Re: [Hornlist] Knopf family
Hi Tom: I sorted it all out in an article in the February 2004 Horn Call. If you need a copy, via email, contact me off line at: [EMAIL PROTECTED] Both sides of the family made quality horns, with the August Knopf side being a little more experimental (see Morley-Pegge). HF Knopf horns are still being made in Markneukirchen by HF's grandson, Christian Knopf. Edgar Knopf (his cousin) was the last of the August Knopf line and retired in 1998. Richard West Seattle - Original Message - From: Tom Fisher To: horn@music.memphis.edu Sent: Monday, January 02, 2006 3:20 PM Subject: [Hornlist] Knopf family Hi, Can list members help me to work out who is who in the Knopf family? I am aware of August and Herbert Fritz as two distinct makers - and have been told that one make is a budget horn and the other a professional line. Is this so, and if so, which is which - and are there any other Knopfs I don't know about? Tom ___ To help you stay safe and secure online, we've developed the all new Yahoo! Security Centre. http://uk.security.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hornfella%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] The real meaning of Clamsaa
In a message dated 02/01/2006 23:39:40 GMT Standard Time, [EMAIL PROTECTED] writes: You mean you were actually there to see them used to pull people from horse? I never said that. I merely asked if you were aware. All the best, A delightfully young Lawrence "þaes ofereode - þisses swa maeg" _http://lawrenceyates.co.uk_ (http://lawrenceyates.co.uk/) Dulcian Wind Quintet: _http://dulcianwind.co.uk_ (http://dulcianwind.co.uk/) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] The real meaning of Clamsaa
You mean you were actually there to see them used to pull people from horse? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, January 02, 2006 5:30 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] The real meaning of Clamsaa Ah, mention of the sackbutt takes me back to the days when I ran an early music group and delighted in jugs of mead and ale bought by the fixer. Did you know that the sackbut, which later developed(?) into the trombone originated in times of war as a device designed to pull a man from a horse? All the best, Lawrence "þaes ofereode - þisses swa maeg" _http://lawrenceyates.co.uk_ (http://lawrenceyates.co.uk/) Dulcian Wind Quintet: _http://dulcianwind.co.uk_ (http://dulcianwind.co.uk/) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] The real meaning of Clamsaa
Ah, mention of the sackbutt takes me back to the days when I ran an early music group and delighted in jugs of mead and ale bought by the fixer. Did you know that the sackbut, which later developed(?) into the trombone originated in times of war as a device designed to pull a man from a horse? All the best, Lawrence "þaes ofereode - þisses swa maeg" _http://lawrenceyates.co.uk_ (http://lawrenceyates.co.uk/) Dulcian Wind Quintet: _http://dulcianwind.co.uk_ (http://dulcianwind.co.uk/) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Knopf family
Hi, Can list members help me to work out who is who in the Knopf family? I am aware of August and Herbert Fritz as two distinct makers - and have been told that one make is a budget horn and the other a professional line. Is this so, and if so, which is which - and are there any other Knopfs I don't know about? Tom ___ To help you stay safe and secure online, we've developed the all new Yahoo! Security Centre. http://uk.security.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] The real meaning of Clamsaa
Whilst dining and imbibing (Lone Star beer, Thunderbird wine, pickled eggs and 3 kinds of kim chee) with friends during New Clamsaa Day, the real meaning of Clamsaa became bone of contention between the Sachbutts and Posaunes. After the melee had been cleared by the police and ambulance staff, the more refined and unarmed celebrants quickly realized the true meaning of Clamsaa resided in the wisdom of the light weight pamphlet, The Theory of Trickle Down Clamsaanomickx. Some saxophonics honked at this but were out voted. The High Holy Day of Clamsaa is celebrated on April 15 (US only). En Hoyer Veritas --wabotte ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Recent updates to hornplayer.net (2nd January 2006)
Updates to hornplayer.net since 15th December 2005: FRENCH HORNS FOR SALE - New adverts Conn 8D - Full Double - 2200 US $ http://www.hornplayer.net/advert.asp?id=5342 Holton H378 - Full Double - 1400 US $ http://www.hornplayer.net/advert.asp?id=5343 Holton Farkas (180?) - Full Double - 1800 US $ http://www.hornplayer.net/advert.asp?id=5344 Marcus Bonna MB-6 black flight case - Case only - 300 US $ http://www.hornplayer.net/advert.asp?id=5345 Yamaha 667D - Full Double - 4000 US $ http://www.hornplayer.net/advert.asp?id=5347 [Photo] Holton H 179 - Full Double - 1850 US $ http://www.hornplayer.net/advert.asp?id=5349 Bach 1102 - Full Double - 1050 US $ http://www.hornplayer.net/advert.asp?id=5351 [Photo] Alexander 103 - Full Double - 7000 US $ http://www.hornplayer.net/advert.asp?id=5352 Holton 181 - Full Double - 1700 UK sterling http://www.hornplayer.net/advert.asp?id=5353 Conn 10DRS - Full Double - 2500 US $ http://www.hornplayer.net/advert.asp?id=5355 Conn 8D (Elkhart) - Full Double - 900 US $ http://www.hornplayer.net/advert.asp?id=5357 Yamaha 561 - Full Double - 1200 US $ http://www.hornplayer.net/advert.asp?id=5358 [Photo] King H. N. White Schmidt - Full Double - 1100 US $ http://www.hornplayer.net/advert.asp?id=5360 Berg - Leadpipe only - 350 US $ http://www.hornplayer.net/advert.asp?id=5363 -> For a complete list of horns for sale, visit http://www.hornplayer.net/advert.asp -> Signup at http://groups.yahoo.com/group/hpn_new_adverts to get <- -> an email every time a new advert is added to hornplayer.net <- Looking for a professional quality used horn? www.hornsaplenty.com has your next horn New and updated teacher listings: Janet Boyce (USA, TX, Arlington) http://www.hornplayer.net/teachers.asp?rd=675 Novikow Claudine (Belgium, Liege, Liege ) http://www.hornplayer.net/teachers.asp?rd=253 Nancy Weckwerth (USA, CA, Arcadia) http://www.hornplayer.net/teachers.asp?rd=1150 Matt Monroe (USA, IL, Chicago) http://www.hornplayer.net/teachers.asp?rd=2934 Jacquie Rognli (USA, MN, Otsego) http://www.hornplayer.net/teachers.asp?rd=3358 Matthew Haislip (USA, TX, NE Texas) http://www.hornplayer.net/teachers.asp?rd=3894 Kyle Hoyt (USA, OH, Columbus) http://www.hornplayer.net/teachers.asp?rd=4148 Jason Ward (USA, SC, Greenville) http://www.hornplayer.net/teachers.asp?rd=5106 Nicola New (UK, South Devon, Kingsbridge) http://www.hornplayer.net/teachers.asp?rd=5162 James Mosher (USA, MA, Newton) http://www.hornplayer.net/teachers.asp?rd=6492 Marian Hesse (USA, CO, Greeley) http://www.hornplayer.net/teachers.asp?rd=6740 Candace Thomas (USA, MA, Amherst) http://www.hornplayer.net/teachers.asp?rd=6870 Mary Banks (UK, Kent, Bromley) http://www.hornplayer.net/teachers.asp?rd=7547 Carl Wells (Canada, ON, Toronto) http://www.hornplayer.net/teachers.asp?rd=7322 Eric Pullen (USA, AZ, Chandler) http://www.hornplayer.net/teachers.asp?rd=7454 Matthew Beecher (USA, WI, Madison) http://www.hornplayer.net/teachers.asp?rd=9830 Duarte Alves (Portugal, BRAGA, V. N. Famalicao) http://www.hornplayer.net/teachers.asp?rd=9772 Cara Kizer (USA, NY, New York) http://www.hornplayer.net/teachers.asp?rd=9838 -> For a complete list of teachers, visit http://www.hornplayer.net/teachers.asp New and updated section listings: Albany Symphony Orchestra (GA) http://www.hornplayer.net/sections/s4.html Phoenix Symphony Orchestra http://www.hornplayer.net/sections/s133.html San Antonio Symphony http://www.hornplayer.net/sections/s145.html San Francisco Conservatory Orchestra http://www.hornplayer.net/sections/s149.html Toronto SO http://www.hornplayer.net/sections/s235.html Opera Royal de Wallonie http://www.hornplayer.net/sections/s245.html Singapore Youth Orchestra http://www.hornplayer.net/sections/s270.html Israel Philharmonic Orchestra http://www.hornplayer.net/sections/s317.html Aarhus Symphony Orchestra http://www.hornplayer.net/sections/s338.html Farmington Valley Symphony Orchestra http://www.hornplayer.net/sections/s7309.html Greater Miami Symphonic Band http://www.hornplayer.net/sections/s456.html Singapore Armed Forces Band http://www.hornplayer.net/sections/s466.html Pittsburgh Symphony Orchestra http://www.hornplayer.net/sections/s2432.html Rundfunk-Sinfonie-Orchester Frankfurt http://www.hornplayer.net/sections/s561.html USAF Heartland of America Band http://www.hornplayer.net/sections/s924.html Ensemble de Cors du CML http://www.ho
RE: [Hornlist] Casanova Players?
There was a certain motion picture "The stories of Casanova" many , many years ago. It was for adult only, but they had Mozart K.447 as a background music. I could identify the prominent Czech soloist, but do not reveal his identity. Sorry ! Would be interesting to know, why they chose two natural horn players for the picture in the NY Times. Some special sense behind ? Could be, if the responsible author had some insider knowledge, perhaps .,.. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Richard V. West Sent: Monday, January 02, 2006 9:21 PM To: [EMAIL PROTECTED]; The Horn List Subject: [Hornlist] Casanova Players? Hi Listers: Can anyone identify the two natural horn players pictured in today's NY Times article about the use of Baroque music in the new motion picture, "Casanova?" Richard West Seattle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Casanova Players?
Hi Listers: Can anyone identify the two natural horn players pictured in today's NY Times article about the use of Baroque music in the new motion picture, "Casanova?" Richard West Seattle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Marching
Paxmaha said: "When done right it can be smoother than the old style toe-first step. " Well one would hope so. All too often we forget that the most important idea of a marching style is to provide the most energy efficient method of getting from point A to point B. Yes, uniformity is important, and the determining factor in deciding what is "the correct" method in a given ensemble, but if it hinders musical performance, it is useless. Often while teaching marching technique to bands (at least with my own experience) instructors don't emphasize enough the concept of using their chosen marching technique to improve playing ability while on the move. A big part of that is also emphasizing upper body control and aligning the body above a center. Theoretically, it should not matter what the lower half of the body is doing as long as there is control in the upper body, sometimes taught as the "musical vs athletic" halves. (which can be deceiving as the upper body must be quite athletic no matter what kind of playing is being done) This, however, takes time and practice in developing. Also, many directors are more concerned with looking good than understanding that if everyone uses marching to their advantage it will greatly improve sound, as well as uniformity. I guess that concept takes too much patience and understanding for some. A lot of the strange marching styles are kind of like communism. They may seem good on paper, but when put into action they are just not practical or take too much to build the needed muscle support to make the style energy efficient. One must not forget to use the marching as a tool to improve playing ability while moving, not a problem or hindrance that must be overcome. >From what has been described, the most sense I can make out it is that the teacher wants to use somewhat of a "bicycle step" type of marching. In drum corps, which is what a lot of competitive high school marching bands try to imitate, everyone has variations of "precision marching" but they all have the same concept of balance and control. Your particular description makes me think of maybe the Cavaliers (bent knees, but roll step) as opposed to The Cadets (straight leg roll step). Others have said most of this already, so I apologize for redundancy. Maybe try talking to your student to see if she is making it a point to control the upper body, keep good breath control, and keep good body alignment for balance. The 'toes first' method hasn't been used for awhile, as some have said already on here. It isn't all that efficient because why would you set the energy down on the toe, then actually move the direction of energy backwards as the heel is brought down. I guess marching could be explained as sort of a catabolic reaction. The only time that I know of the toe being brought down first is when halting in order to stop the forward energy flow, or to change directions. Anyways, I digress. The only sensible think I could think of to help you is to see if there is any way to improve the efficiency of this style of marching by further understanding the theory behind it. Maybe try talking to the teacher who selected this method, and make sure there is no major idea being omitted in the teaching of this style. If the importance of control and support is not emphasized, no marching technique will seem logical. If there is no way to improve upon the issue, try to get your student to concentrate on better separating the top part of the body (while still keeping alignment of shoulders, hips, head and ankles) from the legs...in other words, keep the top part of the body steady so there is no wiggling or bouncing of arms, shoulders (keeping in mind slides and facing of course) or head. Also, maybe try having your student (depending on how high of a priority this issue is) practice this marching step by breaking it down into small parts. Take a half of a step and hold it while holding the horn in playing position. Then take a whole step and hold it, then a step and a half, so as to understand tracking and subdivisions, as well as improving balance...then two steps and so on. Only then can things like 8-5, 6-5, 12-5, backwards marching 3-5 or anything crazy like that be taught effectively. I just figured I'd try to help a bit, as that's what I would do in hers or your situation. However, I am just a student myself, so take my words with a grain of salt, so to speak. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Marching
This is indeed the current style of corps marching. There are band shoes available that have specially designed heels and soles to faciliate this type of step. When done right it can be smoother than the old style toe-first step. Paxmaha Wendell Rider <[EMAIL PROTECTED]> wrote: OK, in the interests of getting back to the basics, I'm going to pose a question that everyone can chime in on. This seemed silly to me at first, but one of my students, a middle schooler, came in one day and told me her teacher was having them march by bringing the heel down first and rolling to the toe. The teacher actually shows them video tapes of other bands and has pointed out that the other bands are doing it wrong by using the old tried and true method of marching with the toes coming down first, thus lessening the shock. Now am i just hopelessly out of date, is this some new philosophy of marching, or is this teacher just completely nuts? It has had a detrimental effect on my student's playing and has really upset her. Frankly I don't see how they can march this way at all. I would say that It might be that my student just got it wrong, but she has demonstrated exactly how her teacher told her to do it. Sincerely, Wendell Rider For information about my book, "Real World Horn Playing" and the summer seminar, go to my website: www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Yahoo! Photos Ring in the New Year with Photo Calendars. Add photos, events, holidays, whatever. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Marching
Uh, you forgot a few of the Nations best Marching bands... The Big Ten has outstanding Marching Bands... In my opinion, some of the best bands are the University of Michigan and The Ohio State University Marching bands. They have outstanding programs and their bands perform at a very high level musically. Both universities pay very close detail to keeping their big sound. You could also include the big brass sound of the Michigan State Marching Band... I had a colleague in my horn section in college that transferred from Texas A & M. He was not impressed with the musical quality of the Aggie Band...They could march doing what we used to call 6 to 5 as well as any college band in the country... A couple of other bands I enjoy hearing (when one can actually hear the band over the talking heads on TV...The Million dollar Marching Band at the University of Alabama...and the University of Texas Marching Band (just the sheer size of the band, I think at one point they marched over 400 members!) I caught the Texas Band's performance on TV against Michigan in last years Rose Bowl. It was good to hear March Grandioso and to watch them march 6 to 5... A great debate...It's just too bad we can't see the bands on TV except on New Year's day. I hate the fact they've got to show us 5000 angles of how Reggie Bush scored a plunge touchdown Today should be a good day for actually seeing some of the half time shows on TV... Happy New Year everyone. Walt Lewis At 02:02 AM 1/2/2006, you wrote: Ok, now we are choosing sides of college bands? The Aggies have a fine band, but the bands that are generating the best sounds out there are as follows The Florida State Marching Chiefs, The Louisiana State Tiger Band, and The University of Southern California Trojan Band. (No I didn't attend any of these universities ) Happy Thoughts Chris - Original Message - From: "Bill Gross" <[EMAIL PROTECTED]> To: "'The Horn List'" Sent: Sunday, January 01, 2006 8:52 PM Subject: RE: [Hornlist] Marching Speaking from experience with what is undoubtedly the best marching organization, the Texas Aggie Band, it's heels fist just like a person walks. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/cbonner%40swfla.rr.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/wlewis9637%40wowway.com -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.1.371 / Virus Database: 267.14.9/217 - Release Date: 12/30/2005 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.1.371 / Virus Database: 267.14.9/217 - Release Date: 12/30/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: the real meaning of Clamssa?
Herb, we also have to consider (while I am very conservative on one side - musically, but extremely progressive on the other - technically) that our world has changed the last twenty years dramatically, but not to the better allways. Special the music audience has detorriated much. Even here in Munich, last night while playing La Boheme, we can notice, that even our aufdience has no idea when to applaud or how to applaud after an aria. They come in after a very bravura aria with all the schnick-schnack & high notes or very fast notes, and become enthusiastic even orgiastic, but just for not more than very few minutes, even with the best world class singers as we have here. So is the concert audience. They even do not understand, if it was the final movement of the symphony, so they can applaud. I remember when the audience applauded like crazy for twenty minutes in standing ovations after the super long (near six hours) Goetterdaemmerung. Today ? You ask about today ? Well, the applaud is over just when we left the pit, means it took just about two minutes. People seem to be spoiled by all kind of influx & not really enjoying being part of a great performance. They take it like a fast food restaurant dish. Dont understand me wrong - perhaps I do express now just what you also feel -, it is not necessary to celebrate some (holy) music like it were a part of a (holy) mass, but we should do it in a most noble way & not exhibitionistic & selfish. Had a nice conversation with my very young second horn last night, telling him: "Keep in mind, even out of a rather less interesting performance without any challenging horn passage you have to take home something, even a singer phrase which was beautiful, or a certain exciting feeling you got when you hook up with the story. If you cannot do it anymore, you will be lost as a musician & artist & you will have degraded to a mere entertainment worker or music worker, nothing else !" He understood it well & said if he could not do this anymore, he would quit the job & look for another profession. He is right absolutely. But it is not easy to keep this kind of a spirit high, believe me. New Year Concert 2006: It was one of the three or four best New Year Concerts I listened to (von Karajan & Harnoncourt & Kleiber perhaps). Thzey told me they rehearsed very hard with Mariss Jansons, even their most familiar pieces. But the orchestra sounded most NOBLE. It was very different to other years as it was not a fun or joyous concert but a very serious concert with highest spirit & extreme fine playing by all groups. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Herbert Foster Sent: Monday, January 02, 2006 2:11 PM To: [EMAIL PROTECTED]; The Horn List Subject: RE: [Hornlist] Re: the real meaning of Clamssa? Thank you, Hans. You're right, it should be intimate, and I did the best I could without having any "no-speakies." While the piece is serious, one should not be too significant about it. The audience particularly enjoyed the rollicking Finale. The violinist started rather slowly so as not to go beyond his abilities. However, we got caught up in the music and everyone had fun. And that, I maintain, is more important than being serious about it. Herb Foster ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: the real meaning of Clamssa?
Thank you, Hans. You're right, it should be intimate, and I did the best I could without having any "no-speakies." While the piece is serious, one should not be too significant about it. The audience particularly enjoyed the rollicking Finale. The violinist started rather slowly so as not to go beyond his abilities. However, we got caught up in the music and everyone had fun. And that, I maintain, is more important than being serious about it. Herb Foster --- "Prof.Hans Pizka" <[EMAIL PROTECTED]> wrote: > Isn�t the Brahms Trio too serious as to be abused as > background music, even it caught the attention of the people > at the reception ? Didn�t they rather listen out of the > couriosety ? But bravo to you, anyway, that you treated an > unprepared audience with one of the most serious chamber > music pieces ever written ! > > Was the horn so loud as nobody could "talk over the horn in > (the) small room" ? If so, you were not alone with this kind > of interpretation, as most horn players try to play the most > prominent role in this piece. Josef Schantl, who did it in > an anticipated private premiere in Vienna, was one of the > many horn players doing it in that way. But the piece is a > most intimate piece, most intimate, where the horn plays > rather a role like a stringed instrument, except perhaps in > the Scherzo. All should be very light sung. But this is > rather difficult for the majority of orchestra players who > catch up with every short sequence of notes which looks like > a solo. Not such a bad mistake, but the piece would have > much more success played intimately. Just ideas ! > > Anyway, again gratulations, that you chose this wonderful > piece, even it is most like "pearls before swine", but this > is not your problem. It is the problem of the audience. > __ Yahoo! for Good - Make a difference this year. http://brand.yahoo.com/cybergivingweek2005/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: the real meaning of Clamssa?
Isn´t the Brahms Trio too serious as to be abused as background music, even it caught the attention of the people at the reception ? Didn´t they rather listen out of the couriosety ? But bravo to you, anyway, that you treated an unprepared audience with one of the most serious chamber music pieces ever written ! Was the horn so loud as nobody could "talk over the horn in (the) small room" ? If so, you were not alone with this kind of interpretation, as most horn players try to play the most prominent role in this piece. Josef Schantl, who did it in an anticipated private premiere in Vienna, was one of the many horn players doing it in that way. But the piece is a most intimate piece, most intimate, where the horn plays rather a role like a stringed instrument, except perhaps in the Scherzo. All should be very light sung. But this is rather difficult for the majority of orchestra players who catch up with every short sequence of notes which looks like a solo. Not such a bad mistake, but the piece would have much more success played intimately. Just ideas ! Anyway, again gratulations, that you chose this wonderful piece, even it is most like "pearls before swine", but this is not your problem. It is the problem of the audience. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Herbert Foster Sent: Monday, January 02, 2006 3:35 AM To: The Horn List Subject: Re: [Hornlist] Re: the real meaning of Clamssa? Thank you for pardoning my 2005 clams. I needed that. I have already started on 2006. Today I performed Brahms Horn Trio. There were clams, but more importantly, there was music, too. Not too long ago I could not perform one movement without my chops wearing out. Today I could have gone on much longer. The audience was appreciative. It started out as background music for a reception, but soon everyone sat down and listened. Of course, who can talk over the horn in a small room? I watched the video of Perlman, Barenboim, and Clevenger performing the Brahms Horn Trio. Now there's an over-the-top performance! Herb Foster ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
