RE: [Hornlist] horn purchase?
You might contact Houghton Custom Horns. They're located in the Dallas-Fort Worth area. I have an 85-year old Kruspe that I've just started playing again about a year and a half ago (after about a twenty-year hiatus) that I took to them to get it back in shape. I was pleased with their work, including some needed patches. If nothing else they could probably answer some of your questions. Their website is houghtoncustomhorns.com. You might also look at their site for reconditioned horns at homelesshorns.com. They don't have any Kruspes at the time, but you can get an idea of the prices of reconditioned horns,, both American and foreign. Ed Glick >>> "Bill Gross" <[EMAIL PROTECTED]> 10/20/2007 7:09 PM >>> I just purchased a Kruspe and it is indeed a nice horn. I would suggest that you find a repair person knowledgeable of the horn market and ask him to look it over. A guess as to prices $4000 give or take a couple of hundred. CAVEAT: The above price information is a guess and only a guess. As such it has almost no basis in fact. Use it as you like. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Anne Megenity Sent: Saturday, October 20, 2007 5:15 PM To: The Horn List; [EMAIL PROTECTED] Subject: [Hornlist] horn purchase? Could anyone give any insight on a horn that an acquaintance is considering to purchase? They are told it is about 65 years old and about to be evicted from an attic. Last played about 10 years ago and was serviced at that time. Its markings read "E O Kruspe" Also any ideas on a fair price? Or just skip it! ___ 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/glick%40unt.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Any one selling or know someone selling a Geyer-wrap Yamaha?
You might also check with homelesshorns.com , the used horn site for houghtoncustomhorns.com Ed Glick >>> David Jewell <[EMAIL PROTECTED]> 10/8/2007 8:53 AM >>> If you are at all interested in high quality used horns as well as new, try poperepair.com - Ken has quite a few Geyer wrap models for sale, including some Yamahas. He also currently has a relatively rare McCracken, which although a Kruspe variant has many, many admirers - including David Thompson of Thompson Edition. Paxmaha "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: List, Hello, my name is Jason Ward. I am freshman horn major at NCSA, studying with David Jolley and am just curious as to whether anyone here knows of a decent Geyer-Wrap Yamaha (667, D, V) preferably a detach. bell, but not a must, for sale. I am starting to try out some new horns and Mr. Jolley has reccomended starting with the Yamaha to help me try to achieve the sound and goals for a horn I have. (i.e. not something with a large throat like my Holton 279 and also something that won't fight back so damn hard with me). Any help would more than greatly appreciated. Please contact me off the list at [EMAIL PROTECTED] - Tonight's top picks. What will you watch tonight? Preview the hottest shows on Yahoo! TV. ___ 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] RE: Ruth Gipps Horn Concerto
Thanks. I'll look into this. Ed >>> <[EMAIL PROTECTED]> 9/2/2007 10:14 AM >>> The Dalley Horn Catalogue lists Concerto as being published by Ticherage Press, Framfeld, England. Triton, for Horn and piano also published by the same. Suspect the publisher is the Gipps estate. Regards. ___ 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] re: Houghton Custom Horns
Some of you who have been customers of Dennis Houghton and Houghton Custom Horns (a prominent brass repair shop in Keller, Texas) may have been surprised, as I was, to discover that, if you clicked on their old address ( houghtonhorns.com) you were taken to a website selling real estate in Michigan. It seems that Houghton Horn's URL had expired and was grabbed by a company that has no relation to [French] horns. As a result, Houghton has changed its URL to (houghtoncustomhorns.com. Its site for sale of reconditioned horns, especially reconditioned Elkhart Conns, is still operable at homelesshorns.com Ed Glick ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Ruth Gipps Horn Concerto
One of my granddaughters is currently studying harp. Do you know of any original works that are written for horn and harp? What about transcriptions for these instruments? Thanks. Ed Glick >>> <[EMAIL PROTECTED]> 9/2/2007 10:14 AM >>> The Dalley Horn Catalogue lists Concerto as being published by Ticherage Press, Framfeld, England. Triton, for Horn and piano also published by the same. Suspect the publisher is the Gipps estate. Regards. ___ 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
Re: [hornlist]Test
Hi Cabbage, It was good to hear from you even though you never got the message. Hoping to finally meet you in Denver next year. Ed >>> <[EMAIL PROTECTED]> 8/25/2007 1:09 PM >>> Ed G never wrote: Suddenly all posts from this hornlist have stopped coming. I'm sending this one as a test to see if the problem lies with my computer, with the hornlist or, if possibly everyone on this list has suddenly gone on vacation. Sorry Ed, none of us got this post either. I know I haven't been on vacation, so it's very strange that I wouldn't have received it. Check your computer. Gotta go, Cabbage ** Get a sneak peek of the all-new AOL at http://discover.aol.com/memed/aolcom30tour ___ 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] test
Suddenly all posts from this hornlist have stopped coming. I'm sending this one as a test to see if the problem lies with my computer, with the hornlist or, if possibly everyone on this list has suddenly gone on vacation. I'm hoping the post will come back to me signifying that everyone is on vacation. If that's the case, I wish everyone on this list a happy vacation, but I hope that you'll all come back soon. Ed Glick ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: YouTube and Copyright laws...
It's been several years since I taught Mass Communication Law (disclaimer: I am
not a lawyer) and internet sources such as YouTube either did not exist or the
law was just beginning to address the problems of online postings of works of
others, so there may be some changes I'm not aware of. It took me almost two
lecture periods to fully discuss "fair use" and all its ramifications (it's a
very complex subject; just a discussion of the first one: "purpose and
character of use . . . ." could take a while. However, I want to point out that
the last of the four items quoted below ("the effect of the use upon the
potential market . . . " is often greatly misunderstood. Just being a
non-commercial enterprise does not necessarily protect you. When my children
were still in elementary school (a very long time ago) a school would buy one
copy of a workbook (to be filled in by the student, torn out of the book and
handed in to the teacher for correcting), and duplicate enough copies for every
child in the class, thus making it unnecessary to by individual copies. I
believe that, even though this was done by a non-profit entity it was illegal
because of the effect of this practice on the market place.
Recently, (I think it was on the other list", someone posted on YouTube a copy
of the complete film of Dennis Brain's performance of the Beethoven Sonata.
This film is still under copyright. Some listers wrote in that viewing the film
on YouTube would actually enhance the original's value because the buying
public would want to see a better image than was available on YouTube. I would
hate to argue that in court (but it's always possible that this reasoning would
prevail).
One more thing to note about the four facts for claiming fair use quoted
below. In order to successfully claim fair use, all four of the factors must
satisfy the court, not only one, two, or three. Incidentally, the last four
lines of the discussion below (beginning with " The safest course is to always
. . .") offer good advice.
Ed Glick
>>> Nikki Adame <[EMAIL PROTECTED]> 3/31/2007 2:39 PM >>>
I am sure there are those who are 100% against any use of someone's work or
performance however according to the US Copyright Law- (I am not encouraging
that we should use anyone's performance or piece of music in any illegal
manner) if the purpose is educational or not for profit, this law protects you
as long as long as it is not used to earn any money for the individual. When
YouTube sharers are posting for educational sharing, it seems that this law may
protect them (although I am not a lawyer and I have not heard of any cases that
have been adjudicated as such). It appears the court believes this is "Fair
Use". Just wanted to pass this along...
www.copyright.gov
Fair Use
One of the rights accorded to the owner of copyright is the right to
reproduce or to authorize others to reproduce the work in copies or
phonorecords. This right is subject to certain limitations found in sections
107 through 118 of the Copyright Act (title 17, U. S. Code). One of the more
important limitations is the doctrine of ?fair use.? Although fair use was not
mentioned in the previous copyright law, the doctrine has developed through a
substantial number of court decisions over the years. This doctrine has been
codified in section 107 of the copyright law.
Section 107 contains a list of the various purposes for which the
reproduction of a particular work may be considered ?fair,? such as criticism,
comment, news reporting, teaching, scholarship, and research. Section 107 also
sets out four factors to be considered in determining whether or not a
particular use is fair:
the purpose and character of the use, including whether such use is of
commercial nature or is for nonprofit educational purposes;
the nature of the copyrighted work;
amount and substantiality of the portion used in relation to the
copyrighted work as a whole; and
the effect of the use upon the potential market for or value of the
copyrighted work.
The distinction between ?fair use? and infringement may be unclear and not
easily defined. There is no specific number of words, lines, or notes that may
safely be taken without permission. Acknowledging the source of the copyrighted
material does not substitute for obtaining permission.
The 1961 Report of the Register of Copyrights on the General Revision of the
U.S. Copyright Law cites examples of activities that courts have regarded as
fair use: ?quotation of excerpts in a review or criticism for purposes of
illustration or comment; quotation of short passages in a scholarly or
technical work, for illustration or clarification of the author's observations;
use in a parody of some of the content of the work parodied; summary of an
address or article, with brief quotations, in a news report; reproduction by a
library of a portion of a wo
RE: [Hornlist] Re: It's not over yet!
Thanks for the kind words, but I think you meant Brain rather than Britten. When people ask me to talk about my having studied with Dennis Brain, I have a problem. That was more than sixty years ago, and frankly I have little recollection about specifics. Mostly I remember what a friendly and unassuming person he was who happened to play horn like no one else I had ever heard. I had written about the time I had studied with him for (I think) Jack Dressler for the IHS meeting that was held at the University of North Texas (then North Texas State University) in (I think 1991) and which was read in my absence by him during one of the sessions. Incidentally, I remember his birthday since it is identical with mine (except he was five years older). That meant that I was nineteen years old and he had not yet reached 25. As I said he was a great person and I wish only that I had been advanced enough with my technique so that I could have benefitted more from his great musical (as well as technical) genius. I recently read on one of the lists a message from a person who had just turned 80 and who wanted to sell his horn. I had tried to sell my horn several times, but just couldn't bring myself to get rid of it, so when I turned 80 in May, decided to start studying again after a hiatus of about twenty years. I'm lucky to be living in Denton Texas, the home of the University of North Texas's College of Music and have started studying with its horn professor, Bill Scharnberg, who is, as you know, the current editor of the Horn Call. So maybe I'll just ask him about your suggestion at my next lesson. Again, thanks for the kind words. Ed >>> Howard Sanner <[EMAIL PROTECTED]> 10/25/2006 10:53 AM >>> Edwin Glick writes: > > I can't positively answer that question, but in the winter of 1946, I > studied with Dennis Brain at the Guildhall School of Music and Drama in > London as part of the Army's postwar education program. You really ought to write this up for the Horn Call. Britten had few students, period, and few of them could have been as articulate as you. > You're right, > Howard, his horn was exactly as you described it. I doubt that, at that > time, he played anything on a B-flat horn (or with a B-flat crook), > however, because one of the first things he asked me to do at my first > lesson, was to play only on the F side. (At that time, my horn was an > army-issue Conn, probably a 6D). It wasn't until I returned to Boston in > June 1946, and resumed studies with my first horn teacher, Max Shapiro > (father of the Boston Symphony's Harry Shapiro), that I went back to > using the full double horn. I think he must have at least played Hymn with a B-flat crook. That low F at the end is really in tune, it doesn't sound like he's lipping it to the bottom of the slot, and it's too open sounding to have been ultra-covered. This is just my opinion, based on listening to the recording; I have no evidence of any kind to support it. I'll send a CD of this recording, transferred from the 78s, to a reasonable number of interested parties if they contact me offlist with their snail mail addresses and are patient. (I get to define "reasonable number.") It's a magnificent performance by any standard. Howard Sanner [EMAIL PROTECTED] ___ 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
RE: [Hornlist] Re: It's not over yet!
I can't positively answer that question, but in the winter of 1946, I studied with Dennis Brain at the Guildhall School of Music and Drama in London as part of the Army's postwar education program. You're right, Howard, his horn was exactly as you described it. I doubt that, at that time, he played anything on a B-flat horn (or with a B-flat crook), however, because one of the first things he asked me to do at my first lesson, was to play only on the F side. (At that time, my horn was an army-issue Conn, probably a 6D). It wasn't until I returned to Boston in June 1946, and resumed studies with my first horn teacher, Max Shapiro (father of the Boston Symphony's Harry Shapiro), that I went back to using the full double horn. Ed Glick >>> Howard Sanner <[EMAIL PROTECTED]> 10/24/2006 11:44 PM >>> 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/glick%40unt.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] San Francisco Mahler 5th
I have to admit that I didn't really know the definition of "insouciance." I checked it in both my Encyclopedia Britannica and Encarta dictionaries. Encarta defined it as "carefree attitude: cheerful lack of anxiety or concern." Britannica's definition: "lighthearted unconcern." I gathered from these definitions that the critic meant the word as a compliment and was not meant to be derogatory. I take it to mean that he believed Bob Ward seemed to be very confident as he played his solos. Ed Glick >>> martin bender <[EMAIL PROTECTED]> 10/15/2006 12:19 PM >>> "Utter insouciance" is hardly a compliment... He may as well have written "offhand, banal interpretation"... Let the critic take up the horn-- we can then witness the "utter insouciance" of his playing! I agree; cameo is an entirely inappropriate term to describe the role of the solo horn in this work. Martin Bender Quyoted from the review in Dallas Morning news: ". . . [T]his is a compelling > performance, the horn-led scherzo dancing with a wonderfully cocky > swing. The orchestra plays stunningly throughout, and principal horn > Robert Ward brings bright and shining tone and utter insouciance to > his cameos." http://www.guidelive.com/sharedcontent/dws/ent/performingarts/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] San Francisco Mahler 5th
Forgive the cross posts, but I thought members of both lists would like to read the following excerpt from a review of the recent Mahler 5th recording by the San Francisco Symphony. Scott Cantrell, the Dallas Morning News classical music critic raises several questions about the tempos taken by conductor Michael Tilson Thomas (you can read the entire review at the site below), but his comments about acting/interim (?) principal horn Robert Ward bear repeating. ". . . These two movements apart, [Cantrell's referring here primarily to the first movement and the Adagietto] this is a compelling performance, the horn-led scherzo dancing with a wonderfully cocky swing. The orchestra plays stunningly throughout, and principal horn Robert Ward brings bright and shining tone and utter insouciance to his cameos." If I remember from one of Bob Ward's recent posts, he was still listed as "acting" principal. How long does a player have to play like before the "acting" part of his title is removed? Incidentally, contrary to how Cantrell described them, I think the principal horn part in the Mahler 5th (especially the horn obligato in the Scherzo amount to more than mere "cameos." http://www.guidelive.com/sharedcontent/dws/ent/performingarts/stories/DN-classical_cd_long_1014gl.ART.State.Edition1.3e28504.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: [horn] NY Phil on PBS, Weds evening
For those of you in the Dallas/Fort Worth Area (Channel 13) the program will run instead on Sunday afternoon at 3:00 P.M. I guess the program will "Formerly Live from Lincoln Center." Ed >>> [EMAIL PROTECTED] 9/13/2006 1:25 PM >>> A double post, reminding USA listers to set their VCRs, Tivos, etc. for Live from Lincoln Center's broadcast of the New York Philharmonic Orchestra's opening night concert, September 13, 2006 @ 8:00 p.m. on PBS. (For those of us on EDT, it really is live, give or take a seven second delay.) The program includes Beethoven 3. --John J Mason Charlottesville, Virginia DEMOCRACY OF SPEED, a Photo Documentary Project: http://www.people.virginia.edu/~ds8s/john-m/john-m.html __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com Yahoo! Groups Links <*> To visit your group on the web, go to: http://groups.yahoo.com/group/horn/ <*> Your email settings: Individual Email | Traditional <*> To change settings online go to: http://groups.yahoo.com/group/horn/join (Yahoo! ID required) <*> To change settings via email: mailto:[EMAIL PROTECTED] mailto:[EMAIL PROTECTED] <*> To unsubscribe from this group, send an email to: [EMAIL PROTECTED] <*> Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NY Phil on PBS, Weds evening
For those of you in the Dallas/Fort Worth Area (Channel 13) the program will run instead on Sunday afternoon at 3:00 P.M. I guess the program will "Formerly Live from Lincoln Center." Ed >>> [EMAIL PROTECTED] 9/13/2006 1:25 PM >>> A double post, reminding USA listers to set their VCRs, Tivos, etc. for Live from Lincoln Center's broadcast of the New York Philharmonic Orchestra's opening night concert, September 13, 2006 @ 8:00 p.m. on PBS. (For those of us on EDT, it really is live, give or take a seven second delay.) The program includes Beethoven 3. --John J Mason Charlottesville, Virginia DEMOCRACY OF SPEED, a Photo Documentary Project: http://www.people.virginia.edu/~ds8s/john-m/john-m.html __ 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/glick%40unt.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] NY Times article on state of classical music
The writer seems to think that the state of classical music is not as bad as has been reported. Ed Glick http://www.nytimes.com/2006/05/28/arts/music/28kozi.html?_r=1&th&emc=th&oref=slogin ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Britten Serenade Music
I just looked at my full score of the Serenade published by Boosey and Hawkes in 1994. The solo horn part is written in F. I don't have the horn part, but I believe it was written out for horn in F, also. Could you be looking at a transcribed score for piano and horn? Even then, I would think that the horn part would have been written out for F horn. (Brain, for whom the piece was written * although possibly it was also written for the tenor, Peter Pears * recorded the work on his usual instrument at that time, a single Raoux (sp?) "peashooter" in F. Ed Glick >>> [EMAIL PROTECTED] 8/7/2005 2:46 PM >>> Hi to all. I was hoping to dive into Britten's Serenade for Tenor, Horn and Strings this year. I checked it out from the MRC here but it is a score with a non-transposed Horn part. I've been looking at passages in it already by just transposing from C on the spot, but I was wondering if there were any editions that had a transposed Horn part, and where I could buy it. Thanks! -William ___ 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
Re: [Hornlist] Endowed Chairs
I can answer this questions only partially. 1. Howard Rachofsky (and his wife) are listed in today's Dallas Morning News as being among the world's top 10 collectors of art. (Their specialty according to the article, is contemporary art.) So, his interest in the arts is obvious. 2) Every principal player (or almost every principal) in the Dallas Symphony is the recipient of an endowed chair. Why did Mr. Rachofsky endow the principal horn position? I don't know, but I can offer two possible reasons. First, perhaps because he is particularly fond of the horn (for which we applaud his great taste) or perhaps that was one of the positions available when he was asked to endow a principal chair. Or perhaps, for both reasons. I hope someone in the Dallas area (or elsewhere in the country, for that matter) can fill in the blanks. Ed Glick >>> [EMAIL PROTECTED] 7/9/2005 1:26 PM >>> Any one on the list know who Howard E. Rachofsky is? Why would he create an endowed chair for Principal Horn with the Dallas Symphony? The DSO web site has not information on him. How long have people been providing funds to symphonies to such as this? It seems like it is relatively new. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/glick%40unt.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Boston Pops
The Boston Pops Orchestra is made up of members of the Boston Symphony Orchestra minus most (if not all) of the first chair players. Because the entire BSO is at Tanglewood during the time of the Esplanade concerts (including the annual 4th of July program) the orchestra is necessarily made up of free-lancers. It's been a long time since I've been in Boston. Perhaps some of our Boston listers can correct me if any of this has changed since the 1940s and 50s. Ed Glick I cannot believe that orchestra is anywhere near being on a par with the "Boston Pops",which they have been WAY longer than "Esplanade Pops" (which I've never heard of,BTW). ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Kruspe/Holton
I was interested in these posts about Kruspe's "New Symphony" horn that I've
owned since about 1941. (I was told by my teacher, who brought this instrument
to my attention, that it was about twenty years old. That would mean the horn
was made some time around the early 1920s.
It would appear that Jay and I have the same model. Like his horn, mine is
yellow brass with a narrow nickel silver band ("kranz?") around the rim and .
Unlike Richard's horn (but apparently like Jay's horn), mine does not have a
DRGM registration number on the bell, but does have "New Symphony Model" and
"made in German" engraved on the bell in English.
Is there any other information anyone else can come up this for this horn?
Since it's the only horn I've ever owned I haven't bothered comparing it to
other instruments, but if there are any other facts about this horn, it would
be very nice to know.
Ed Glick
>>> [EMAIL PROTECTED] 4/29/2005 2:33:50 AM >>>
Jay:
Thanks for the interesting information. I, too, have a Kruspe "New Symphony"
model, identical in layout to yours, but in nickel-silver. It was purchased in
1961 in Stuttgart from a retiring hornplayer through the good offices of Otto
Stoesser. The bore is large, as you stated, but I always felt the bell throat
was more a "medium" flare, unlike the big throat of the Horner model Kruspe. My
own theory was that Kruspe developed the "New Symphony" model perhaps to allow
more tuning combinations than the Horner model and to provide a somewhat
lighter and more flexible horn. Based on what I was told then, the horn was
purchased new in 1928. Mine was definitely made for domestic use, as it has a
DRGM registration number engraved on the bell under the Kruspe logo, but no
"Made in Germany."
Richard in Seattle
- Original Message -
From: Jay Sewell
To: horn@music.memphis.edu
Sent: Friday, April 29, 2005 12:47 AM
Subject: [Hornlist] Kruspe/Holton (was Holton's German Design team)
I'm not at all familiar with the Holton horn in question, but I can shed a
bit of light concerning the Kruspe "New Symphony" model. I bought this one as
a basket case and had it restored. See link below.
It is definitely made of yellow brass, and somewhat resembles the Conn 6D in
overall configuration. It does have a separate Bb tuning slide on the front of
the horn (see pics). As best as I can measure with my calipers, it has a .472"
bore (i.e. "large" bore, a la 8D), and the bell throat feels to me to be the
same size as an 8D or Lawson Fourier. In fact, it plays very similar
to an 8D. It also has what appears to be a nickle silver krantz around the
edge of the bell. The bell measures 12 1/4" in diameter.
The engraving (complete with the eagle as other Kruspes), has "New Symphony
Model" and "Made in Germany" spelled out in English. Perhaps intended for the
English speaking export market? The best info I have on its history (from
another owner) is that they were supposedly built sometime during the 1920's.
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[Hornlist] transferring LPs
I recently received an email (see excerpt below) from one of my sons-in-law about transferring music from LPs to more contemporary . I remember a fairly recent thread on this subject on one of the lists (I don't remember which one; that's why the cross post), but didn't save any of the messages because at that time I was not interested in the subject. Have those messages been automatically archived? (I looked in archives at hornplayer.net without any luck.) Can anyone help? If you think that our list members couldn't face another rehash of this subject, please contact me off list. Thanks. Ed Glick. P.S. Incidentally, regarding the matter of the legality of copying those LPs to CDs or MP3, I don't think there's a problem. It appears as if my son-in-law's friend wants to copy them merely for his convenience. I think that as new media replace old media we'll all be involved in transferring music and data. (Can anyone's computer still read 5 1/4 floppies?) < I am over here in China and have a question for you about the transferring music from one OLD medium to another. Legal issues aside, is it possible to take old LPs and get them into CDs or MP3 format? If so how? I ask because one of the people I am traveling with is wanting to trash his old LPs and would like to get them in a different format before he does> ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Copyright Information
It gets very complicated. If you want to wade through the law, check it at the following site. Ed Glick http://www.copyright.gov/circs/circ15a.html#works >>> [EMAIL PROTECTED] 12/09/04 1:12 PM >>> Isn't there a period where US copy writes "fell through the cracks" and if not renewed the items have come into public domain? I think it was from about 1948 - 1972? Richard Burdick ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/glick%40unt.edu ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Copyright Information
Interesting information, but beware of some outdated information. As of October 27, 1998 (Sonny Bono Copyright Term Extension Act) duration of copyright was extended for another 20 years. As a result, the basic term under the Copyright Act of 1976, which was life plus 50 years is now life plus 70 years. For more inforamtion about the ramifications of the new act, see the below. Ed Glick http://www.hklaw.com/Publications/Newsletters.asp?IssueID=50&Article=130 >>> [EMAIL PROTECTED] 12/08/04 2:14 PM >>> Apologies for posting to both lists, but I know not everyone reads both. Since we often have discussions about copyright, I thought everyone would be interested in this from the Music Publisher's Association. Copyright Resource Center http://www.mpa.org/copyright/copyresc.html It is a wonderful resource with guides, forms, and information on copyright and fair use, and links to several other resources to assist you in your search. Margaret Dikel JCCSO Librarian / Horn / Webmaster 11218 Ashley Drive, Rockville MD 20852 301-881-0122 [EMAIL PROTECTED] www.jccso.org ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/glick%40unt.edu ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Was: Horn Section for hire
To add to Boston's radio woes, in the late 1940s or early 1950s, there was an all-classical music AM station in the city. I remember hearing the announcer saying (after a long description of the opera, probably from the back of the record jacket, "We will now hear Mozart's 'Cosi Fan Tutte or," he proudly went on to translate for us musical illiterates, "The Magic Flute." I can't remember how long that station stayed on the air. >>> [EMAIL PROTECTED] 4/5/2004 6:35:50 PM >>> To the boners below, add the novice announcer on WCRB, the classical music station in Boston, who introduced a recording as "Concerto A - Five" by Tommaso Albinoni. And the "Duo Kontarsky (the two brothers pianists) booked a flight somewhere in Brazil and got just one seat reserved upon the name "Duo Kontarsky". Or the famous poster in Vienna, announcing the premiere of the new production of Trobadour in the State Opera: Il Trovatore Director: Herbert von Karajan Conductor: Herbert von Karajan Music: Herbert von Karajan Reminds me of the BBC announcement: .Adagio & Allegro op.70 for value horn & piano by Robert Schumann Or - "that was the Hebrides Overture by Mendelssohn, arranged by Bartholdy" or - "The Sinfonietta by Jan - a Czech". ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/glick%40unt.edu ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] New address?
MY IHS membership renewal card Requests that the card be return to "our NEW ADDRESS." Unfortunately, that new address on my card has been covered with a barcode strip (probably from the post office) that completely covers the new address. Can someone tell me what it is? Thanks. Ed Glick ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] audition
I've been following this thread about F or Bb tuning slides with some interest. The only horn I've ever had has been a Kruspe, a full double built in the early 1920s. (I got it in 1941). It has three tuning slides: one for the F side, one for the Bb side, and one that tunes the whole horn. Is this an unusual configuration? Ed Glick >>> [EMAIL PROTECTED] 05/27/03 04:29PM >>> Hi, If I`m not mistaken there are basically two kinds of double horns. One horn is based on the Bb horn and has an F tuning slide so the player can match the F to the Bb. The other horn is based on an F horn and has a Bb tuning slide so the player can match the Bb to the F. That is what Phil Farkas told me when I asked him why the H179 had a Bb tuning slide and the 8D did not. Wes ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/glick%40unt.edu ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Who were the horns?
According to one of the replies I got, the 4th horn solo was played by Jerome Ashby who is, I believe, currently the associate principal of the New York Philharmonic. Ed >>> [EMAIL PROTECTED] 02/27/03 07:56PM >>> on 28.02.03 2:08, Edwin Glick at [EMAIL PROTECTED] wrote: > I just recently had the opportunity to listen to Bernstein's recording of the > Beethoven 9th, performed to celebrate the fall of the Berlin wall. According > to the program notes, it was performed by the Bavarian Radio Symphony > Orchestra and members of the Dresden Staatskapelle, Orchestra of the Kirov > Theater, London Symphony Orchestra, New York Philharmonic, and the Orchestre > de Paris. > > Does anyone know who the horns were? Were they all from the Bavarian Radio > Orchestra? I'm curious especially about the 4th horn solo in the 3rd movement. > (It was played beautifully.) Was it played by the 4th horn, the 1st horn, or a > combination of the two? > > Ed Glick > I saw that direct TV transmission here in my own country, which is in the same time zone a Berlin. The 4th horn solo was done by a marvellous black player, who I think was 4th horn of the NYPO back then, but who went on as solo horn in some west coast orchestra (LA-SF?). I am extremely bad in remembering names, but I am strong in remembering faces. So I hope no offences will be taken. I actually think, that this player was the one, who played the mouthpiece, that was the model for the one constructed for the current solo horn of the NYPO. I read about that in a page of the Custom Music site a few years back. Again I am sad about missing the name. Klaus ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/glick%40unt.edu ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Who were the horns?
I just recently had the opportunity to listen to Bernstein's recording of the Beethoven 9th, performed to celebrate the fall of the Berlin wall. According to the program notes, it was performed by the Bavarian Radio Symphony Orchestra and members of the Dresden Staatskapelle, Orchestra of the Kirov Theater, London Symphony Orchestra, New York Philharmonic, and the Orchestre de Paris. Does anyone know who the horns were? Were they all from the Bavarian Radio Orchestra? I'm curious especially about the 4th horn solo in the 3rd movement. (It was played beautifully.) Was it played by the 4th horn, the 1st horn, or a combination of the two? Ed Glick ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR Colin Powell
Michael Powell, son of Colin Powell, was named to the Federal Communications Commission in 1997 by President Clinton. He became a member of the FCC upon approval by the U.S. Senate. On January 22, 2001, he was elevated to Chairman of the FCC by President Bush. No Senate confirmation is necessary when the President names a person to be Chairman who is already a commissioner. How capable Powell has been as Chairman, I'll leave to others to judge, although there's little doubt that his relationship to Colin Powell probably opened many doors for him. To get an idea of what he had accomplished before his elevation as Chairman see: http://www.fcc.gov/commissioners/powell/mkp_biography.html Ed Glick Not long after that, I read something in a magazine which perhaps someone can prove true or not, which was that a son of Mr. Powell had been given a high-paying government job as head of some department in Washington. Now I'm sorry I didn't take notes on the magazine or source but thought it would appear elsewhere,but if it has,I haven't seen it If true,this is extremely disappointing to me. Anyone? _ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] The Copywrite Police Came to town
-- [ Picked text/plain from multipart/alternative ] Just a gentle reminder. The law that covers performance of "protected" music (among other things) is called "Copyright" law. "Copywriting" generally refers to the writing of advertising copy, Ed Glick ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] A DallasNews.com article from Ed Glick
-- [ Picked text/plain from multipart/alternative ] Dear Jaime, Thanks for your kind words. Especially as my second attempt to forward the review ended up even more miserably. Ed >>> [EMAIL PROTECTED] 10/31/02 12:59PM >>> At 1:56 PM -0600 10/31/02, [EMAIL PROTECTED] wrote: > Sorry about my previous attempt to send the review of the Berlin winds. >I didn't know you would have to register to open the link. Perhaps this >will be more successful. Dear Ed - That's quite alright. I had no problem registering. Sincerely yours, Jaime Goldblatt ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Berlin Philharmonic Wind Quintet concert
-- [ Picked text/plain from multipart/alternative ] Here's another (equally enthusiastic) review of this same concert, from the Dallas Morning News. Ed Glick http://www.dallasnews.com/entertainment/overnight/stories/103102dnovenakamatsu.61cec.html >>> [EMAIL PROTECTED] 10/31/02 01:13PM >>> The Berlin Philharmonic Wind Quintet played, marvelously I must add, at the Bass Hall in Fort Worth Texas last night. It was truly some of the best wind playing, as well as one of the best concerts I've ever heard. Furgess McWilliam played beautifully. Here's the review from the Fort Worth newspaper: http://www.dfw.com/mld/startelegram/living/4411120.htm _ Unlimited Internet access -- and 2 months free! Try MSN. http://resourcecenter.msn.com/access/plans/2monthsfree.asp ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
