RE: [Hornlist] Re: It's not over yet!
Yes, I'm pretty sure I already said I liked it with nat horn, but it is still a performance issue that should be considered with regards to how detailed Britten was! Yes, it is not written by Britten that the soloist has to use a natural horn, but it is easier to play the prologue epilogue better convincing when using a natural horn or hunting horn, including the 1/4-step too high f the bit-flat a. Second: it is a nice show effect. Preconditioned, the soloist manages to switch the instrument perfect fast between prologue first full movement. _ Be one of the first to try Windows Live Mail. http://ideas.live.com/programpage.aspx?versionId=5d21c51a-b161-4314-9b0e-4911fb2b2e6d___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: It's not over yet!
But there is a more important performance issue: For which horn did Britten write the Serenade, what horn had he in mind ? (excluding Prologue Epilogue) == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Christine Ranson Sent: Tuesday, October 24, 2006 9:05 AM To: The Horn List Subject: RE: [Hornlist] Re: It's not over yet! Yes, I'm pretty sure I already said I liked it with nat horn, but it is still a performance issue that should be considered with regards to how detailed Britten was! Yes, it is not written by Britten that the soloist has to use a natural horn, but it is easier to play the prologue epilogue better convincing when using a natural horn or hunting horn, including the 1/4-step too high f the bit-flat a. Second: it is a nice show effect. Preconditioned, the soloist manages to switch the instrument perfect fast between prologue first full movement. _ Be one of the first to try Windows Live Mail. http://ideas.live.com/programpage.aspx?versionId=5d21c51a-b1 61-4314-9b0e-4911fb2b2e6d___ 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] Re: cryogenics
I read the article at the link given before. I wonder if the improvement he speaks of is caused not by the freezing but by the ultrasonic cleaning that he gives the instruments beforehand. Simon ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Once Britten, twice shy
Howard S asserted First, Orrin Olson, my undergrad teacher, did the Britten with piano a year or two before I went to college. ** I was there, and let me tell you, Orrin's performance just was amazing. Not only did he nail the prelude and the postlude without touching any of the keys of the piano, but he also managed to get the piano - a Bosendorfer Model 290, as I recall, the one which goes all the way down to low C - off stage without disturbing the audience while the tenor was singing the poem about emblaming. I still prefer to hear this piece done with horn. 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] Re: cryogenics
If all the playing depends on the improvement of the instrument, you should inspect the horns used by the Vienna Phil horn players wonder how they get their beautiful sound playing ?? If you inspect their horns, you would not expect this result. No cryogenics, no ultrasonic experiments, some petroleum as lubrificant mixed with eau de Cologne (4711) to compensate the odour, not much cleaning, etc.etc. - I repeat, it is the player who makes the music == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Simon Varnam Sent: Tuesday, October 24, 2006 2:31 PM To: horn@music.memphis.edu Subject: [Hornlist] Re: cryogenics I read the article at the link given before. I wonder if the improvement he speaks of is caused not by the freezing but by the ultrasonic cleaning that he gives the instruments beforehand. Simon ___ 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
RE: [Hornlist] Air Support
Yes, definitely. Listen to a player using Bb-side listen to a player using F-side. You will be surprised how clean the sound can be with the F-side: no zschschschfr in the sound, while the Bb-horn has this shshshshhh in the sound allways, well, very good players can compensate this, but not the average. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Avrum H. Golub, M.D., J.D. Sent: Tuesday, October 24, 2006 1:31 PM To: The Horn List Subject: Re: [Hornlist] Air Support Why do you say that the Bb side of the horn ³hairy²? From: hans [EMAIL PROTECTED] Reply-To: The Horn List horn@music.memphis.edu Date: Tue, 24 Oct 2006 06:35:01 +0200 To: 'The Horn List' horn@music.memphis.edu Subject: RE: [Hornlist] Air Support Tzschrrsch in the sound = hairy sound ! All the other noice within the sound. A bit more phantasy , please ! = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Avrum H. Golub, M.D., J.D. Sent: Monday, October 23, 2006 5:17 PM To: The Horn List Subject: Re: [Hornlist] Air Support Dear Hans, Please explain further what you mean by hairy sound, ³ ... the sound would become too hairy ... Bb-side (the hairy side)². Thank you, kindly, Avrum H. Golub, M.D., J.D. From: hans [EMAIL PROTECTED] Reply-To: The Horn List horn@music.memphis.edu Date: Sun, 22 Oct 2006 22:40:29 +0200 To: 'The Horn List' horn@music.memphis.edu Subject: RE: [Hornlist] Air Support Breathe as normal (if you experienced what´s normal) but dont experiment with making fire in your living room. If you need to think too much about breathing, you might miss a note here more there while you are thinking about breathing. The horn playing does need less air than you might expect. If you have breathing problems, go swimming try to dive from one side of the pool to the other or even lengthwise through the pool, but a real swimming pool of olympic sport size. If you master that, you should not have any breathing problem. It is not necessary to push the air through the instrument, as the sound would become too hairy - as can be heard with many horn players, professionals included, special if exclusively relying upon the Bb-side (the hairy side). And, if you have severe breathing problems, why not losing weight ??? And why thinking about the high nots so much ? It is more fun to play in the overall range of the horn from low c to g2 on top of the staff just going higher (very) occasionally. What are good principals (should be specialists for high , middle low) without good section players ? == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Mathew James Sent: Sunday, October 22, 2006 8:51 PM To: The Horn List Subject: Re: [Hornlist] Air Support My support to air support.My opinion on air support is as follows. You need to approach it with both sides of the tension and relaxed ideas. Think of the starting with a very firm foundation. On top of that stay relaxed. as the air dissipates from your diaphragm introduce tension from the sides (think of a Billow (sp) that you would use to start a fire at home). Then at the inhalation relax the sides and while pushing down cause the lower abdominal region to return back to the foundation of the air column and repeat. ___ 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/agolub%40opto nline.net ___ 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
RE: [Hornlist] Re: It's not over yet!
Britten had Dennis Brains horn sound in his imaginations clearly when he wrote his horn pieces. And fingering is much easier e.g. in the Nocturne Hymn. In the later one all these finger-squeezing a-e-c# can be done like on the handhorn just with 12 (D-horn). The high c3 entrance works perfect with 23. Young folks, try it - but do not play the Serenade with piano. It destroys the real character of the piece. = ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Once Britten, twice shy
Yeah, yeah, one has to use the equipment if it is thee allready. Such the rules of the schools. Some would perform Meistersinger with all the many singers, but a piano replacing the orchestra - sounds like a stage rehearsal. But orchestra managers go hysterical, if just one tutti viola or one horn are missing for a first orchestra alone rehearsal with a somewhat known baton swinger, because of traffic desaster. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Tuesday, October 24, 2006 2:36 PM To: horn@music.memphis.edu Subject: [Hornlist] Once Britten, twice shy Howard S asserted First, Orrin Olson, my undergrad teacher, did the Britten with piano a year or two before I went to college. ** I was there, and let me tell you, Orrin's performance just was amazing. Not only did he nail the prelude and the postlude without touching any of the keys of the piano, but he also managed to get the piano - a Bosendorfer Model 290, as I recall, the one which goes all the way down to low C - off stage without disturbing the audience while the tenor was singing the poem about emblaming. I still prefer to hear this piece done with horn. Gotta go, Cabbage ___ 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
RE: [Hornlist] Re: cryogenics
Hi Hans, I agree with you 100%. It's the player who makes the sound, hits the notes, plays in tune, and, most important, plays with intelligence, subtlety, beauty, and taste. However, given the above, every player ought to try to play on the best (most suitable, most reliable, most able to realize the player's intentions) instrument he can obtain. And, that instrument needs to be in the best condition possible. How many performances have you heard that have been marred by clacking valves or chipped notes caused by a performer trying to attack a note that is far out of tune on his instrument? Correcting these deficiencies in no way relieves the player from responsibility for his performance. Cryogenic treatment is one more technique used to improve instruments. We have done this process to several hundred instruments over the years and have had during that time one customer who thought nothing had been done and one who thought it made his horn worse. A pretty good track record, I think. If the difference it makes is subtle, well, this is a business of subtlety. As for the reports of physicists (who also tell us that the material of which a horn is made has no influence on the sound), and Selmer's test to see if high school players and amateurs could tell the difference, I have to give equal weight to the many world-class players who have found a positive improvement. I find that most of the critiques of cryogenic processing come from people with no experience with it. Regards, Bob Osmun www.osmun.com -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of hans Sent: Tuesday, October 24, 2006 9:58 AM To: 'The Horn List' Subject: RE: [Hornlist] Re: cryogenics If all the playing depends on the improvement of the instrument, you should inspect the horns used by the Vienna Phil horn players wonder how they get their beautiful sound playing ?? If you inspect their horns, you would not expect this result. No cryogenics, no ultrasonic experiments, some petroleum as lubrificant mixed with eau de Cologne (4711) to compensate the odour, not much cleaning, etc.etc. - I repeat, it is the player who makes the music == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Simon Varnam Sent: Tuesday, October 24, 2006 2:31 PM To: horn@music.memphis.edu Subject: [Hornlist] Re: cryogenics I read the article at the link given before. I wonder if the improvement he speaks of is caused not by the freezing but by the ultrasonic cleaning that he gives the instruments beforehand. Simon ___ 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/rosmun%40osmun.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: It's not over yet!
A good point well made :-) I will do some research. Not that I'm probably ever going to play this piece :-( but for you, I will find out! From: [EMAIL PROTECTED] To: horn@music.memphis.edu Subject: RE: [Hornlist] Re: It's not over yet! Date: Tue, 24 Oct 2006 13:48:06 +0200 But there is a more important performance issue: For which horn did Britten write the Serenade, what horn had he in mind ? (excluding Prologue Epilogue) == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Christine Ranson Sent: Tuesday, October 24, 2006 9:05 AM To: The Horn List Subject: RE: [Hornlist] Re: It's not over yet! Yes, I'm pretty sure I already said I liked it with nat horn, but it is still a performance issue that should be considered with regards to how detailed Britten was! Yes, it is not written by Britten that the soloist has to use a natural horn, but it is easier to play the prologue epilogue better convincing when using a natural horn or hunting horn, including the 1/4-step too high f the bit-flat a. Second: it is a nice show effect. Preconditioned, the soloist manages to switch the instrument perfect fast between prologue first full movement. _ Be one of the first to try Windows Live Mail. http://ideas.live.com/programpage.aspx?versionId=5d21c51a-b1 61-4314-9b0e-4911fb2b2e6d___ 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/pristine_%40hotmail.com _ Be one of the first to try Windows Live Mail. http://ideas.live.com/programpage.aspx?versionId=5d21c51a-b161-4314-9b0e-4911fb2b2e6d___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: cryogenics
I couldn't agree with this more. A pro, or perhaps even a good student, could play on one of those cheap import singles and make them sound respectable. However, for some, whose playing is similar to mine, I still find that getting a horn, mouthpiece and other enhancements that assist me, can make a remarkable difference to what I present to an audience. Although I feel I'm still improving, I'm not on a steep learning curve, as I have chosen to dedicate the majority of my time to other endeavors this year. As a matter of fact, I just came in from wrestling with an alpaca so the vet could give the alpaca his annual shots. (Yes, we rolled a full 360, with me hanging onto him the whole way in a very unpleasant part of the pasture, but he got his shots!--probably more information than you need. My issue is that although I'm still improving, I do not have hours to practice each day and often find myself only able to play a few times a week right now. I still want to present the best product I can to an audience and to do that I often search out equipment that will assist me. Hopefully next year will be a more practice/performance friendly year. Until then, I'm hoping that the audience will forgive my leaning on equipment for help in presenting to them the best performance I can. Joyce Maley Hurricane Alpacas, http://www.myalpacas.com date: Tue, 24 Oct 2006 15:57:34 +0200 from: hans [EMAIL PROTECTED] subject: RE: [Hornlist] Re: cryogenics If all the playing depends on the improvement of the instrument, you should inspect the horns used by the Vienna Phil horn players wonder how they get their beautiful sound playing ?? If you inspect their horns, you would not expect this result. No cryogenics, no ultrasonic experiments, some petroleum as lubrificant mixed with eau de Cologne (4711) to compensate the odour, not much cleaning, etc.etc. - I repeat, it is the player who makes the music -- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.408 / Virus Database: 268.13.11/493 - Release Date: 10/23/2006 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Rick Todd not at USC anymore?
I just received an email from USC indicating that James Thatcher (and another lady whose name I don't recognize nor recall) is now on faculty at USC. This is good. Curiously was the omission of Rick Todd's name on the flyer. Has he left? If so, does anyone know where he went? Bo ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: cryogenics
In a message dated 10/24/2006 10:54:36 AM Eastern Standard Time, [EMAIL PROTECTED] writes: If the difference it makes is subtle, well, this is a business of subtlety. As for the reports of physicists (who also tell us that the material of which a horn is made has no influence on the sound), and Selmer's test to see if high school players and amateurs could tell the difference, I have to give equal weight to the many world-class players who have found a positive improvement. I find that most of the critiques of cryogenic processing come from people with no experience with it. -- Bob, Clearly, your experience and knowlege of the cryogenic process puts you in the for it camp. Myself, I am neutral based on everything I have read. But, I know many players have told me how much better their horns are after the process. Would you please elucidate what you believe to be the benefits to one's horn? What does the process do, exactly? I am honestly curious to know because no one has yet explained to me just exactly what those benefits are, at least in a cogent way. I've heard all kinds of phrases like reverse annealing and such that mean nothing to me. It would be good to read an explanation from someone who is knowledgable. Dave Weiner Brass Arts Unlimited ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: It's not over yet!
There is no research necessary if one knows what kind of horn Dennis Brain used then. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Christine Ranson Sent: Tuesday, October 24, 2006 5:04 PM To: The Horn List Subject: RE: [Hornlist] Re: It's not over yet! A good point well made :-) I will do some research. Not that I'm probably ever going to play this piece :-( but for you, I will find out! From: [EMAIL PROTECTED] To: horn@music.memphis.edu Subject: RE: [Hornlist] Re: It's not over yet! Date: Tue, 24 Oct 2006 13:48:06 +0200 But there is a more important performance issue: For which horn did Britten write the Serenade, what horn had he in mind ? (excluding Prologue Epilogue) == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Christine Ranson Sent: Tuesday, October 24, 2006 9:05 AM To: The Horn List Subject: RE: [Hornlist] Re: It's not over yet! Yes, I'm pretty sure I already said I liked it with nat horn, but it is still a performance issue that should be considered with regards to how detailed Britten was!Yes, it is not written by Britten that the soloist has to use a natural horn, but it is easier to play the prologue epilogue better convincing when using a natural horn or hunting horn, including the 1/4-step too high f the bit-flat a. Second: it is a nice show effect. Preconditioned, the soloist manages to switch the instrument perfect fast between prologue first full movement. _ Be one of the first to try Windows Live Mail. http://ideas.live.com/programpage.aspx?versionId=5d21c51a-b1 61-4314-9b0e-4911fb2b2e6d___ 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/pristine_%40h otmail.com _ Be one of the first to try Windows Live Mail. http://ideas.live.com/programpage.aspx?versionId=5d21c51a-b1 61-4314-9b0e-4911fb2b2e6d___ 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
RE: [Hornlist] Re: cryogenics
Hello Joyce, you should practise alpacca-wrestling to improve your technique so the alpacca gets the shots easier quicker. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Hurricane Chinooks Sent: Tuesday, October 24, 2006 6:59 PM To: horn@music.memphis.edu Subject: [Hornlist] Re: cryogenics I couldn't agree with this more. A pro, or perhaps even a good student, could play on one of those cheap import singles and make them sound respectable. However, for some, whose playing is similar to mine, I still find that getting a horn, mouthpiece and other enhancements that assist me, can make a remarkable difference to what I present to an audience. Although I feel I'm still improving, I'm not on a steep learning curve, as I have chosen to dedicate the majority of my time to other endeavors this year. As a matter of fact, I just came in from wrestling with an alpaca so the vet could give the alpaca his annual shots. (Yes, we rolled a full 360, with me hanging onto him the whole way in a very unpleasant part of the pasture, but he got his shots!--probably more information than you need. My issue is that although I'm still improving, I do not have hours to practice each day and often find myself only able to play a few times a week right now. I still want to present the best product I can to an audience and to do that I often search out equipment that will assist me. Hopefully next year will be a more practice/performance friendly year. Until then, I'm hoping that the audience will forgive my leaning on equipment for help in presenting to them the best performance I can. Joyce Maley Hurricane Alpacas, http://www.myalpacas.com date: Tue, 24 Oct 2006 15:57:34 +0200 from: hans [EMAIL PROTECTED] subject: RE: [Hornlist] Re: cryogenics If all the playing depends on the improvement of the instrument, you should inspect the horns used by the Vienna Phil horn players wonder how they get their beautiful sound playing ?? If you inspect their horns, you would not expect this result. No cryogenics, no ultrasonic experiments, some petroleum as lubrificant mixed with eau de Cologne (4711) to compensate the odour, not much cleaning, etc.etc. - I repeat, it is the player who makes the music -- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.408 / Virus Database: 268.13.11/493 - Release Date: 10/23/2006 ___ 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] Recovrey from Pneumonia
Having done my part to keep the pharmaceutical companies profit loss statements out of the red this month, my doc told me I'd be dealing with shortness of breath and weakness for about a month. With that happy thought in mind (though I will plan on milking it for all its worth at the right time) any suggestion on returning to horn studied. Anything out of the normal or just start do what I can then wait for the next day to take it further. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: cryogenics
In a message dated 10/24/2006 6:58:27 PM Eastern Daylight Time, [EMAIL PROTECTED] writes: From my own experience yhorns that have been cryo'd feel more comfortable, more like you're in the sound instead of on top of it. Some people feel it makes the horn feel older and takes away the new-horn edge. --- Bob, This is very much like the type of comment I hear from players who've had their horns cryogenically treated. I guess I was more interested in what physically happens to the horn. My suspicion (purely a guess) is that when it works it is not really doing anything to the metal of the tubing but more likely to the solder joints, hence the old horn feel. I've talked with a couple aerospace metallurgists who feel that it can't possibly do anything to a non-ferrous alloy, and when I present my solder joint theory they've agreed that it's possible. But, as you pointed out, complete testing is likely prohibitive, so theories will abound. Dave Weiner Brass Arts Unlimited ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: It's not over yet!
Hans Pizka hat geschrieben: Doing the Serenade with piano accompaniment instead of the strings is a perfect sacrileg as it ruins the music perfectly. No argument from me! Britten could write more colorfully for strings than most people can for a large orchestra. (Note that this is not the same as saying that I like Britten's music or his orchestrations. For the most part, I can't stand either! The Serenade, Les illuminations, Billy Budd, and Gloriana are the exceptions.) I doubt Mr. Olson had any choice: The string dept. wasn't the University of Maryland's long suit in those days. (Which goes to show you that, sometimes, at least, things do change for the better.) I also doubt whether the original questioner has any choice in the matter. It sounded like she was a student, and students, in my experience, play what their teachers tell them to, when their teachers tell them to. Howard Sanner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: It's not over yet!
wieder hat Hans Pizka geschrieben: For which horn did Britten write the Serenade, what horn had he in mind ? (excluding Prologue Epilogue) This is more interesting than it first seems. It is well known that the work was written for Dennis Brain, and that before ca. 1950 Brain played a Raoux, which was essentially a cor solo with a valve section added. Originally Brain's Raoux was crooked in F, but later he had it modified to B-flat alto. Here's the interesting part: The last note of Hymn is a written F an octave and a fifth below middle C. In the first recording, by Brain, Pears, and Britten, this note is wonderfully sonorous and well in tune, too much so to be 123 lipped down and covered. So did Brain play this song on a B-flat horn? What about the others? And what about the prologue and epilogue? B-flat alto 13? I've always wondered that. Probably no one is left who knows the answer for sure. Howard Sanner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
