> a new concept of electric bass, tuned to low B, four strings, but with a 40" 
> scale.  I've had to design a graphite box beam structure to allow for such a 
> long neck supported only at the end of the fingerboard.  'Experts' have tried
> to 
> convince me it can't be done, but my finite element analysis indicates that 
> my latest design has plenty of margin.  I'm always being thrown problems that
> 
> are deemed 'impossible.'  When I find a simple solution, I'm always told, "I 
> could have figured that out."
> 
> Your comment that 'professionals' always prefer handmade horns fall in line 
> with what I refer to as philosophy of The Emperor Suit Company.  Clearly, the
> 
> Chinese horns are hand made, but not preferred by professionals.  More to the
> 
> point, Yamaha has for some time offered identical instruments in either a 
> student form, or as a hand made custom series.  At every opportunity, I
> compare one 
> to the other.  The student horns are uniformly good.  The hand made versions 
> can be as good as the student horns, but rarely are.  Often, I run into 
> students who have gotten the horn like the custom horn their teacher plays. 
> When I 
> point out that the student horns are more apt to be better, they agree they 
> like theirs better, but the teacher says they just aren't ready for a 
> professional horn.
> 
> Recently someone sent me a Chambers model horn that felt good to play, but it
> 
> sounded funny.  The places he took it to invariably said it needed a complete
> 
> valve job at a price more than it would be worth, since it was an Abilene 
> horn.  When it showed up, it sounded a bit like a bagpipe with a bad chanter
> at 
> about 1000 Hertz.  My son and I put our acoustics expertise to work and came
> up 
> with a theory that allowed me to fix the horn quite easily.  A ten second 
> inspection ruled out the valves.  Doing a valve job on this horn would have
> been 
> grand larceny.  With the expertise of Brass Arts, I'd be curious what you 
> would look for.  The giveaway is in the bagpipey sound.
> 
> >From what I understand, Herr Schmid is not only extremely knowledgeable, he 
> is also very open with sharing his expertise.  I've been told by people who 
> know him that he and I could probably spend hours swapping stories that would
> 
> bore most people silly.
> ___
> post: horn@music.memphis.edu
> unsubscribe or set options at
> http://music.memphis.edu/mailman/options/horn/tedesccj%40yahoo.com
> 



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Re: [Hornlist] Vienna horns

[Klaus Bjerre]

> From: Chris Tedesco <[EMAIL PROTECTED]>

> 
> the VPO did a US tour I believe two years ago.  I saw them do Schubert 4(I
> think) and New World in Severance Hall.  It wasn't a clean concert for the
> horn
> section, but they sounded fantastic.  The principal used a single (high) F
> horn
> for a couple passages in new world.  It's interesting that they would prefer a
> single high F over what wouldn't be a challenge to them on the B side of a
> double..

As I remember it, Paxman's first descant double model was a low F - high f
version. 

Somehow some players aren't attracted to the Bb concept at all. My guess is
that local cultural traditions are very important. In my opinion we should
applaud the VPO for holding their fortress despite all foreign
second-guessing on their deviations from "common sense has it, that.."

Klaus

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Re: [Hornlist] Re: fixed bell and airlines

[Chris Tedesco]

Some people notice a difference in the sound, good or bad.  For those who think
it's not as good as a cut bwll, I suppose to them that's the downside. 
Personally, I'm not sure.  I had a 668V cut and it played BETTER.  The ring
rounded out the metal a bit, so maybe that's why.  

When you have such work done on your horn, you always run a risk of not liking
the result.  Having said that, I'd have no qualms int he future of having the
bell on a horn of mine cut by a seasoned professional.  The travelling benefits
to me are very important.

Chris
--- [EMAIL PROTECTED] wrote:
> Is there any downside to a screw -bell?  What about having a fixed bell 
> converted to screw on? Any downside to that?
> ___
> post: horn@music.memphis.edu
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RE: [Hornlist] Vienna horns

[Chris Tedesco]

the VPO did a US tour I believe two years ago.  I saw them do Schubert 4(I
think) and New World in Severance Hall.  It wasn't a clean concert for the horn
section, but they sounded fantastic.  The principal used a single (high) F horn
for a couple passages in new world.  It's interesting that they would prefer a
single high F over what wouldn't be a challenge to them on the B side of a
double..

Chris
--- Steve Freides <[EMAIL PROTECTED]> wrote:
> That's a shame, Hans - I would love to see them.
> 
> Is there a European concert schedule?  I see nothing about upcoming concerts
> on the group's web site.
> 
> -S-
> 
> > -Original Message-
> > From: 
> > [EMAIL PROTECTED] 
> > [mailto:[EMAIL PROTECTED]
> > du] On Behalf Of [EMAIL PROTECTED]
> > Sent: Tuesday, March 15, 2005 3:27 PM
> > To: 'The Horn List'
> > Subject: RE: [Hornlist] Vienna horns
> > 
> > As this group includes two of the principals (one is actually 
> > under contract as 2nd horn (no vacancy on 1st) but plays 1st 
> > on many occasions (for me the greatest talent), it would be 
> > most difficult to get off their duties for more than a week. 
> > What is a week ? Does it allow enough concerts on the other 
> > side of the Atlantic to cover the travel expenses at least ?  
> > Surely not. And they make a living by playing the horn, so 
> > they must earn hard cash then. For me it seems impossible. 12 
> > airtickets, 13 single hotel rooms for 6 nights, travel inside 
> > USA, advertissement, rent of the hall, organisation, how many 
> > tickets might be sold  ...
> > Calculate all & find it impossible.
> > 
> > As most of the members of this group do not belong to the 
> > Vienna Phil, they could not be with the two first horns, if 
> > they go to the USA with the VPO. VPO would not hire them as 
> > they have their own horn players. They might hire one or two 
> > in extreme cases (I was with them on 3rd for Bruckner no.8 in 
> > Carnegie Hall, Solti conducting, Heitzinger was also with them then).
> > 
> > 
> > =
> > -Original Message-
> > From: [EMAIL PROTECTED]
> > [mailto:[EMAIL PROTECTED] On 
> > Behalf Of Steve Freides
> > Sent: Tuesday, March 15, 2005 8:48 PM
> > To: 'The Horn List'
> > Subject: RE: [Hornlist] Vienna horns
> > 
> > Does this group have any US performances in the near future?
> > The sound samples on the web site are, to my ears, just wonderful.
> > 
> > -S- 
> > 
> > > -Original Message-
> > > From: 
> > > [EMAIL PROTECTED]
> > >
> > [mailto:[EMAIL PROTECTED]
> > .e
> > > du] On Behalf Of Papierniak, Mike
> > > Sent: Tuesday, March 15, 2005 2:32 PM
> > > To: horn@music.memphis.edu
> > > Subject: [Hornlist] Vienna horns
> > > 
> > > Mr. Thomas Joebstl was kind enough to bring a supply of
> > the new CD 
> > > "vienna horns" to New York for the Vienna Philharmonic
> > concerts.  The 
> > > purpose is to make this fantastic CD more readily
> > available to horn 
> > > players in the United States.
> > > Please contact me off list if you would like to purchase
> > the CD.  I 
> > > also have a few of the "Lebenszeichen" CD for purchase as
> > well.
> > > 
> > >  
> > > 
> > > Check out the Vienna Horns website, www.viennahorns.com 
> > >   to see more about the CD.
> > > 
> > >  
> > > 
> > > Michael Papierniak [EMAIL PROTECTED]
> > > 
> > > ___
> > > post: horn@music.memphis.edu
> > > unsubscribe or set options at
> > >
> > http://music.memphis.edu/mailman/options/horn/steve%40friday
> > sc
> > omputer.com
> > > 
> > 
> > ___
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> > unsubscribe or set options at
> > http://music.memphis.edu/mailman/options/horn/hans%40pizka.d
> > e
> > 
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Re: [Hornlist] Re: fixed bell and airlines

[Chris Tedesco]

Regarding the TSA letter.  When I was confronted with my horn by a certain
overly sassy stewardess, she said "Well, we don't have time to check on that,
so just get on the plane".  I had an earful, but my horn was safe.  

The better method is to humbly ask to put the horn in the crew's locker because
you "didn't know" it wouldn't fit and it's too valuable and fragile to check. 
When I did this, I also made sure I was the last person on the plane, so I
wouldn't hold up everyone else.  

The way I see it, my horn is the single most expensive thing I own, (including
my car), so under no circumstances will I allow it to be checked under the
plane.  Make up any excuse to keep that horn from being mangled by the
airlines.  


Chris
--- Carlberg Jones <[EMAIL PROTECTED]> wrote:
> 
> At 4:25 PM -0600 3/14/05, [EMAIL PROTECTED] wrote:
> >The "AFM letter" only details what the TSA must allow through its
> >screening process.  It does NOT mandate that the airlines allow you to
> >carry the instrument on-board.
> 
> 
> Hi, Ron -
> 
> 
> The TSA letter doesn't seem to limit itself to AFM members. I have use it
> several times, but generally haven't needed to do so.
> 
> The TSA letter dated January 17, 2003 says, in part, "On December 20, 2002,
> TSA instructed aircraft operators that effective immediately, they are to
> allow musical instruments as carry-on baggage in addition to the limit of
> one bag and one personal item per person as carry-on baggage on an
> aircraft."
> 
> For me, the only place I've needed to be careful is on entering the plane
> itself, nowhere else. And, as has been said, a smile and a polite request
> have always netted a place for my horn in a closet.
> 
> 
> Regards,
> 
> Carlberg
> 
> P.S. If anyone wants a PDF file of that letter, just let me know.
> 
> Carlberg Jones
> Guanajuato, Gto.
> MEXICO
> 
> 
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Re: [Hornlist] RE: Music for horn and (selected instrument here)

[Paul Manly]

Some suggestions for your group:
Consider alternate arrangements - i.e. can you transpose trombone/cello
parts?  Violin/flute parts are usually interchangeable, as well as
trumpet/clarinet (as long as they are not in extreme ranges).
- Original Message -
From: "Clarke, David E SWF" <[EMAIL PROTECTED]>
To: 
Sent: Monday, March 21, 2005 1:18 PM
Subject: [Hornlist] RE: Music for horn and (selected instrument here)


Help.  I'm looking for a music database that lists music for ensemble of
horn and various other instruments other than the typical wind quintet, etc.
I've looked at Thompson, King, Southern Music, and JW Pepper and haven't
found a database that you could type in a specific combination of
instruments
and get a list of pieces written for that combo.

For those that are curious, I'm looking for music that would fit various
situations such as my family reunion where we could have oboe, bassoon, and
horn.  Or a church group consisting of horn, violin, and piano.  Or a social
group including horn, cello, piano, and soprano voice.

If any of you want to reply with specific recommendations please be aware
that the music would need to be no more than a moderate level of diffuculty
(good high school or early college level).

Thanks,
David Clarke

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Re: [Hornlist] IHS

[Chris Tedesco]

Email the webmaster or designer and they can pass along the info for the
entries.  I did that and they were happy to oblige.  I bet that Schmid is sold
though :)  For 5 grand...


Chris
--- "Hunt,Thomas" <[EMAIL PROTECTED]> wrote:
> There is quite a long list of used horns at the IHS site.  I get a message
> that the page is down, when I click on any of them.  Anybody know if these
> kinds of thigs are short-term, or maybe it's already been down a long time
> and isnt coming up any time soon.
> 
> tom in iowa
> 
> btw cara sawyer, do you still subscribe to this list?  be in touch!
> 
> 
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Re: [Hornlist] Seiber Notturno

[PMJILKA]

That particular recording of Dennis Brain performing Seiber's Notturno was 
released on CD in 1991 by ASdisc (AS356), an Italian company.   So, I don't 
know 
if this qualifies an "official" CD release.

The disc, though, does contain some other interesting items including 
Hindemith's Sonata for Four Horns, and a recording Strauss's   2nd Horn 
Concerto from 
1951 with the BBC Welsh Orchestra.

Pete Jilka
Kansas City, MO 
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[Hornlist] Seiber Notturno

[William Melton]

I once heard
Barry Tuckwell perform Matyas Seiber's Notturno for
horn and strings.  This is a gorgeous, brooding work
that I believe was written for Dennis Brain.  I know of
no recordings of it.
I second Eric's recommendation of the Seiber.  The BBC recorded Brain 
playing the Notturno (on July 29, 1955, with Basil Cameron and the LSO 
strings), and judging by a tape that I was given years ago, both 
performance and sonics justify a CD issue.

Bill Melton
Hauset (B) / Sinfonie Orchester Aachen (D,  where we're ringing in 
spring with strange bedfellows this week -- Schumann's First Symphony 
and Stravinsky's Sacre)

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[Hornlist] RE: Music for horn and (selected instrument here)

[Clarke, David E SWF]

 Help.  I'm looking for a music database that lists music for ensemble of
horn and various other instruments other than the typical wind quintet, etc.
I've looked at Thompson, King, Southern Music, and JW Pepper and haven't
found a database that you could type in a specific combination of instruments
and get a list of pieces written for that combo.

For those that are curious, I'm looking for music that would fit various
situations such as my family reunion where we could have oboe, bassoon, and
horn.  Or a church group consisting of horn, violin, and piano.  Or a social
group including horn, cello, piano, and soprano voice.

If any of you want to reply with specific recommendations please be aware
that the music would need to be no more than a moderate level of diffuculty
(good high school or early college level).

Thanks,
David Clarke

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Re: [Hornlist] Dennis Brain - horn position

[Daniel Canarutto]

I find that position to be better also from an ergonomical (is this 
an English word?) point of view, because the posture is more 
symmetric than the more or less standard one (though of course still 
asymmetric). You keep your arms at the same height.

Daniel
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RE: [Hornlist] Favorite obscure pieces for horn

[David B. Thompson]

Hans Pizka wrote:
>The Schoeck is out of print & the Schoeck Society is
>preparing a new edition. That´s the reason.

That the Schoeck is out of print is a common misconception, though it has
become a special-order item and so is not generally to be found in retail
shops.

We send out a copy of that work every couple of weeks, and normally have it
in stock for immediate shipment.  You can find that at:

http://www.thompsonedition.com/schoeck.htm


David B. Thompson, President
Thompson Edition, Inc.

http://www.thompsonedition.com


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RE: [Hornlist] Schoeck

[McBeth, Amy J]

I remembered a recording of Brain and the Schoeck concerto.  Here's what I 
found.

amy

Othmar Schoeck - Concertos for Horn & Violin
Schoeck:
 Concerto quasi una fantasia for violin & orchestra in B flat major Op 21

Stefi Geyer (violin)

Tonhalle Orchestra Zurich, Volkmar Andreae
 
  Concerto for horn & orchestra Op 65

Dennis Brain (horn)

Collegium Musicum Zurich, Paul Sacher
 
Recorded 1947 & 1956
 
Jecklin - JD7152

(CD)

£12.99 (£11.06 ex. VAT)
 
  

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RE: [Hornlist] Favorite obscure pieces for horn

[hans]

The Schoeck is out of print & the Schoeck Society is
preparing a new edition. That´s the reason. 

-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of [EMAIL PROTECTED]
Sent: Monday, March 21, 2005 3:14 PM
To: horn@music.memphis.edu
Subject: Re: [Hornlist] Favorite obscure pieces for horn

I've often wondered why Othmar Schoeck's Concerto isn't
played more.  It's a delightful work.  I once heard Barry
Tuckwell perform Matyas Seiber's Notturno for horn and
strings.  This is a gorgeous, brooding work that I believe
was written for Dennis Brain.  I know of no recordings of
it.  I've mentioned before Nicholas Maw's Sonata for two
horns and strings.  Also, someone mentioned David Gwilt's
horn sonata.  He also wrote a fine Sonata for 8 horns which
is  available in manuscript from the Scottish Music Archive

Eric James
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Re: [Hornlist] Favorite obscure pieces for horn

[YATESLAWRENCE]

The Schoeck concerto is beautiful.  The opening bars of the slow  movement 
are wonderful.  I always feel that once that first phrase is over  the rest of 
the movement cannot match it - I would have been happy for the  concerto to end 
there.
 
All the best,
 
Lawrence
 
"þaes  ofereode - þisses swa  maeg"

http://lawrenceyates.co.uk




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[Hornlist] Dennis Brain- Horn position

[Paul Kampen]

Message text written by The Horn List
> Picking up one of those instruments after playing a
double make me think the single is just floating in air.  Those horns are
easy to hold "flat" in the air.
<

Dear Leonard and List

This is perfectly true but, the old BBC players to whom I referred (and
certain other people whom I also knew) were using Alexander 103s at the
time.  In fact two, one belonging to Sydney Coulston and one belonging to
Frank Taylor who was at that time 3rd at the BBC, were reputedly some of
the first four ever brought in to Britain - in the 1930s.

Cheers

Paul A. Kampen (W. Yorks UK)
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Re: [Hornlist] Favorite obscure pieces for horn

[eric_d_james]

I've often wondered why Othmar Schoeck's Concerto isn't
played more.  It's a delightful work.  I once heard
Barry Tuckwell perform Matyas Seiber's Notturno for
horn and strings.  This is a gorgeous, brooding work
that I believe was written for Dennis Brain.  I know of
no recordings of it.  I've mentioned before Nicholas
Maw's Sonata for two horns and strings.  Also, someone
mentioned David Gwilt's horn sonata.  He also wrote a
fine Sonata for 8 horns which is  available in
manuscript from the Scottish Music Archive

Eric James
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