[Hornlist] Hermann Baumann Turns 75 Years Young
Dear Listmates, Today, August 1, 2009, is Hermann Baumann¹s 75th Birthday. Let us all wish Prof. Baumann a Happy and Healthy Birthday. ~ Avrum Avrum H. Golub, M.D., J.D. Asharoken, NY 11768-1121 ago...@optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sandy Siegelstein and Junior Collins
Dear Horn Brothers & Sistes
FYI:
Miles Davis trumpet (all)
Kai Winding trombone (January 1949)
J. J. Johnson trombone (April 1949, March 1950)
Junior Collins French horn (January 1949)
Sandy Siegelstein French horn (April 1949)
Gunther Schuller French horn (March 1950)
Bill Barber tuba (all)
Lee Konitz alto saxophone (all)
Gerry Mulligan baritone saxophone (all)
Al Haig piano (January 1949)
John Lewis piano (April 1949, March 1950)
Joe Shulman bass (January 1949)
Nelson Boyd bass (April 1949)
Al McKibbon bass (March 1950)
Max Roach drums (January 1949, March 1950)
Kenny Clarke drums (April 1949)
Kenny Hagood vocal ("Darn That Dream" only)
Birth of the Cool
Miles Davis | Capitol Records
By Michael Fortuna
Discuss
As jazz's bebop movement flourished during the late 1940s with its
fast-paced rhythms from virtuosos like trumpeter Dizzy Gillespie and
saxophonist Charlie Parker, trumpeter Miles Davis headed off in a new
direction.
Taking cues from the innovations learned in Parker's group, Davis, along
with his nonet, recorded 12 songs in a two-year span that, when released
together on one album, became known as Birth of the Cool.
This landmark album has been issued on CD several times, but now Capitol
Jazz/Blue Note has released a ³cleaner² version, with sound engineer Rudy
Van Gelder using the original source tapes during remastering.
In 1949, arranger Gil Evans's New York basement apartment, where various
jazz musicians had gathered, became ground zero for the nonet's formation.
For the three recording sessions that took place Jan. and April 1949 and
March 1950, Davis used the unlikely instruments of French horn and tuba,
something first brought to light by the Claude Thornhill Orchestra, of which
Evans was the principal arranger.
Davis also enlisted the more traditional baritone and alto saxophones,
trumpet, trombone, piano, bass and drums to complete the nonet.
This instrumentation, coupled with the likes of Davis on trumpet, baritone
saxophonist Gerry Mulligan, pianist John Lewis, alto saxophonist Lee Konitz
and drummers Kenny Clarke and Max Roach, created a warm, relaxed, albeit
³cool,² sound that would become the standard for West Coast jazz.
Even though these songs clock in at an average of three minutes, the Davis
nonet uses the shortened time span to create something magical.
Davis' trumpet solos are brief and don't fly at a furious rate, but you can
almost hear his soul pouring out of each note on Evans' graceful arrangement
of ³Moon Dreams.²
Mulligan and Konitz also follow the short-and-sweet-solo formula on songs
like the Mulligan-penned ³Jeru² and Lewis' arrangement of Denzil Best's
³Move,² respectively.
Birth of the Cool serves as a perfect example of how the music can evolve to
create something timeless. But this wouldn't be the last time Davis started
a revolution in the jazz world.
Track listing: Move, Jeru, Moon Dreams, Venus De Milo, Budo, Deception,
Godchild, Boplicity, Rocker, Israel, Rouge, Darn That Dream.
Personnel: Miles Davis: trumpet, Kai Winding: trombone, J.J. Johnson:
trombone, Junior Collins: French horn, Sandy Siegelstein: French horn, John
Barber: tuba, Lee Konitz: alto sax, Gerry Mulligan: baritone sax, Al Haig:
piano, John Lewis: piano, Joe Shulman: bass, Nelson Boyd: bass, Al McKibbon:
bass, Kenny Clarke: drums, Max Roach: drums, Kenny Hagood: vocals.
Style: Mainstream/Bop/Hard Bop/Cool | Published: July 01, 2001
Avrum
PS: I studied horn with Mr. Siegelstein (for a few months in 1957 before my
studies with John Barrows) who had a position with the Yonkers, NY school
system. Apropos of the discussion about teaching transposition, Mr
Siegelstein taught me transposition when I was playing horn for about 6
months. Mr. Siegelstien played a brass Kruspe which upon his passing was
acquired by Yamaha and autopsied by Yamaha, the information from which
Yamaha designed the 668. Thank the Lord that Mr. Barrows banned Kopprasch
and brought me up on Maxime-Alphonse.
On 9/12/08 6:09 PM, "LOTP" <[EMAIL PROTECTED]> wrote:
> Martin et al:
>
> In 1968-69 I played with Sandy Siegelstein in the "Yonkers Pops" band. My
> old 802 directory lists a Yonkers (NY) address. Beyond that, I can't help
> you.
>
> Paul Truszkowski
>
> - Original Message -
> From: "Martin Bender" <[EMAIL PROTECTED]>
> To: "The Horn List"
> Sent: Friday, September 12, 2008 4:08 PM
> Subject: [Hornlist] Sandy Siegelstein and Junior Collins
>
>
>> Hello all,
>>
>> This request may be better answered by some of the older list members...
>> I'm looking for some information on these horn players, who were featured
>> (along with Gunther Schuller) on the Miles Davis "Birth of the Cool"
>> sessions. Evidently, prior to his death, Gerry Mulligan (bari
>> sax/arranger) had been telling people that Jimmy Buffington had been
>> present as well, but his name is not listed anywhere in the credits.
>>
>> Anything that you might be able to dig
Re: [Hornlist] question
In 1973, I had the pleasure of playing a concert in which Barry Tuckwell played Mozart 3rd and Strauss 1st concerti. This was a professional orchestra and I had met, at his Carnegie Hall debut in 1968, and corresponded with Mr. Tuckwell. I am a John Barrows style player and played an Alexander 107G (quite radical for an American, correct?) using a Barrow Dell¹osa mouthpiece. The conductor wanted to feature me so he programmed the Ravel Pavane. I asked Mr. Tuckwell the very question you ask. In essence, he said, ³Kid, you must play like you". So, I played with a light tone and Barrows' style vibrato. I was beaten up in the review of the concert by the critic (Mr. Tuckwell was praised). I have no regrets and would certainly play like me, again. Warmly, Avrum On 6/9/08 9:07 AM, "Bernabe Flores" <[EMAIL PROTECTED]> wrote: > I have a question. Though I have an opinion of my own, I would like to see how > this is practiced by many. > > If your playing in an orchestra to accompany a horn soloist, how would you > decide on your tone quality? Should one player support the tone of the soloist > by playing the same or almost the same tone, or play with his own tone? > Suppose the music he is playing is mozart. > > Just seeking for opinion. > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] FW: [horn] Chambers LP offer Received
> From: "Avrum H. Golub, M.D., J.D." <[EMAIL PROTECTED]> > Reply-To: [EMAIL PROTECTED] > Date: Mon, 31 Dec 2007 12:11:58 -0500 > To: [EMAIL PROTECTED] > Subject: [horn] Chambers LP offer Received > > Howard, > > Many thanks! And, job well done!! > > My parents and Mr. Barrows are smiling remembering our discussions of this > record, especially the Heiden Sonata. As I have come to learn, advocacy is one > thing, dogma is another. Yet, there is much to be learned from diversity and > heterogeneity. > > Avrum > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] American Horn ensemble
At the time of the LA Horn Club recording, the sound of American Horn Players was rather heterogeneous. For example, the New York Philharmonic Horn sound was easily distinguishable from the sound of the Metropolitan Opera Orchestra¹s Horn Sound (Moore/Howard) which was easily distinguishable from the sound of New York¹s fiercely facile Studio Musician Horn Sound (Barrows/Tillotson/Froelich/Alonge). And, the horn sounds of the five major orchestras of that time were easily distinguishable from each other - sections led by Stagliano, Chambers/Singer, Jones, Bloom and Farkas. Avrum On 12/20/07 10:24 AM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: > Of course, a recording was done a long time ago that represents the American > Horn Sound. It's called Horns! by the Horn Club of Los Angeles > > > Pete Jilka > Kansas City, MO > -Original Message- > From: michael reeedy <[EMAIL PROTECTED]> > To: horn@music.memphis.edu > Sent: Wed, 19 Dec 2007 4:55 pm > Subject: [Hornlist] American Horn ensemble > So with the recent releases of Cd's by Horn ensembles like the Vienna Horns, > the > London Horn Sound, and the Berlin Philharmonics Horn section I was wondering > is > there any news of attempts by any groups to form and/or create a cd that will > represent the sound of American Horn players? > -Michael > Reedy > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re:horn player in old movie
FYI. Avrum Full performer name: Glenn Miller & The Army Air Forces Training Command Band. Glenn Miller & The Army Air Forces Training Command Band includes: Glenn Miller (conductor, trombone); Johnny Desmond, Artie Malvin, Steve Steck (vocals); Peanuts Hucko (alto saxophone, clarinet); Hank Freeman, Freddy Guerra (alto saxophone); Jack Ferrier, Vinnie Carbone (tenor saxophone); Chuck Gentry (baritone saxophone); Whitey Thomas, Bobby Nichols, Bernie Privin, Jack Steele (trumpet); Addison Collins Jr. (French horn); Jimmy Priddy, Jimmy Harwood, Johnny Halliburton, Larry Hall (trombone); Jack Rusin (piano); Carmen Mastren (guitar); Trigger Alpert (bass); Ray McKinley, Frank Ippolito (drums). http://www.oregonlive.com/oregonian/stories/index.ssf?/base/entertainment/11 9283456536200.xml&coll=7 For Norman Leyden, 90, it's still all about music Saturday, October 20, 2007 LYNN DARROCH Special to The Oregonian After the standing ovations, the balloons and the cake, after "Happy Birthday" was sung twice, there was still only one thing Norman Leyden wanted to focus on: the music he loves. So, when the curtain began to close on the last strains of "Moonlight Serenade," Leyden stepped forward, thanked the full house, played a brief cadenza on clarinet and then turned back to his band. Because in the end, as it was at the beginning of Norman's Big Band Birthday concert, it was all about music for the Oregon Symphony's laureate associate conductor, who celebrated his 90th birthday Wednesday night at Arlene Schnitzer Concert Hall. "I hope you came here for the songs more than to see an old geezer," he said. Those songs -- 30 period classics performed by the Norman Leyden Big Band with vocalists Rene Cleland and Rod Lucich as well as some younger guests -- have been part of Leyden's professional life since World War II, when they were on the Hit Parade and he served as arranger with Glenn Miller's Air Force Band. Later, he arranged for the likes of Frank Sinatra and Sarah Vaughan. Leyden is an expert on the Swing Era big band, and his 17-piece group re-created that sound with excellent musicianship and solid swing. The ensemble supported Cleland with colorful instrumental work on a ballad medley that included "That Old Feeling," and demonstrated beautiful balance on an unusual arrangement of "Rhapsody in Blue." Lynn Darroch is a Portland writer; [EMAIL PROTECTED] On 10/28/07 9:34 AM, "Walter Lewis" <[EMAIL PROTECTED]> wrote: > This is an interesting thread! I saw years ago in my mother's Reader's Digest > Big Band Collection a photo of Glenn Miller's Army Air Force Big Band, and lo > and behold there was a hornist in his Orchestra as well. To really stir the > pot, I wonder who he was... > > Walt Lewis > > Wendell L Exline <[EMAIL PROTECTED]> wrote: I think the horn player in the > Harry > James band was Willard Culley! > John Graas played with the Glenn Miller(Tex Beneke) band in the post war > Miller group. > > Pete Exline > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/lewhorn9%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/agolub%40optonline.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 player in old movie
Bill Culley, Fred Waldron, and/or Phil Palmer. Avrum 1st ³Kid² student of John Barrows of blessed memory Avrum H. Golub, M.D., J.D. 547 Asharoken Avenue Asharoken, NY 1768-1121 (631) 754-2259 [EMAIL PROTECTED] On 10/26/07 4:22 PM, "Robert Ward" <[EMAIL PROTECTED]> wrote: > Good guess, although Graas was 18 in 1942, and according to this: > > http://www.answers.com/topic/john-graas > > in the army then... > > Any other takers? > > B > > > Bob Ward > Principal Horn > San Francisco Symphony > http://www.rnward.com > > > On Oct 26, 2007, at 10:26 AM, [EMAIL PROTECTED] wrote: > >> .My guess id John Graas. Regards. > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] John Barrows - resend with correction
Yes, Fred, he did not own nor play a Kruspe. Best Regards, Ave On 10/5/07 1:17 PM, "Fred Baucom" <[EMAIL PROTECTED]> wrote: > Ave, you meant 'he did *not* own or play a Kruspe...', right? > > Fred > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] Behalf Of > Avrum H. Golub, M.D., J.D. > Sent: Friday, October 05, 2007 9:19 AM > To: The Horn List > Subject: Re: [Hornlist] John Barrows - resend with correction > > > Although I¹m sure John could borrow a Kruspe from someone, he did own or > play a Kruspe in the nearly 20 years that I knew him, even though he greatly > admired Arthur Berv. He did have virtually instant access to Holton H-177 > horns, and told me of a story of one being ³pancaked² in the baggage area of > a ³puddle jumper² on a flight to Albany, NY. Holton sent him a horn > immediately (prior to Fedex). > > As you know, the Holton H-177 bell throat is not ³large². Mr. Barrows did > not favor large throated horns. Virtually all of the players John worked > with in New York played Schmidts, Geyers and Alexanders with piston thumb > valve, Schmidt-style Knopfs entering the mix occasionally. > > Ave > > On 10/5/07 11:16 AM, "Fred Baucom" <[EMAIL PROTECTED]> wrote: > >> The picture in the link provided looked more like a Kruspe than a Conn or >> Holton - the top slide was wider in shape... >> >> Fred >> >> -Original Message- >> From: [EMAIL PROTECTED] >> [mailto:[EMAIL PROTECTED] Behalf Of >> John Dutton >> Sent: Thursday, October 04, 2007 10:22 PM >> To: horn@music.memphis.edu >> Subject: [Hornlist] John Barrows >> >> >> At the end of his career, John Barrows played a Holton Farkas model-I > think >> it was the 77 or the 177. I don't know how many years for sure but I > know >> for fact this is true. If you thought the picture was Conn-esque then the >> horn you saw was the Holton and not the Schmidt. >> >> >> >> The Jack Attack! >> >> >> ___ >> post: horn@music.memphis.edu >> unsubscribe or set options at >> http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/fbaucom%40gmail.com > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] John Barrows - resend with correction
Although I¹m sure John could borrow a Kruspe from someone, he did own or play a Kruspe in the nearly 20 years that I knew him, even though he greatly admired Arthur Berv. He did have virtually instant access to Holton H-177 horns, and told me of a story of one being ³pancaked² in the baggage area of a ³puddle jumper² on a flight to Albany, NY. Holton sent him a horn immediately (prior to Fedex). As you know, the Holton H-177 bell throat is not ³large². Mr. Barrows did not favor large throated horns. Virtually all of the players John worked with in New York played Schmidts, Geyers and Alexanders with piston thumb valve, Schmidt-style Knopfs entering the mix occasionally. Ave On 10/5/07 11:16 AM, "Fred Baucom" <[EMAIL PROTECTED]> wrote: > The picture in the link provided looked more like a Kruspe than a Conn or > Holton - the top slide was wider in shape... > > Fred > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] Behalf Of > John Dutton > Sent: Thursday, October 04, 2007 10:22 PM > To: horn@music.memphis.edu > Subject: [Hornlist] John Barrows > > > At the end of his career, John Barrows played a Holton Farkas model-I think > it was the 77 or the 177. I don't know how many years for sure but I know > for fact this is true. If you thought the picture was Conn-esque then the > horn you saw was the Holton and not the Schmidt. > > > > The Jack Attack! > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] John Barrows
Although I¹m sure John could borrow a Kruspe from someone, he did own or play a Kruspe in the nearly 20 years that I knew him, even though he greatly admired Arthur Berv. He did have virtually instant access to Holton H-177 horns, and told me of a story of one being ³pancaked² in the baggage area of a ³puddle jumper² on a flight to Albany, NY. Holton sent him a horn immediately (prior to Fedex). As you know, the Holton H-177 bell throat is not ³large². Mr. Barrows did not favor large throated horns. Virtually all of the players John worked with in New York played Schmidts, Geyers and Alexanders with piston valve Knopfs entering the mix occasionally. Ave On 10/5/07 11:16 AM, "Fred Baucom" <[EMAIL PROTECTED]> wrote: > The picture in the link provided looked more like a Kruspe than a Conn or > Holton - the top slide was wider in shape... > > Fred > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] Behalf Of > John Dutton > Sent: Thursday, October 04, 2007 10:22 PM > To: horn@music.memphis.edu > Subject: [Hornlist] John Barrows > > > At the end of his career, John Barrows played a Holton Farkas model-I think > it was the 77 or the 177. I don't know how many years for sure but I know > for fact this is true. If you thought the picture was Conn-esque then the > horn you saw was the Holton and not the Schmidt. > > > > The Jack Attack! > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] John Barrows
Indeed, Mr. Barrows often played a Holton H-177, a silver horn (which surprised him that he liked that metal of this model horn) during his professorship a the University of Wisconsin after leaving the New York scene. He worried that his Schmidt would be damaged in transit to performances. In fact the picture of John at http://www.hornsociety.org/PEOPLE/Honor/barrows.html shows him holding a H-177. Mr. Barrows also used a silver 5-valve B flat Schmidt as his back-up horn. In fact, John premiered a concerto written for him by Alec Wilder playing this 5 valve B flat horn on August 4, 1961 at the Yale Summer Music School Shed, Norfolk, Conn. (not Conn 8-D which he called a bazooka, LOL). The springs were shot, so he augmented the springs with rubber bands; some of the valve crooks were held together with scotch tape. So, as Mr. Barrows taught me, ³If you want to play, just play². Of course, he played the Wilder premier with glorious humility. Your observation that Farkas, Tuckwell, Lansky-Otto and Barrows blended perfectly speaks for the fact that it is the player, not the equipment, and musicianship that counts. The equipment is merely an extension of us. It is our axe, so we should decide in our minds, hearts and souls what we want to sound like and choose the axe (or baseball glove, or baseball bat) best for us. I count myself fortunate that I¹ve known what I want to sound like since age 12 and was taught by a musician¹s musician. Warmly and Fraternally, Ave On 10/5/07 7:50 AM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: > I saw him play the Hindemith Sonate on a Holton at the first horn symposium in > 1969 in Florida. He also played horn quartets with Farkas, Tuckwell, and > Lansy-Otto which was fascinating because they all played differently but > blended perfectly. > > -- Original message from "John Dutton" <[EMAIL PROTECTED]>: > -- > > >> At the end of his career, John Barrows played a Holton Farkas model-I think >> it was the 77 or the 177. I don't know how many years for sure but I know >> for fact this is true. If you thought the picture was Conn-esque then the >> horn you saw was the Holton and not the Schmidt. >> >> >> >> The Jack Attack! >> > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] John Barrows
Dear Luke, You are looking at the picture of Mr. Barrows on his recording for the Golden Crest label. Alec Wilder was John¹s close friend. Mr. Barrows is paying his brass Schmidt using a mouthpiece made for him by Vincent Dell¹Osa of Philadelphia. John studied at the Eastman under Arkady Yegudkin. He was a member of the New York Woodwind Quintet for many years and was Casals¹ horn player of choice. Mr. Barrows died at age 61 in 1974 of complication of Hodgkin¹s Disease. Mr. Barrows¹ tone was unique and incomparable. His musicianship was like a string player and finest vocalist, not a player who thought Mahler¹s 5th or the Long Call are everything. Simply said, there was or is no horn player like John R. Barrows (the R. stands for Rumsey). Fraternally, Ave PS: I was his first kid student, beginning in 1958. PPS: I was a medical student when he was diagnosed, am a Pathologist/Blood Banker and active horn player. Still haven¹t found a good Schmidt in good condition (is there such a thing?). Presently, I¹m playing a goldbrass Alexander 107 (107G0 using a Lawson P10G705 rim and S670 cup. Avrum H. Golub, M.D., J.D. 547 Asharoken Avenue Asharoken, NY 1768-1121 (631) 754-2259 [EMAIL PROTECTED] On 10/4/07 7:46 PM, "Luke Zyla" <[EMAIL PROTECTED]> wrote: > I just got a new turntable today and am listening to my old recording of John > Barrows performing the Wilder Sonatas and Suites. What a fantastic sound and > beautiful interpretation. From looking at his picture on the front of the > record jacket it looks as though he is playing a Conn 8-D. Does anyone know > what kind of horn he played? Also, is there any biographical information > available about Mr. Barrows? Perhaps someone on the list knew him. I am not > even certain if he is still with us. > Luke Zyla > 2nd horn, WV Symphony Orchestra > www.wvsymphony.org > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Film music featuring horns
Addendum: Scores by David Amram. AHG On 9/3/07 2:39 PM, "Avrum H. Golub, M.D., J.D." <[EMAIL PROTECTED]> wrote: > Dear Friends, > > Remember On the Waterfront? See and listen to Barry Levinson¹s Sleepers > (John Williams, score, James Thatcher, horn [credited]). > > And the plethora of original television themes, e.g., Dallas (Star Trek not > withstanding). > > And, lest we forget the fabled fearsomely facile New York City freelance > jingle players like John Barrows, Ray Alonge, Jim Buffington, Earl Chapin, > Fred Klein, Tony Miranda, Brooks Tillotson, Barry Benjamin ... . > > Not all great playing is the ³Long Call², Til, Mahler¹s 5th. In fact, much > of great playing is beautiful unison, 4ths, fifths and octaves. > > Avrum > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Film music featuring horns
Dear Friends, Remember On the Waterfront? See and listen to Barry Levinson¹s Sleepers (John Williams, score, James Thatcher, horn [credited]). And the plethora of original television themes, e.g., Dallas (Star Trek not withstanding). And, lest we forget the fabled fearsomely facile New York City freelance jingle players like John Barrows, Ray Alonge, Jim Buffington, Earl Chapin, Fred Klein, Tony Miranda, Brooks Tillotson, Barry Benjamin ... . Not all great playing is the ³Long Call², Til, Mahler¹s 5th. In fact, much of great playing is beautiful unison, 4ths, fifths and octaves. Avrum ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Pierre Del Vescovo
I had the pleasure of meeting and playing for Pierre in New York City in 1968. He played for me demonstrating a facile technique and a lyrical tone. He was using a single B flat goldbrass Alexander. My mother connected him with some NYC studio player friends (associates of my teacher, John Barrows), but shortly Pierre left for Montreal where he played Principal for a time and then returned to France. Valerie, I¹m glad his musicianship ³melted² you. Try to listen to John Barrows¹ recordings of K. 407 As you know, not all horn playing is Til, Heldenleben, Mahler¹s 5th, the short and long call power playing ... elegance and expression rather than the bombastic bazooka style, or ashcan sound (as JRB called it). Yet the world has place for the musicianship all players of all styles. It¹s each players choice. Regarding Pierre: Il étudie au Conservatoire de Paris où il obtient un 1er prix de cor en 1949. En 1956, il remporte un 2ème prix au Concours International de Genève. Il occupe successivement le poste de cor solo à l¹Orchestre Symphonique de Bâle, à l¹Orchestre Philharmonique d¹Israël, à l¹Orchestre Philharmonique de Montréal, à l¹Orchestre de Chambre de Paris et, depuis 1977, à l¹Orchestre du Capitole de Toulouse. Il mène par ailleurs une active carrière de soliste, diffusant le renom de l¹école française de cor dont il est l¹un des meilleurs représentants. Les grands chefs d¹orchestre ont dit de lui : Doté d¹une sensibilité musicale naturelle, Pierre del Vescovo possède une très belle qualité de son, et velouté dans le piano, robuste, plein et dense dans le forte. Sa technique est rationnellement étudiée et perfectionnée. (Carlo Maria Giulini) Il a une musicalité naturelle et une maîtrise facile de son instrument. Il est à l¹aise dans de nombreux styles. Sa très grande solidité devrait peut-être se mentionner spécialement. (Antal Dorati) Pierre del Vescovo a associé les qualités de son école française à celles de l¹école allemande et cela est de grande importance. (Eugène Ormandy) Sonorité, technique et musicalité sont de tout premier ordre. (Joseph Krips) Il est un musicien, un corniste de premier plan au jeu toujours égal. (Paul Paray) Avrum PS: The French is not mine. On 8/17/07 2:08 PM, "Valerie WELLS" <[EMAIL PROTECTED]> wrote: > I've fallen in love with Pierre Del Vescovo after hearing a recording of him > playing Dukas's "Villanelle." (I think in 1979.) Holy cow, can he ever > turn a phrase. Melts me. > > Anyway, I've tried to find some biographical information about him but > haven't been successful. Can anyone tell me anything about him? From what > I've gleened on the web, many musicians like to claim some sort relationship > with him -- either teaching or playing. He must be, or must haved been, > quite a remarkable guy. ~Valerie > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Custom slide for 70's Alex
Gebr. Alexander Mainz Rhein. Musikinstrumentenfabrik GmbH Bahnhofstrasse 9 D-55116 Mainz Phone +49 6131 28 80 80 Fax +49 6131 22 42 48 e-mail: [EMAIL PROTECTED] Managing Director Philipp Alexander +49 61 31/28 80 80 [EMAIL PROTECTED] Manufacture Ralf Gärtner (master) +49 61 31/28 80 80 [EMAIL PROTECTED] Dieter Ultes (master) +49 61 31/28 80 80 [EMAIL PROTECTED] Sales Hans Herrmann +49 61 31/28 80 80 [EMAIL PROTECTED] Raimund Pankratz +49 61 31/28 80 80 [EMAIL PROTECTED] Marketing/Press/Webmaster Stephan Kahl +49 61 31/28 80 8-56 [EMAIL PROTECTED] Hope this helps What is ³custom² about your horn? Is it a Model 97 [5 valve B flat/A (stop)/Low F]? Avrum > Avrum H. Golub, M.D., J.D. > 547 Asharoken Avenue > Asharoken, NY 1768-1121 > [EMAIL PROTECTED] On 8/14/07 4:39 PM, "Steve Freides" <[EMAIL PROTECTED]> wrote: > I mailed Alexander - using the link on their web site - but have not > received a reply. I'm trying to get a price on an F-extension to be used in > place of the stopping valve tubing of my 5-valve Bb single horn. Does > anyone have an email or telephone number for Alexander they know will be > answered, or is it just that they are on vacation in August or something > like that? This is a custom horn from the 1970's. > > Thanks. > > -S- > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: military musicians
Dear Friends, Please allow me to bring to your attention a book written by my dear and long-time friend John Canarina: > Uncle Sam's Orchestra: Memories of the Seventh Army Symphony, by John > Canarina, (Bass and Conductor in 1959-60). 50 b/w illus., musical examples, > 224pp, 6 x 9. From the University of Rochester Press P.O. Box 41026 Rochester, > NY 14604-4126. > (9/11/06) Mel Ponzi reports that Rochester Press (585 / 275-0419) has 4 copies > left. Members of the 7ASO will get a discount; use code #6080. Price is > $37.00 + $4.00 s/h. > (9/12/06) According to John Canarina, the email contact at Rochester is > Suzanne Guiod at [EMAIL PROTECTED] > (5/22/07) Note from John Canarina: "The University of Rochester press has > informed me that, while my book is technically out of print, they are now > offering it on a Print on Demand (POD) basis, which means that anyone can now > order a copy and they'll print one up, which will appear identical to the > original book. Same deal---former members get a 25 per cent discount." > Please also note John¹s website: http://www.drake.edu/artsci/Music_Dept/faculty/canarina.html . By the way, when I was 13 years old (1959-1960), I had the opportunity to play with many outstanding military musicians from The West Point Band. The organization was the Westchester Symphonic and Pops Band (Wextchester County, NY) (Joseph Cappello music director, guest conductors Edwin Franko Goldman and Lloyd Marx [Ted Mack's Original Amateur Hour music director] and soloists such as Bill Bell). I played second horn to Dick Webb and Aubrey ³Tex² Brouk²; also in the section were Eddie Birdwell and Abby Mayer. It was a great learning experience to work with such fine musicians. By the way, Marcus Fischer was the coach of the West Point Band horn section. Warmly, Avrum Avrum H. Golub, M.D., J.D. 547 Asharoken Avenue Asharoken, NY 1768-1121 (631) 754-2259 [EMAIL PROTECTED] On 7/14/07 7:12 PM, "Chris Earnest" <[EMAIL PROTECTED]> wrote: > Milton Kicklighter wrote: > >> I sent my note not to start another "war" but to start another thread. I >> thought it would be nice if some of the "old timers" and new ones for >> that matter might like to discuss their time in a military band. I > > After basic training, I spent about a year in the post band in Aberdeen, Md, > which was musically a waste of time, although a lot better than most Army > duty. Then a year in the 7th Army Symphony based in Stuttgart, which was > great, and led to a number of lasting friendships. The orchestra had its > ups and downs because of the constant rotation of people, but at its best it > was pretty impressive, and many of its alumni went on to major symphonic > jobs. For example, just considering the 33 or so horn players who played in > the orchestra during its ten year lifetime, three later played in the NY > Phil (one on associate first), one in the Symphony of the Air (principal)., > one in the LA Phil (principal), one in Pittsburgh (principal), one in St. > Louis, two in Kamsas City, three in New Orleans, one as extra in the Boston > Symphony, one in the New York City Opera, and one in Buffalo, Pittsburg, > Cleveland, and Minnesota. (I may have left out a couple). > > For more info on the orchestra, see http://7aso.org/. > > Chris Earnest > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Meinl Flare: Good, Bad or Ugly? Alexander 107
Dear Nelson, What differences you notice? What type of metal was the bell made of? Was the bell a particular model or size? What metal is your 107? When was your 107 made? Have you made any modifications to this horn? Avrum PS: I¹ve played goldbrass 107s as my main instrument since 1971, and played on a borrowed brass 106 since 1969. > From: "Nelson R. Lawson" <[EMAIL PROTECTED]> > Reply-To: The Horn List > Date: Thu, 07 Dec 2006 17:41:11 -0500 > To: The Horn List > Subject: Re: [Hornlist] Meinl Flare: Good, Bad or Ugly? > > I used a Meinl flare on my Alex 107 and it made a great difference in > the sound as compared to the stock Alex flare. > > Nelson > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tough entrance
Dear Listers, See also, Chopin¹s Piano Concerto in e-minor. Avrum H. Golub > From: [EMAIL PROTECTED] > Reply-To: The Horn List > Date: Wed, 06 Dec 2006 13:09:18 -0500 (EST) > To: horn@music.memphis.edu > Subject: [Hornlist] Tough entrance > > David G wrote: > > I was interested to know if there are any other pieces that have an F# > entrance, especially repetitiously like these. > > *** > Bruckner's Fourth on a bad day. > > Gotta go, > Cabbage > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tough entrance
Dear Listers, Have a look at the fanfare on last page of any edition of Tchaikovsky¹s Fifth Symphony. As an aside, there is a piano/pianissimo (F#- Concert B) (ninth harmonic on the A Horn) entrance in the Prelude to the Third Act of Die Meistersinger slurred to written A a sixth below (sixth harmonic on the G Horn). Some players half stop the G (ninth harmonic on the B flat horn) to play a distant F#. Avrum H. Golub > From: [EMAIL PROTECTED] > Reply-To: The Horn List > Date: Wed, 06 Dec 2006 13:09:18 -0500 (EST) > To: horn@music.memphis.edu > Subject: [Hornlist] Tough entrance > > David G wrote: > > I was interested to know if there are any other pieces that have an F# > entrance, especially repetitiously like these. > > *** > Bruckner's Fourth on a bad day. > > Gotta go, > Cabbage > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
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 > Date: Tue, 24 Oct 2006 06:35:01 +0200 > To: 'The Horn List' > 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 >> Date: Sun, 22 Oct 2006 22:40:29 +0200 >> To: 'The Horn List' >> 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%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
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 > Date: Sun, 22 Oct 2006 22:40:29 +0200 > To: 'The Horn List' > 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/archive%40jab.org
Re: [Hornlist] Question excerpts
I am glad to help, and look forward to contributing along with you to the betterment of our Noble Horn. Your comment about Sansone does not surprise me. Although Lorenzo Sansone taught me many things related to intonation and technical characteristics of a well manufactured horn, Mr. Barrows told me that 5 valve B horns manufactured in Germany pre-dated the 5 valve Sansone. In fact, John Barrows had a silver 5 valve Schmidt, and played that instrument to premier a Concerto his good friend Alec Wilder wrote for him (the finger plate springs were ³shot¹ so he used rubber bands around the valve caps and finger plates as ³springs²). As for Sansone publications, I agree with your phrase, ³Mere reproduction². Warmly, Avrum > From: hans <[EMAIL PROTECTED]> > Reply-To: The Horn List > Date: Sat, 30 Sep 2006 21:32:46 +0200 > To: 'The Horn List' > Subject: RE: [Hornlist] Question excerpts > > Thank you for your reply, which is helpful for another horn > list. I also thought of Max Pottag as the author. The other > ten books compiled by Friedrich Gumbert are well known & the > Sansone publication is a mere reproduction of it. > > Kindest greetings > > Hans > > > === > > -Original Message----- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of Avrum H. Golub, M.D., J.D. > Sent: Saturday, September 30, 2006 8:09 PM > To: The Horn List > Subject: Re: [Hornlist] Question excerpts > > Dear Prof. Pizka, > > Max P. Pottag extracted orchestral excepts published bt > Belwin, Inc. > Rockville Center, Long Island, New York. Book I was > copyrighted in 1949; volume II, in1943; and volume III, in > 1945. > > Perhaps you are thinking of the ten volume series of excerpt > books compiled by Fredrich Gumbert and published by Sansone > Musical Instruments, Inc., 1658 Broadway, New York, New York > (later 234 West 56th Street, New York 19, New York (long > befor zip codes). > > With Warmest Fraternal Greetings, > Avrum > > Avrum H. Golub, M.D., J.D. > 547 Asharoken Avenue > Asharoken, NY 11768-1121 > (631) 754-2259 > [EMAIL PROTECTED] > > P.S. > I am new to the list courtesy of Leslie Mantrone, a fellow > Fordham University graduate and horn player > > I studied from 1958-1962 with John Barrows in New York City, > and was his first ³kid² student. I, also, had some lessons > with Lorenzo Sansone, played his own 5-valve B horn, and had > him play orchestral and opera solos for me while he was in > his 80s. > > >> From: hans <[EMAIL PROTECTED]> >> Reply-To: The Horn List >> Date: Sat, 30 Sep 2006 18:49:23 +0200 >> To: 'The Horn List' >> Subject: [Hornlist] Question excerpts >> >> "Horn Excerpts from standard orchestral repertoire" >> Belwin Mills Publishing Group, Melville N.Y.) >> >> Question: who compiled this collection originally ? It is > a collection >> of 20 (?) books. >> >> ___ >> 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/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Question excerpts
Dear Prof. Pizka, Max P. Pottag extracted orchestral excepts published bt Belwin, Inc. Rockville Center, Long Island, New York. Book I was copyrighted in 1949; volume II, in1943; and volume III, in 1945. Perhaps you are thinking of the ten volume series of excerpt books compiled by Fredrich Gumbert and published by Sansone Musical Instruments, Inc., 1658 Broadway, New York, New York (later 234 West 56th Street, New York 19, New York (long befor zip codes). With Warmest Fraternal Greetings, Avrum Avrum H. Golub, M.D., J.D. 547 Asharoken Avenue Asharoken, NY 11768-1121 (631) 754-2259 [EMAIL PROTECTED] P.S. I am new to the list courtesy of Leslie Mantrone, a fellow Fordham University graduate and horn player I studied from 1958-1962 with John Barrows in New York City, and was his first ³kid² student. I, also, had some lessons with Lorenzo Sansone, played his own 5-valve B horn, and had him play orchestral and opera solos for me while he was in his 80s. > From: hans <[EMAIL PROTECTED]> > Reply-To: The Horn List > Date: Sat, 30 Sep 2006 18:49:23 +0200 > To: 'The Horn List' > Subject: [Hornlist] Question excerpts > > "Horn Excerpts from standard orchestral repertoire" > Belwin Mills Publishing Group, Melville N.Y.) > > Question: who compiled this collection originally ? It is a > collection of 20 (?) books. > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/agolub%40optonline.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
