[Hornlist] Fritz Reiner recording of Brandenburg 1
I recently got my hands on a Columbia recording (ML 4281/2/3) with Reiner conducting "Soloists and Chamber Group". All the soloists are named - except the horns! Most of the names credited on the sleeve that I do recognize played in the NY Phil at some point, but it does not look like this is officially a recording of the Philharmonic, for various reasons, so I am wondering who the players might be. They (and pretty much everyone else) sound quite good, particularly considering that this must date back to the 1950s or possibly earlier. Bill Vacchiano does a more than creditable job on the second, by the way. I'm pretty sure what the answer will be (no), but I'll ask anyway. Does anyone have the slightest idea who the horn players are? I suppose that it could be Philharmonic players whether or not the ensemble is the Philharmonic (it certainly sounds like someone in the Chambers mold on first), but I have no way of pinning this down. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] 5 valve single horn???
Sounds like a standard Bb single horn with a 4th valve which operates an F extension and a 5th valve which is a stopping valve (lengthens the Bb horn by a semitone so that you can stop notes as though you were playing an F horn) All the best, Lawrence (who has seen the folly of such systems and now enjoys playing a horn which has no valves at all! - just in from playing Haydn Oxford on natural horns) lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] 5 valve single horn???
It could be a Bb/F compensating horn with A+ valve Hoyer makes one. ** See what's new at http://www.aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horn Blog
Excuse the double listing. This may not be news to many of you, but I recently stumbled upon an interesting and helpful horn blog authored by John Ericson of ASU. I have often mined his many articles on the history of the horn in the nineteenth century (especially his research on the Kopprasch etudes, both Opp. 5 and 6), but did not discover his blog until now. The link is: http://hornnotes.blogspot.com 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] 5 valve single horn???
It's probably a built-in F extention. Bob Osmun -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Valerie WELLS Sent: Wednesday, November 07, 2007 1:12 PM To: horn@music.memphis.edu Subject: [Hornlist] 5 valve single horn??? An on-line friend (trumpet player) is asking me questions about a five valve single horn (that plays w/ a beautiful tone). Am I correct to assume this is a Bb horn? Or have five valve single horns been made in F, too? I was told the 4th & 5th valves are operated by the thumb. I know one of the extra valves provides pitch correction for hand stopping, but what might the other valve provide? Valerie___ 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] 5 valve single horn???
Hi. The fifth valve provides a concert F, or in other words all the partials of an open single F horn. The fourth valve often has two slides so you can switch to the concert A; very good for playing horn in E. The other slide is a bit longer to allow correction of about 3/4 of a step to allow correction of stopped horn. I don't know about five valve single F horns, but there are a number of single Fs (and double horns) with a stopping valve added into the mix. I use a Geyer 4-valve single Bb horn and have two interchangeable slide tubes for the thumb valve. It is very nice for "Auf dem Strom", for instance. Another variant of recent vintage is the five valve Bb horn on which the fifth valve is an ascending switch from Bb to C Alto. Alexander and Paxman have both produced such models; I've seen them at IHS workshop exhibits. There may be others. My playing days are essentially over so I sold my Alex 102, a compensating Cor Ascendant. (The new owner seems to be well-pleased with his new acquisition.) CORdially, Paul Mansur On Nov 7, 2007, at 1:11 PM, Valerie WELLS wrote: An on-line friend (trumpet player) is asking me questions about a five valve single horn (that plays w/ a beautiful tone). Am I correct to assume this is a Bb horn? Or have five valve single horns been made in F, too? I was told the 4th & 5th valves are operated by the thumb. I know one of the extra valves provides pitch correction for hand stopping, but what might the other valve provide? Valerie___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/ options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] 5 valve single horn???
An on-line friend (trumpet player) is asking me questions about a five valve single horn (that plays w/ a beautiful tone). Am I correct to assume this is a Bb horn? Or have five valve single horns been made in F, too? I was told the 4th & 5th valves are operated by the thumb. I know one of the extra valves provides pitch correction for hand stopping, but what might the other valve provide? Valerie___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Metropolitan Opera Simulcasts
>From today's Sacramento Bee. According to the article, these simulcasts are increasingly popular...'perhaps' they will eventually put more people in the seats at local opera houses, wanting the live experience. Fred High Note for Opera The success of Metropolitan Opera simulcasts propels the ancient art form into a telegenic future By Edward Ortiz - [EMAIL PROTECTED] Published 12:00 am PST Wednesday, November 7, 2007 The love affair between opera and digital technology is not only continuing – it's growing deeper and more expansive. The Metropolitan Opera will deliver eight – up from six last season – live, high-definition simulcasts of operas to movie theaters nationwide, including a new slate of cinema houses in Sacramento. Because of strong ticket sales last year at the Natomas Marketplace cinemas, the number of movie theaters simulcasting the operas is tripling in Sacramento, and an additional screen has been added at the Cinemark Roseville 14 in Roseville. Sacramento theaters that will broadcast the simulcasts include the Cinemark Sacramento Stadium 14, the Cinemark Downtown Plaza as well as the Regal Natomas Marketplace cinemas. Simulcast tickets this year will cost $22, up from $18. Nationally, the operas will be shown in almost 400 theaters – up from last year's 100 theaters nationwide. The scheduled operas include Charles Gounod's "Romeo et Juliette," Giuseppe Verdi's "Macbeth" and Giacomo Puccini's "La Bohème." Sacramento showed some of the strongest ticket sales of any California city during the simulcasts, said Amy Jane Finnerty, head of communications for National Cine Media. The chain has an exclusive agreement with the Metropolitan Opera to screen the operas. The success of the simulcasts has prompted industry insiders to compare it to the popularization of opera that took hold 80 years ago when radio began broadcasting live Met productions. That effort was credited with bringing opera to radio markets where opera was scarce or nonexistent. And it also sparked interest in regional opera companies. That same ethos applies to the Metropolitan Opera's live, high-definition simulcasts, said Peter Gelb, general director of the Met. "The main purpose of this is to get people to come to the opera house itself," Gelb said. Last year's simulcast experiment is bearing fruit in New York, with the Metropolitan Opera's subscription base up by 12 percent from the previous year and its overall ticket sales up by 7 percent, Gelb said. But the benefits of the simulcasts are not just centered on what can happen in New York City, he said. Gelb said data from Opera America, the national service organization for opera, has shown that regional opera companies have benefited from the opera simulcasts. "It's too early to tell whether the broadcasts had an effect on us," said Rod Gideons, executive director of the Sacramento Opera. The local season was mostly complete by the time most of the Met showings were screened, said Gideons. He added that this year will offer a better picture of how the simulcasts affect subscriber and single-ticket buyer patterns. Last year, the Sacramento Opera capitalized on the simulcasts with the presence of a booth and promotional materials at each screening. This year, the Sacramento Opera is taking a more aggressive approach by offering 30 discounted tickets for each Met opera screening at the Natomas location, Gideons said. Those tickets will cost $15 and will be offered only to new subscribers or to new donors. "We will try to build incentives to attract people in this area who are predisposed to attend opera," he said. Gideons hopes to turn simulcast patrons into ticket buyers for his opera's three-production season that begins Nov. 16 with Giuseppe Verdi's "Otello." Opera as a hot ticket at the cineplex is part of the sea change under way in the opera world, where several digital formats are being used to popularize the art form. Opera DVDs are now among the fastest-selling forms of classical music DVDs, and opera as a downloadable item on the Internet is seen as a foregone conclusion. "Because of the technological revolution we all find ourselves in these days, it's key for opera companies like the Met to capture this form electronically," Gelb said. In showing opera in Times Square and pioneering the opera-simulcast concept, Gelb has been at the forefront of melding opera's storied past with its telegenic future. Gelb is fond of talking about the Metropolitan Opera audiences as a "global constituency" and referring to its taped productions as "electronic souvenirs." The issue of what happens to a taped production after it is recorded is a crucial one for all opera companies. Industrywide, the sale of DVDs, downloads and pay-per-view offerings is considered a healthy new source of revenue. At the Metropolitan Opera, this year's simulcasts are expected to bring in more than 100,000 patrons for each opera simulcast. And once that simulcast is done, eac
Re: [Hornlist] Re: Hiooo Silllver!
Hear, hear! (Actually, I love my Hoyer, but it's basically an 8D) On Nov 6, 2007, at 8:06 PM, Ben Reidhead wrote: who loves 8Ds, but could care a lot more about cars of any kind or era ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
