Re: [Hornlist] Amahl introduction
Hello Howard, just play the low D very soft. There will not be any difference. ... At this low note & low dynamic there is no distinction in the sound. The composer either wanted it very soft or did use the con sord. markings only, because it exists (composers often use certain "markings", because they are possible. If it makes sense or not, that´s not a question for them !!!) === -Original Message- Date: Sat, 29 Nov 2008 23:08:35 +0100 Subject: [Hornlist] Amahl introduction From: Howard Sanner <[EMAIL PROTECTED]> To: horn@music.memphis.edu, [EMAIL PROTECTED] In the introduction to Amahl and the Night Visitors, just before the Allegro moderato, the horn is in unison with the cellos. The part ends on a written D below middle C, which is marked con sordino. There's very little time (an eighth rest) to get the mute in. I've tried it several ways: mute substituting for my hand in the open measures, D stopped, D half stopped, with various fingerings. None seems very satisfactory. What do people do who play this for a living? There is a practical reason for the question (for once): I have to play the introduction in a couple of weeks. Thanks. Howard Sanner [EMAIL PROTECTED] ___ 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: Balanced Embouchure helps asthmatic horn player
The Balanced Embouchure Method helps "average" players to have an opportunity to excel. It is most known for extending range, but it also improves tone and flexibility. Even professional hornists have tried it and benefited from it. Fortunately, some of the players on this list play so well that they don't want to consider this method. Others are grateful for the help that BE offers. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] IHS Online news
Three announcements concerning the IHS website: 1) Just in time for holiday shopping! IHS logo merchandise is now being offered through our new Cafe Press website. Although these items are not identical to items sold at IHS Symposiums, many are being offered in new colors and designs. We are adding new items to this site on a regular basis, so please keep checking the site. You may find just the right item for yourself or any horn enthusiast! The IHS store can be found at http://www.cafepress.com/hornsociety/ There are also links from the front page and main menu of the IHS website- http://www.hornsociety.org/ 2) Phil Myers is this month's "Ask the Pros" correspondent. His responses to reader questions are being added to the valuable contributions of Frank Lloyd, Frøydis Ree Wekre, Dale Clevenger and Bob Ward. From the main menu choose "Network-->IHS Forum". (I think his latest two posts should be required reading for any aspiring orchestral player.) 3) Scholarship information has been updated for 2009. Applications are now available for the IHS Solo Competition, the Paul Mansur Scholarship and the Barry Tuckwell Scholarship, and registration is now open for the Dorothy Frizelle Mock Orchestral Audition competition. From the main menu, choose "About the IHS-->Scholarships" for more information and forms. Dan Dan Phillips Website Manager International Horn Society [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Public Masterclass held in Baltimore, MD.
Hello all, I would just like to announce for those of you in the Baltimore/DC area that Detroit Symphony Orchestra principal hornist Karl Pituch will be holding a public masterclass with the Peabody Horn Studio. It will be held at the Peabody Institute in the Cohen-Davison Hall this Wednesday, December 3rd from 5:30 - 8:30 pm. The Peabody Institute may be found at: 1 East Mount Vernon Place Baltimore, MD 21202 All are welcome to attend. K.M. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Amahl introduction
> -Original Message- > From: Howard Sanner [mailto:[EMAIL PROTECTED] > Sent: Saturday, November 29, 2008 5:09 PM > To: horn@music.memphis.edu; [EMAIL PROTECTED] > Subject: [Hornlist] Amahl introduction > > In the introduction to Amahl and the Night Visitors, just > before the Allegro moderato, the horn is in unison with the > cellos. The part ends on a written D below middle C, which is > marked con sordino. > > There's very little time (an eighth rest) to get the mute in. > I've tried it several ways: mute substituting for my hand in > the open measures, D stopped, D half stopped, with various > fingerings. None seems very satisfactory. > > What do people do who play this for a living? There is a > practical reason for the question (for once): I have to play > the introduction in a couple of weeks. With tongue firmly in cheek (and with the understanding that, although I have gotten paid to play French Horn a few times, it was obviously a big mistake on the contractor's part and I certainly do not make anywhere near a living from playing the French Horn) _and_ assuming this is for horn in F, which a quick look at the first page of the score says it is: Give the trombone player a few bucks and have him play it for you. Give the tuba player a few more bucks and have him play it for you. (Offer to insert a mute for either of these two fine players in the location of their choosing if they'll also play a bit of your part leading up to the low D.) Have beans for dinner - or better, Cabbage, uh, er, cabbage. I'm pretty sure that Cabbage would tell us no one can make a living playing Amahl - you have to play other pieces, too. Steve "just kidding" Freides ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Karl Pituch Masterclass at Peabody
Of interest to list members in the Maryland/DC area: The Peabody Horn Studio is hosting a masterclass with Karl Pituch, principal horn of the Detroit Symphony Orchestra, on Wednesday, Dec 3 at 5:30 PM in Cohen-Davison Hall at Peabody Institute of the Johns Hopkins University, 1 East Mount Vernon Place, Baltimore, MD 21202. All are welcome to attended. As IHS rep for Maryland, I just established a Maryland Horn Society facebook group. This forum will serve as a place to post information about auditions, general news, recitals, masterclasses, or concerts of interest to horn players in Maryland and surrounding areas. Please check us out. Shawn Hagen ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Amahl introduction
In the introduction to Amahl and the Night Visitors, just before the Allegro moderato, the horn is in unison with the cellos. The part ends on a written D below middle C, which is marked con sordino. There's very little time (an eighth rest) to get the mute in. I've tried it several ways: mute substituting for my hand in the open measures, D stopped, D half stopped, with various fingerings. None seems very satisfactory. What do people do who play this for a living? There is a practical reason for the question (for once): I have to play the introduction in a couple of weeks. Thanks. 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] Kruspe Horns
Richard, Since I subscribe to both lists, I'd already received your reply. Thanks for making sure I got it. Ed (in Denton) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Richard V. West Sent: Saturday, November 29, 2008 11:28 AM To: The Horn List Subject: [Hornlist] Kruspe Horns I have the feeling that I may have replied to Ed Glick's query on the wrong list. Or perhaps he asked both lists. For what it's worth, here's my contribution: I believe that the "New Symphony Model" Kruspe (definitely no umlaut) was specifically developed in the 1920s to create a full double horn with a separate Bb tuning slide and a medium bell throat, as opposed to the wider throat of the Horner model. It was listed in Kruspe catalogues as the "Walter Kruspe" model. This model was issued the German design registration number (DRGM) 1027194, which was generally engraved on horns sold in Germany in lieu of the "Made in Germany" engraved on the horns intended for export. My guess is the the name "New Symphony Model" was given to the export horns. Another guess is that this horn was developed to be more competitive with the Alexander horns of this period. I've seen these horns in both brass and nickel silver (I play a nickel silver version myself). Interestingly (at least to me), Kruspe produced a "Fritz Kruspe" model, too, but I have never knowingly seen one. The layout appears closer to that of the classical Alexander double, but it may not have had a separate Bb tuning slide. Hope this helps. Richard in Seattle Glick, Ed wrote: > I bought my Kruspe ( there's no umlaut) in 1940. Stamped (or engraved) on the bell is "Ed. Kruspe Erfurt New Symphony Model Made in Germany" There's no serial number. When I bought it, I was told the horn was about 20 years old, so it was probably manufactured about 1920. It is a full double with a separate B-flat tuning slide. Would this horn have been made before the Horner model or was it an offshoot of the Horner? Does anyone know more about this instrument? > > Ed Glick ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/glick%40unt.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Kruspe Horns
I have the feeling that I may have replied to Ed Glick's query on the wrong list. Or perhaps he asked both lists. For what it's worth, here's my contribution: I believe that the "New Symphony Model" Kruspe (definitely no umlaut) was specifically developed in the 1920s to create a full double horn with a separate Bb tuning slide and a medium bell throat, as opposed to the wider throat of the Horner model. It was listed in Kruspe catalogues as the "Walter Kruspe" model. This model was issued the German design registration number (DRGM) 1027194, which was generally engraved on horns sold in Germany in lieu of the "Made in Germany" engraved on the horns intended for export. My guess is the the name "New Symphony Model" was given to the export horns. Another guess is that this horn was developed to be more competitive with the Alexander horns of this period. I've seen these horns in both brass and nickel silver (I play a nickel silver version myself). Interestingly (at least to me), Kruspe produced a "Fritz Kruspe" model, too, but I have never knowingly seen one. The layout appears closer to that of the classical Alexander double, but it may not have had a separate Bb tuning slide. Hope this helps. Richard in Seattle Glick, Ed wrote: I bought my Kruspe ( there's no umlaut) in 1940. Stamped (or engraved) on the bell is "Ed. Kruspe Erfurt New Symphony Model Made in Germany" There's no serial number. When I bought it, I was told the horn was about 20 years old, so it was probably manufactured about 1920. It is a full double with a separate B-flat tuning slide. Would this horn have been made before the Horner model or was it an offshoot of the Horner? Does anyone know more about this instrument? Ed Glick ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Balanced Embouchure helps asthmatic horn player
P. G. Wodehouse is a great author if you like escapist fiction. His world is Edwardian England and the upper class of that time and place. He also writes about pursuit of the game of golf. He likes to poke fun at golfers who are in the external search for the gadget that will make their game just a little bit better, the little attachment that goes on your club to tell you the exact moment to start your down swing. His use of language is a treat. One of the other horn players in my group purchased a horn that had been owned by the principal horn in a major symphony. When I mentioned that in an off handed way to the guy I was taking lesson from, he said, "oh, everyone owns a horn he (the principal in question) used to play." Indicating that guy was on the search for the perfect horn as well. It's almost like a search for the Holy Grail. (I think the Python version of the Holy Grail search does it best, though some of the music Wager associates with it ain't too bad either.) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Sandra Clark Sent: Saturday, November 29, 2008 6:34 AM To: 'The Horn List' Subject: RE: [Hornlist] Balanced Embouchure helps asthmatic horn player Bill, I looked up Hoffer. What a fascinating guy! You've inspired me to read True Believer. I think perhaps you're also making a commentary about Valerie and her advocacy of the BE system. We've all seen players who are constantly searching for the one true thing (horn or mouthpiece), or way (teacher, guru, exercise), that will unlock the mystery that is horn playing. In my mind, there is no doubt that we all arrive at our current level through a myriad of factors. We focus on one thing at our peril. I find myself wishing for the ease of an 'answer' when my playing takes a southbound turn. In one of those turns, I learned about BE; and while I'm not placing all of my horn playing eggs in that basket - or any other - I have found it a valuable tool that, carefully and thoughtfully applied, has sharpened both my ability and my consistency. Since we'll never know 'all' about horn playing, openness to new ideas becomes us. What works for Joe Amazing Talent (or at least - what Joe thinks is working for him) may not work for Jane Modicum Ability. I salute Jeff Smiley for his willingness to break with convention, not for the breaking's sake, but in search of success. His goals seem to be discernment of what works, not honoring (or dishonoring!) any past teacher or idea or school of playing. Sandra Clark Toledo Symphony ___ 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] Balanced Embouchure helps asthmatic horn player
Bill, I looked up Hoffer. What a fascinating guy! You've inspired me to read True Believer. I think perhaps you're also making a commentary about Valerie and her advocacy of the BE system. We've all seen players who are constantly searching for the one true thing (horn or mouthpiece), or way (teacher, guru, exercise), that will unlock the mystery that is horn playing. In my mind, there is no doubt that we all arrive at our current level through a myriad of factors. We focus on one thing at our peril. I find myself wishing for the ease of an 'answer' when my playing takes a southbound turn. In one of those turns, I learned about BE; and while I'm not placing all of my horn playing eggs in that basket - or any other - I have found it a valuable tool that, carefully and thoughtfully applied, has sharpened both my ability and my consistency. Since we'll never know 'all' about horn playing, openness to new ideas becomes us. What works for Joe Amazing Talent (or at least - what Joe thinks is working for him) may not work for Jane Modicum Ability. I salute Jeff Smiley for his willingness to break with convention, not for the breaking's sake, but in search of success. His goals seem to be discernment of what works, not honoring (or dishonoring!) any past teacher or idea or school of playing. Sandra Clark Toledo Symphony ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
