[Hornlist] Re: Horns on planes
The AFof M is requesting that members boycott Delta Airlines as they have been the least cooperative in the instrument carryon problem. Pete Exline ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 46, Issue 12, Jazz Horn music
Greetings to everyone in the list. I was wondering if there is any site sharing free Jazz Horn Music? Thanks in advance. - All-new Yahoo! Mail - Fire up a more powerful email and get things done faster. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] interesting CG Conn history stuff
http://audiokarma.org/forums/archive/index.php/t-77802.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Conductor's "state"
Bill Gross wrote: Where is the Cabbage in all this? I'm sure he would be willing to explain to us just exactly what atomic structure is needed to make a good conductor.I'm sure it has something to do with the distribution of electrons in the nuclear structure. _ Bill, I can't hold a candle to the brilliance of Dr. Cabbage, nor even understand his electron state, but, until he returns, here are some fundamental, basic, rudimentary comments. Quantum mechanics can be applied to the subject. First of all, subatomic particles have spin. They spin one way, then the other. They may flip from one energy state to another. You never know just how they are going to spin and flip. You can't tell where they are or where they are going, especially the faster they go. Some of these particles have "charm", but Dr. Cabbage needs to explain that one! I hope this sounds familiar to you; most of us experience these phenomena at the podium from sitting in the horn section of an orchestra. String theory also applies, but only for orchestras. Regards, Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] TSA letter boiled down
What the TSA letter boils down to is that musical instruments MAY be carried onto a plane IF they meet the size/weight restrictions and number of bags restrictions of whatever airline you are flying (gate attendant or whatever). The section alluded to regarding stringed instruments states the same thing-carried on stringed instruments must meet the size/weight requirements of the airlines. All the TSA letter really states is that (bagpipes and saxophones aside) musical instruments are not weapons of mass destruction but are a little on the delicate side. Of course this is all for domestic US flights and non-US airlines will have their own policies as well as the country being traveled to. Carrying Instruments Through Screening Checkpoints: You may carry one (1) musical instrument in addition to 1 carry-on and 1 personal item through the screening checkpoint. This is a TSA Screening Policy. Airlines may or may not allow the additional carry-on item on their aircraft. Please check with your airline before you arrive at the airport. Security officers must x-ray or physically screen your instrument before it can be transported on an aircraft. Security officers will handle musical instruments very carefully and will allow you to be as involved as possible in any physical screening. If security officers cannot clear the instrument through the security checkpoint as a carry-on item, you should transport the instrument and checked baggage instead. The Jack Attack! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 46, Issue 13
This is recent encouraging info from Britain: http://www.dft.gov.uk/stellent/groups/dft_about/documents/page/dft_about_612280.hcsp But the US TSA information waffles. This page says brass should be checked baggage, strings can be carried on, and doesn't mention other classes of instruments at all. http://www.tsa.gov/travelers/airtravel/assistant/editorial_1235.shtm It further gives a general rule that a single instrument (types unspecified) can be carried as hand baggage through TSA screening. This TSA regulation is independent of airline policy, which may or may not allow the same instrument in the cabin (depending on size and safety issues). ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 46, Issue 13
There were two letters, as I recall - the first from the union, the second from the Dept of Transportation. One or both should be available on the union website (I'm not a member any more, so can't check). These letters were written years ago (just after 9/11 I think), and security has become more stringent since then, so as Bill indicates the letters might not buy you much. Fred - Original Message From: [EMAIL PROTECTED] To: The Horn List Sent: Wednesday, October 11, 2006 1:40:49 PM Subject: Re: [Hornlist] Re: Horn Digest, Vol 46, Issue 13 Michael - As best I recall it was an agreement between the musicians union and an one or more airlines. The bottom line is that the Gate Agent has pretty much final say on what you can carry on-board, that and the flight crew. You can have all kinds of letters from everyone but they have final say in the issue. > A year or two ago, a fellow hornist pointed me in the direction of a > document detailing a musician's right to carry their instrument on an > airplane. Does anyone know where I can find this document again or > other similar legal document that can be presented to unreasonable > airline employees? > > Michael Ozment > University of Iowa ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/fbaucom%40sbcglobal.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 46, Issue 13
Michael - As best I recall it was an agreement between the musicians union and an one or more airlines. The bottom line is that the Gate Agent has pretty much final say on what you can carry on-board, that and the flight crew. You can have all kinds of letters from everyone but they have final say in the issue. > A year or two ago, a fellow hornist pointed me in the direction of a > document detailing a musician's right to carry their instrument on an > airplane. Does anyone know where I can find this document again or > other similar legal document that can be presented to unreasonable > airline employees? > > Michael Ozment > University of Iowa ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Apologies
My apologies for not editing the subject and forgetting to delete the other quoted text in my last message. Michael Ozment University of Iowa ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 46, Issue 13
A year or two ago, a fellow hornist pointed me in the direction of a document detailing a musician's right to carry their instrument on an airplane. Does anyone know where I can find this document again or other similar legal document that can be presented to unreasonable airline employees? Michael Ozment University of Iowa message: 5 date: Tue, 10 Oct 2006 16:39:49 -0400 from: [EMAIL PROTECTED] subject: [Hornlist] Air travel with your axe redux Well, this topic hasn't been hashed over on this list for at least a day or two, so I guess it's time to revisit once again by inviting you to follow the link to today's NY Times online: http://www.nytimes.com/2006/10/10/nyregion/10musician.html I can't say that I totally sympathize with one side or the other in this one. It looks like undue force and precipitate action on the part of the security but I have to image that Ponomarev might have taken other measures to keep his instrument with him. Of course, I wasn't there, so I'm probably wrong on both accounts. Not flying anywhere for the time being and glad for that, Peter Hirsch -- message: 6 date: Tue, 10 Oct 2006 20:39:34 EDT from: [EMAIL PROTECTED] subject: [Hornlist] Break in embouchure When I descend on a g scale from space above staff, I feel like I would like to reposition my lips around the d. Should this be done, or do you need to play through it with air? -- message: 7 date: Tue, 10 Oct 2006 20:43:54 -0500 from: "Bill Gross" <[EMAIL PROTECTED]> subject: RE: [Hornlist] Embouchure Dystonia One is reminded of a statement by H (for Horseface) Allen Smith, the definition of a gentleman is someone who can play the bagpipes but doesn't. :) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of James Wester Sent: Tuesday, October 10, 2006 12:17 PM To: horn@music.memphis.edu Subject: [Hornlist] Embouchure Dystonia I only recently found out what the heck was wrong with me. Focal dystonia. More specifically Embouchure Dystonia. Mine came about from trying to learn the bag pipes. The extreme clamping pressure needed to seal the mouthpipe on the pipes completely obliterated my horn embouchure. I didn't have any pain with my loss of ability to play, and still to this day ( 10 years later ) can't play worth a darn. At the worst of it I couldn't even start a note without lock up and/or extreme lip tremors. The only register I could ( still can ) reliable play in was above the staff. I was always a better high horn player than low horn. I've quit several times, one time selling off everything horn related I had. Horn, music ( 25 years of collection worth ) the whole shabang. Only to come crawling back to try one more time. This time I'm seeing more promise and better things are happening. So I'm hopeful. When it originally happened to me, I was devistated. My whole identity was gone. Depression set in for many years. I had to reinvent myself, which I think is the only good thing to come of it. I'm a better and more well rounded person because of it. But still the loss and deep desire to be able to play well again haunt me. I only share this, because it occured to me that I had no idea about Embouchure Dystonia until about 2 months ago. And I've found out that there are people out there that can help. University of North Texas I understand has a professor that specializes in it. Most of what I've read about it, says it is the kiss of death for the professional career, and indeed that was/is the case with me. Though I do still hold out hope that I may one day play professionally again. I deeply miss that spiritual effect I got from a playing a great symphony in a good orchestra. -James - Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net -- message: 8 date: Tue, 10 Oct 2006 20:49:39 -0500 from: "Bill Gross" <[EMAIL PROTECTED]> subject: RE: [Hornlist] Conductors etc Where is the Cabbage in all this? I'm sure he would be willing to explain to us just exactly what atomic structure is needed to make a good conductor. I'm sure it has something to do with the distribution of electrons in the nuclear structure. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Linda Sherman Sent: Tuesday, October 10, 2006 8:04 AM To: The Horn List Subject: Re: [Hornlist] Conductors etc hans wrote: >What makes a good conductor > > Speaking strictly as an audience member, the most reliable factor that always seems to separate the good conductors from the not-so-good is how they use tempo. The good ones just seem to have the right feel for the tempo and the general flow of the music, while the not-so-goo
RE: [Hornlist] Recital
> -Original Message- > From: > [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > du] On Behalf Of Herbert Foster > Sent: Wednesday, October 11, 2006 12:47 PM > To: The Horn List > Subject: RE: [Hornlist] Recital > > The only reason I knew the reference to Horn & Hardart is > because my wife is a New Yorker. Most on the list don't even > know what an automat is. Please explain. http://en.wikipedia.org/wiki/Horn_&_Hardart and follow the links to "automat" for further info. -S- > Herb Foster > > --- Steve Freides <[EMAIL PROTECTED]> wrote: > > > I would like to suggest the > > > > Concerto for Horn and Hardart > > > > by P.D.Q. Bach, although Hardart players are hard to find > these days, > > and automats even harder. > > > > Steve "tongue firmly in cheek" Freides > > > > > > > -Original Message- > > > From: > > > [EMAIL PROTECTED] > > > [mailto:[EMAIL PROTECTED] > > > du] On Behalf Of Mathew James > > > Sent: Monday, October 09, 2006 3:29 PM > > > To: horn list > > > Subject: [Hornlist] Recital > > > > > > Hey list, looking for a little feedback. > > > > > > I am doing a recital this year and have put together this > so far as > > > my rep > > > > > > *From Russia with horn (or somtheign cool and witty me thinks!)* > > > ** > > > *Four Pieces for Horn and Piano. - Gliere* > > > **1. Romance > > > 2. Valse Triste > > > 3. Intermezzo > > > 4. Nocturne > > > > > > *(Need to put an adaptation here to fill either ensemble or > > > unaccompanied by a russian composer... ideas?)* > > > ** > > > *-Intermission-* > > > ** > > > *Concerto for horn and orchestra in B flat op.91 - Gliere* > > > ** > > > *(if encore needed the usual. Long Call)* > > > ** > > > *-End* > > > ** > > > as you can see its is russian based... one in paticular... so any > > > thoughs on filling that one spot.??? > > > And feedback as well would be awesome > > > > > > Mathew James > > > > > > > > > -- > > > Mathew James > > > ___ > > > post: horn@music.memphis.edu > > > unsubscribe or set options at > > > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > > > computer.com > > > > > > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at > > > http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com > > > > > __ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection > around http://mail.yahoo.com > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Things Straussian
Bill, Always pleased when I can draw you out of the woodwork and get a posting from you on the list. Suttner was on my short list of likely suspects, not because I actually know much of anything about him, but because I was given a copy of the horn and piano version of his Horn Concerto by an extremely elderly (certainly well into his 80s at the time and still playing in a community orchestra out on Long Island) horn player, by the name of Jacob Tillinger around 25 years ago. I believe that Tillinger had studied with him and the part has what appear to be Suttner's markings in it. After announcing my quest to unmask Hans' "mystery man", I had intended to start by digging the music out of my collection and perusing it for clues, but your reply has come before I got around to it. What strikes me in particular is its cadenza which has multiphonics that make the Weber Concertino or Ethel Smyth Double Concerto examples look like child's play by comparison. Secondly, I completely agree with you that the Stefan Dohr Strauss CD is in a class by itself. Also, if I had taken the time to search my shelves for it, I also could have avoided confusing it with Richard's Intro, them and variations since it is also on the disc. I have a few similar collections that originate from your side of the pond and I didn't mention or place them for consideration them at the time due to the relative difficulty of obtaining them. I was also hesitant to cite anything that I could not provide a direct discographic citation for. Sadly, I have not cataloged my personal collections (music, recordings, books), though they long ago grew beyond my capacity for retrieval simply relying on my memory of where everything is. This is regrettable, but it's not like I'm some sort of librarian or archivist or something like that . Regards, Peter Hirsch My source is reliable as the owner was <>(Hmmm, now let me see. I wonder if anyone on this list can put <> enough o= <> f <> Hans' clues to figure out just who he means. < http://www.campanella-musica.com/catalogue/130120.htm < http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Franz Strauss Theme and Variations plus Lachner
Hi hornisti: There's an additional recording of the Franz Strauss Thema und Variationen, Op. 13. The soloist is Martin Krebs and the CD (Melisma 7225-2) also includes four settings of poems by Heinrich Heine, Johann Michael Vogl, Adalbert von Chamisso, and Anton Prokesch by the romantic composer Franz Lachner (1803-1890) for voice, horn, and piano. So, if you're interested in doing more than "Auf dem Strom" at a recital, one these pieces would be a good addition. Also on the disk are several more Franz Strauss horn pieces: Lied ohne Worte (Song Without Words), Schubert Fantasie, Op. 2, Les Adieux, Nocturne, Op.7, and Empfindung am Meere, Op. 12, as well as the Richard Strauss Alphorn. Quite an array of works! Richard in Seattle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Recital
The only reason I knew the reference to Horn & Hardart is because my wife is a New Yorker. Most on the list don't even know what an automat is. Please explain. Herb Foster --- Steve Freides <[EMAIL PROTECTED]> wrote: > I would like to suggest the > > Concerto for Horn and Hardart > > by P.D.Q. Bach, although Hardart players are hard to find these days, and > automats even harder. > > Steve "tongue firmly in cheek" Freides > > > > -Original Message- > > From: > > [EMAIL PROTECTED] > > [mailto:[EMAIL PROTECTED] > > du] On Behalf Of Mathew James > > Sent: Monday, October 09, 2006 3:29 PM > > To: horn list > > Subject: [Hornlist] Recital > > > > Hey list, looking for a little feedback. > > > > I am doing a recital this year and have put together this so > > far as my rep > > > > *From Russia with horn (or somtheign cool and witty me thinks!)* > > ** > > *Four Pieces for Horn and Piano. - Gliere* > > **1. Romance > > 2. Valse Triste > > 3. Intermezzo > > 4. Nocturne > > > > *(Need to put an adaptation here to fill either ensemble or > > unaccompanied by a russian composer... ideas?)* > > ** > > *-Intermission-* > > ** > > *Concerto for horn and orchestra in B flat op.91 - Gliere* > > ** > > *(if encore needed the usual. Long Call)* > > ** > > *-End* > > ** > > as you can see its is russian based... one in paticular... so > > any thoughs on filling that one spot.??? > > And feedback as well would be awesome > > > > Mathew James > > > > > > -- > > Mathew James > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at > > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > > computer.com > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com > __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Air travel with your axe redux
Hans, I thought the same about the luggage belt. My guess is that it was just sloppy newspaper writing and they were talking about the small conveyor belt for the x-ray. If he had carried it with him on the previous leg of his flight, as he claimed, the case would never have been anywhere near a "luggage belt". Peter http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] conductors
Bil G wondered Where is the Cabbage in all this? I'm sure he would be willing to explain to us just exactly what atomic structure is needed to make a good conductor. I'm sure it has something to do with the distribution of electrons in the nuclear structure. I have always favored conducting free and democratic electrons. gotta go, cabbage ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Conductors etc
Linda Sherman wrote: Speaking strictly as an audience member, the most reliable factor that always seems to separate the good conductors from the not-so-good is how they use tempo. The good ones just seem to have the right feel for the tempo and the general flow of the music, while the not-so-good ones just don't get the tempo and flow right I find this very hard to describe. Maybe someone can help me out here. Speaking as an audience member I find that several factors separate the good conductors from the not-so-good, but I agree that this tempo issue is very important. One recording which has always struck me for the perfection of the tempi is Der Freischutz conducted by Carlos Kleiber. What a delight! Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] HELP -programme notes - Glazunov
Nobody had a double horn in 1890, so to skip this question. As a very simple piece, it could be written for any average play. So to neglect this question. Why it was written ? Nobody knows, but composers did write their pieces to make a living. Again to skip this question. First performance ? This kind of pieces were first performed around the time the composition was ready written. Publishing came later. But all these questions have absolutely no importance. Suggestion: write some biographical notes about Glazunow & end with "There is a very nice little gem within his numerous works in different fields of music, the Reverie for horn & piano." That´s it. All other things ? Forget about it. Nobody ready the notes anyway. And, these little gems never needed any special background. They were written, they just rund out of the composers pen down to the music paper. Some might call this "genious". -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Wednesday, October 11, 2006 9:00 AM To: horn@music.memphis.edu Subject: [Hornlist] HELP -programme notes - Glazunov Please help me if you can. I need to write programme notes for Glazunov's Reverie in Db major for Horn and Piano, written in 1890. I've been trying to find out about why it was written - whether he wrote it for a particular player - friend maybe, or for a commission, or as a sketch for something else. I'd like to know about the first performance. What sort of horn it was written for, etc., et. I've searched for hours on the internet, but can't find anything. I've tried asking the Yahoo Horn List, but haven't had any replies. Does anyone out there know anything about the background to this lovely piece? Rupert ___ 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] Conductors of Amateur or professional groups
On Oct 10, 2006, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 9 date: Tue, 10 Oct 2006 09:55:40 EDT from: [EMAIL PROTECTED] subject: Re: [Hornlist] Conductors of amateur groups In a message dated 10/10/2006 10:41:01 GMT Daylight Time, [EMAIL PROTECTED] writes: And your point is what? Wendell Rider My point is that in this particular case once the conductor was calmed down the performances suffered. I've seen similar things happen with sportsmen. Cheers, Lawrence Hi Lawrence. I agree that toning down a bully can lessen THEIR ability to get results. No question. But what would one expect from a bully? And yes, the sports world has similar problems. Fortunately, the world is gradually moving along- away from the little tyrants of the past, in whatever line of work it may be. (We used to put up with drunk drivers and wife beaters too.) Its about enlightenment and evolving as human beings. Too bad these are not big priorities in this culture at this time. I have worked with all kinds of conductors. In my youth, I played in a youth orchestra led by the founder, a man who felt no qualms about insulting and swearing at high school children. Several of us even got into arguments with him during rehearsals. Needless to say this would not be tolerated today. Its abuse. He was a demanding musician and got really good results, but a lot of the graduates of his orchestra had some very mixed feelings about him at his funeral. This was "old school" stuff. One of my conductors in San Jose Symphony for 20 years was also an infant terrible. He is a great musician and would have become one of the greats in the world if he could have controlled his temper. He lost many guest engagements because of his "interactions" with musicians. Our contract was full of things meant to keep him under control. The sad part is that he was (and is) perfectly capable of getting what he wants without the abuse. I don't find any excuse for this type of behavior. I have worked with conductors who can get great results, and i mean intense musical results, without all the drama and insults. Sure, they are few and far between, but they are out there. Most conductors don't get any training in communication techniques and are given so much adulation and power, often without any merit, that they feel that they can do just about anything they want. Its really an archaic, medieval and autocratic system, classical music. There is lots of work to be done to bring it up to date. Conductors just need to draw the musicians into their world of interpretation, assuming they have one. It can be done. Make the issue the music- make it fascinating and a team sport. Inspiring is much more productive and spiritually elevated than abuse. Its a sad commentary that many musicians feel bad enough about themselves that they put up with it. Nothing is quite as pathetic as musicians sitting around bitching about abusive conductors unless it is people who need to be abused to do their "best." These are two very different things but equally sad in their own way because of what they say about us as a people. Its like parenting. The two extremes on the curve are abusive, violent and emotionally unavailable parents on one end and the "I want to be friends with my child and let him/her make their own decisions (even if they are 5 years old)" crowd on the other. Neither approach works and there are better, proven ways to operate. Yes, it takes some effort and some knowledge. A good conductor, well, a great one, can get 90% of what she wants with her stick and body language. Setting high standards isn't the problem. Knowing how to achieve the results you want, is. Speaking of sports, hopefully the days of Woody Hayes and Bobby Knight are drawing to an end too. There is a better way. "A winning way" for all the bottom-liners out there. Just ask Bill Walsh. Sincerely, Wendell Rider For information about my book, "Real World Horn Playing", the Summer Seminar and Internet Horn Lessons go to my website: www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] HELP -programme notes - Glazunov
Please help me if you can. I need to write programme notes for Glazunov's Reverie in Db major for Horn and Piano, written in 1890. I've been trying to find out about why it was written - whether he wrote it for a particular player - friend maybe, or for a commission, or as a sketch for something else. I'd like to know about the first performance. What sort of horn it was written for, etc., et. I've searched for hours on the internet, but can't find anything. I've tried asking the Yahoo Horn List, but haven't had any replies. Does anyone out there know anything about the background to this lovely piece? Rupert ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
