Re: [Hornlist] Re: Hand in Telemann
When composers like Telemann used this kind of notes, they prepared the use very well for the player either by using a special emphasis (leit ton) or gradually stepping down by lipping it, but for very few notes. Brahms was a master in this aspect, even the trio sounds much better on the valved horn than the often heard howling wolves on the hand horn, which is abused as a stopf-horn so often instead being played as a hand muted horn. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Hand in Telemann
Sorry, sorry, vent holes ? How about Gottfried Reiche When was that ? A bit longer back than 19th century ! One trick using the 11th natural tone or the 7th is it, to use them on the less important beat and light without much emphasis or just in the scale flipping over. But that requires a connaisseur as a composer. If these notes are played lightly they do not penetrate as out of tune as thought often. Wise composers of the past avoided certain notes completely got around the problems. Mozart blamed the less wise composers the de-connaisseurs in hisa K.522 very well. Why do we become so stupid, to mount the horse backwards again with modern compositions for natural horn implementing all different keys notes ? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] You can Tellemann what to do, but you cannot make him think....
Hans P wrote Why do we become so stupid, to mount the horse backwards again with modern compositions for natural horn implementing all different keys notes ? It's not stupidity, Hans. I mean, not at all. Really. It's just that the damn horse was pointed in the wrong direction. oG attoG, Cabbage ** It's Tax Time! Get tips, forms, and advice on AOL Money amp; Finance. (http://money.aol.com/tax?NCID=aolprf000301) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] To transcribe or not to transcribe...that is the question
On Mar 13, 2008, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 1 date: Wed, 12 Mar 2008 14:19:02 EDT from: [EMAIL PROTECTED] subject: [Hornlist] Transcriptions Transcriptions While agreeable that their are many wonderful pieces available for Horn taken in context they are written, music is meant to be played and enjoyed by all. As a musician we are part of a whole, but at the same time always seeking to gain new experiences. Transcriptions are not only a great opportunity to play music you might otherwise never get to experience, but also detrimental in education facilitation, and passing the love of music along to children at a younger age. Lets face it, many musicians may never go on to play with a major symphony, but they may connect to a Brahms piece later in life because they played a transcription in their high school band many moons ago. Great music is meant to be experienced! Well said. I hope we don't become snobs about transcriptions. I play them for horn(s) and i play them with my brass and wind quintets. I play them at concerts and at parties after a drink or two. I play them on the streets and in the mountains. I play them in orchestras, bands and hybrid groups that include accordions. Call me what you will, but I stand proud and unbowed. Some I like better than others. Some seem more appropriate than others. Some are terrible, some sublime. There is a long history of transcribing that goes back to the dawn of music. It boils down to a matter of taste and common sense- musical and venue-wise. Most composers love to have their music played. This has been the case for all time. Some might sue you if you transcribed it without their permission, others wouldn't. I have transcribed and sold music I know to be in the public domain and i have also transcribed music from a movie, for a brass and percussion ensemble, that might cause me some problems if it were played in public. I say viva la transcription! Sincerely, Wendell Rider For information about my book, Real World Horn Playing, the DVDs and Regular and Internet Horn Lessons go to my website: http:// www.wendellworld.com P.S. A little over one week to go until my Horn Day at SF State (March 22nd), where will be playing some rather beautiful transcriptions, a la London Horn Sound. I have a special relationship with Mozart because i started an orchestra that has played the original versions of his works and HIS transcriptions for over 30 years, and he gave me permission to do my arrangement of Ave Verum Corpus for 8 horns. Nice guy. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Hand in Telemann?
Refer to Tom Hebert's DMA dissertation about the Court Orchestra in Dresden. Around 1718 works by Heinichen, Pisendel, et al. start employing notes outside the harmonic series beyond the F-natural and A natural. I don't know any players who can lip e-flats and a-flats in the staff into tune. I think we have to infer that at least in Dresden, an early form of hand-stopping was in use by this date. This would make sense, as far as Hampel being someone, then, who was expanding on a technique that was already being used in Dresden in the previous generation. The fact that Bach was living in the Saxon political and cultural region and had his music performed in Dresden, would lead one to the conclusion that this hand technique was known throughout Saxony and Thuringia. Telemann was the first choice for Bach's Leipzig position, surely he would have known about this practice. Handel is probably another issue. One of the horn histories, I believe Morely-Pegge discusses a reference to the remarkable feature that a horn soloist gave a concert in the early 1750's and played in different keys on the same instrument. This may very well indicate that the crooked horn was a novelty in England at that date, meaning that the horns in use before then were fixed-pitch hunting horns. Note that Handel's parts differ harmonically from Bach's. Handel never writes the d and a (above the staff) as a sustained harmonic interval, but Bach does this all the time. This one feature out of many, leads me to believe that we should use the hand in Bach and play bell's up for Handel. I'd love to get a chance to just let the Handel parts fly with the out-of-tune partials adding piquancy rather than using the nodal venting, which is of course, completely un-historic. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Hand in Telemann?
In a message dated 13/03/2008 18:22:24 GMT Standard Time, [EMAIL PROTECTED] writes: I'd love to get a chance to just let the Handel parts fly with the out-of-tune partials adding piquancy rather than using the nodal venting, which is of course, completely un-historic. I presume from this that you have already heard the magnificent Herve Niquet recording with the Concert Spirituel of the Fireworks and Water Music? Thank you to everyone who has contributed to this thread - it has been most helpful. Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] If you're into this sort of thing ...
http://cgi.ebay.com/Conn-French-Horn_W0QQitemZ230231370018QQihZ013QQcategoryZ16215QQssPageNameZWDVWQQrdZ1QQcmdZViewItem#ebayphotohosting _ Free info on hundreds of money making restaurants and food franchises. Click Now! http://thirdpartyoffers.juno.com/TGL2111/fc/Ioyw6iigjt2hRgPko1dvvyixVSTzSZQYZYefJSazeu6NIthnHXDHes/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Quartet and Orchestra performance in St. Louis
If there are any interested parties in the St. Louis area, The Four Hornsmen of the Apocalypse will be performing the Hübler Concerto for Four Horns with the St. Louis Philharmonic tomorrow, Friday March 14th, 2008 at 8:00pm. The concert will be held at Washington University. For more information go to http://www.stlphilharmonic.org/. Best Regards, Stuart A. de Haro, Custom Horns, Leadpipes, Brass Repair and Modification (217) 377-1462 [EMAIL PROTECTED] http://www.deharohorns.com - Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Questionnaire
Hi everyone!If you have a moment maybe you could fill out this short questionnaire to help a friend of mine with their Masters thesis. It's on how your native language affects your horn playing, particularly the differrence between Romanic and Germanic speakers. Any other thoughts you have would also be very useful. You help is greatly appreciated!You can either reply through the digest or email your answers directly to [EMAIL PROTECTED] 1.What is your mother language?2.Do you think that are there are differences in the way you play compared to people who speak a different language?3.If yes please describe these differences (for example tone, articulation etc)4.Which vowels do you use to play in the different register?For example: “I” or “E” in the high register and “A” or “O” in the low register OR something else?5.When you articulate a note, where does your tongue make contact with your mouth? For example: the middle of your teeth, above your teeth. Where does the tongue return to? Describe the movement of your tongue.6.Which consonants do you use when you play staccato?For example: ta-ta, da-da, toh-toh,…7.Which consonants do you use to play double and triple tonguing?For example: ta-ka-ta-ka/ta-ta-ka-ta-ta-ka, de-ga-de-ga/de-de-ga-de-de-ga or something else?8. When you play a legato or slur, describe what happens with your tongue, throat and air.9.Which are the differences in the sound for you if your mother language is Germanic or Romanic? Do you think Germanic speakers have a dark sound and Romanic speakers bright sound?German and English are Germanic languagesSpanish, Italian, French, Portuguese,… are Romanic languages10.Do you think that depending of your mother language you do some technical things differently?For example trills, flutter tongue. Thank you so much for your help! Michael _ New music from the Rogue Traders - listen now! http://ninemsn.com.au/share/redir/adTrack.asp?mode=clickclientID=832referral=hotmailtaglineOct07URL=http://music.ninemsn.com.au/roguetraders___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] chicken or egg
Dumb question - When Mozart and Strauss wrote their horn concertos, did the orchestrations or the piano parts come first. How did the composers write it down and did someone else later condense the orchestration to piano or orchestrate the piano part? How did it evolve? Ron **It's Tax Time! Get tips, forms, and advice on AOL Money Finance. (http://money.aol.com/tax?NCID=aolprf000301) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] chicken or egg
I don't know, but I would guess the usually orchestral parts would come first and the piano reduction later - at least, that's how I write things. But, as I say, I don't know (so maybe I should stay out of it?) Cheers, Lawrence 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] chicken or egg
Strauss wrote the piano part first and later orchestrated the concerto (assuming we're talking about Nr. 1). Paul On Thu, Mar 13, 2008 at 9:33 PM, [EMAIL PROTECTED] wrote: I don't know, but I would guess the usually orchestral parts would come first and the piano reduction later - at least, that's how I write things. But, as I say, I don't know (so maybe I should stay out of it?) Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/parsifal560sec%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
