Re: [Hornlist] OT: solo beginnings
>>what country's national anthem is based on the main theme from the Moldau? Israel--Hatikvah EWW -Original Message- From: Steve Freides To: The Horn List Sent: Mon, Jun 29, 2009 9:29 am Subject: Re: [Hornlist] OT: solo beginnings On Sun, Jun 28, 2009 at 11:38 PM, Jeremy Cucco wrote: > The Moldau? ?Or is there a triangle with the flute? I'm pretty sure there's something else (is it a triangle? OK) with the flute right at the very beginning. I teach this piece in Music Appreciation regularly but I don't own a score - if anyone happens to have a study orchestra score they'd like to sell, please contact me off the list and thanks. Trivia - what country's national anthem is based on the main theme from the Moldau? -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] OT: solo beginnings
Enesco First Romanian Rhapsody In a message dated 6/28/2009 10:42:53 P.M. Eastern Daylight Time, jdl...@q.com writes: >> >> Name compositions for orchestra (including concerti) that begin with >> a one single, solo instrument. >> How about: Mahler #5 Schmidt #4 Beethoven Piano Concerto #4 Rhapsody in Blue Sibelius #1 almost makes it except for the timpani. David Lamb in Seattle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com **Make your summer sizzle with fast and easy recipes for the grill. (http://food.aol.com/grilling?ncid=emlcntusfood0005) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Funny sales history, confirmation please!
Hey, "Mainz," "Milan," they're both cities in Europe whose names begin with M, right? Emory Waters -Original Message- From: Kevin Carlson To: horn@music.memphis.edu Sent: Wed, 20 May 2009 11:03 pm Subject: RE: [Hornlist] Funny sales history, confirmation please! While the "Yanchia" does appear to be a misspelling of Yancich, I'm curious as to who told the seller that "Mainz" was the name of the original owner. Mainz, Germany, is the headquarters of Alexander and is part of the seal they put on every horn. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] NHR, but horn-player related
Dear Hornlisters, If you are in the SW VIrginia/NW Tennessee area on Sunday May 10, you might be interested in the concert that Symphony of the Mountains is giving at 3 p.m. in Abingdon VA. The main event will be the Virginia premier of Knoxville composer William Mark Harrell’s Suite from The Stainless Banner. To quote from the orchestra's press release, "This work is representative of what may someday be a fully staged three act opera. It features seven extracted sections of music with readings from the old south and hymns from the old south. The music is a sonic commentary on text from speeches and letters as seen through the eyes of men and women who lived through the difficult time in our history known as the American Civil War." Mr. Harrell plays horn in both the Knoxville Symphony Orchestra and Symphony of the Mountains. The opening piece on the program will be my Serenade for Orchestra, written a few years ago to commemorate the 25th Anniversary of the Petersburg (VA) Symphony Orchestra. Its third movement, "Poplar Lawn Waltz" (named for a park in Petersburg) is an orchestral rewrite of what was originally a duet for horn and clarinet. To follow up on another recent thread, in both the score and parts the horn parts appear as "Horn in F" and have key signatures :-) Interesting that there should be two pieces on the program written by horn players.. Emory Waters **Big savings on Dell’s most popular laptops. Now starting at $449! (http://pr.atwola.com/promoclk/100126575x1222382499x1201454962/aol?redir=http:%2F%2Fad.doubleclick.net%2Fclk%3B214663472%3B36502367%3Bg) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horn Transposition:
Not seeing the little "s" after the big "E" so you read it as "Horn in E" instead of "Horn in Es" can have so pretty bracing results, too. Emory Waters -Original Message- From: Martin Bender To: The Horn List Sent: Tue, 28 Apr 2009 2:31 pm Subject: Re: [Hornlist] Horn Transposition: Hello Lawrence,? ? Note to self:? ? Paxman horn pencil clip: $1.36? Pencil: $0.99? ? Knowing what key you're in after you turn the page: Priceless ;-)? ? Regards,? martin bender? ? On 28-Apr-09, at 2:21 PM, Lawrence Yates wrote:? ? > Rhinegold? >? > One of my (many) evenings of shame came in that opera when I was > playing? > 56th horn or something. I only had one solo-like passage and it was > at the? > top of the page after a turnover. I counted carefully, turned over > the page? > and couldn't for the life of me remember what key I was supposed to > in. It? > was too late to turn back, so I raised the horn to my lips, waggled > a > couple? > of valves and played nothing at all, lowering my instrument at the > end of? > the solo. The conductor didn't notice that I hadn't played. The > rest of? > the section did.? >? > Cheers,? >? > Lawrence? > --> Lawrenceyates.co.uk? > ___? > post: h...@music.memphis.edu? > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/embee%40magma.ca? >? ? ___? post: h...@music.memphis.edu? unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NEA and Economic stimulus
Back in the 1970's (or at least in 1977, a year I was doing a lot of subbing for them), the Lake George Opera would pay part of its salaries in stacks of silver dollars. The idea was that company members would use these to pay for local purchases in the surrounding area (Lake George Village, Glens Falls, etc.) and this would make clear to the local businesses just how much of an impact the LGO had on the local economy. Emory Waters In a message dated 2/20/2009 10:05:31 A.M. Eastern Standard Time, scott...@msn.com writes: "Will someone please tell me how millions of dollars to protect the habitat of a marsh mouse in San Francisco, or millions for the National Endowment for the Arts, or billions for the ACORN neighborhood organizing groups is going to stimulate the economy?" I do not know about ACORN or marsh mice, but supposedly some of the money is to go to performing artists and organizations like our regional symphony. In my state, many orchestras have folded or cancelled performances. Even the MET has had to tighten its belt. After all, when your job is in danger, are you really going to continue to support the local art scene with your donations? Our regional orchestra, of which I am a part, employs 80 people. We spend money on food, automobiles, and houses (and some us tithe to our church). If our orchestra folds, then not only do we lose our jobs and the ability to be gainfully employed (the average educational level in our very small regional orchestra is a Masters degree), but our community loses an expression of what makes us human (after all, we are not called “humanities” merely because the word has a nice ring to it). **Need a job? Find an employment agency near you. (http://yellowpages.aol.com/search?query=employment_agencies&ncid=emlcntusyelp0003) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Auf dem strom und drang
...and what of changes in the pitch of the basic tuning A in different times and places? In a message dated 12/7/2008 1:21:20 P.M. Eastern Standard Time, [EMAIL PROTECTED] writes: I have a book at school The Schubert Song Companion or some similar title. Each of his 600 plus songs gets about 1-2 pages of background and some analysis. One of the appendixes (appendages?) categorizes by key. I will try to remember to bring the book home and share a few of its insights. Schubert definitely did associate certain emotions, moods and themes with certain keys. I'm not so sure Eb is a sad and gloomy key, however, Beethoven's Eroica alone is enough to refute that. Of course longer crooks are "darker," but that is but one factor in the mix. I seem to remember in one of the Radio Lab stories a mention of how many of the great composers had perfect pitch (and what of synethsesia?). Steve Burian _ Suspicious message? There’s an alert for that. http://windowslive.com/Explore/hotmail?ocid=TXT_TAGLM_WL_hotmail_acq_broad2_12 2008___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com **Make your life easier with all your friends, email, and favorite sites in one place. Try it now. (http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&ncid=emlcntaolcom0010) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] horn and bass
That's true, but the pianist can easily leave out the obbligato line, and meanwhile you have a ready-made piano reduction. Emory In a message dated 12/6/2008 12:18:32 A.M. Eastern Standard Time, [EMAIL PROTECTED] writes: Yup, I know that, but most of those only are directed towards singers, so that the obligato also is in the piano arrangement. Doubling piano and horn (in octaves) on the obligato will sound like a word not suited for this list. Klaus --- On Sat, 12/6/08, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: > From: [EMAIL PROTECTED] <[EMAIL PROTECTED]> > Subject: Re: [Hornlist] horn and bass > To: horn@music.memphis.edu > Date: Saturday, December 6, 2008, 6:05 AM > "Find a piano arrangement of the string and continuo > parts?" There are lots > of copies of the piano/vocal (most often, Schirmer) score > floating around, > since zillions of church choirs and amateur choral groups > perform all or part of > Handel's Messiah this time of year, and lots more > people own copies that > they take to Messiah sing-alongs. > > Emory Waters > > > Speaking of "The trumpet shall sound" from > Handel's Messiah, Klaus says: > > >>You should be able to read the trumpet part as > plain horn in D. The catch > will be to find a piano >>arrangement of the string > and continuo parts if you > can’t snap your fingers at your servants for them to > >>take their violins, > violas, cellos, and basses. > > Klaus > > > --- On Sat, 12/6/08, [EMAIL PROTECTED] > <[EMAIL PROTECTED]> wrote: > > > From: [EMAIL PROTECTED] <[EMAIL PROTECTED]> > > Subject: [Hornlist] horn and bass > > To: horn@music.memphis.edu > > Date: Saturday, December 6, 2008, 1:56 AM > > Anyone know of a work for horn and (vocal) bass? > > Sherry Baker > **Make your life easier with all your friends, > email, and > favorite sites in one place. Try it now. > (http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&ncid=emlcntaolcom0010) > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/yorkmasterbbb%40yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com **Make your life easier with all your friends, email, and favorite sites in one place. Try it now. (http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&ncid=emlcntaolcom0010) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] horn and bass
"Find a piano arrangement of the string and continuo parts?" There are lots of copies of the piano/vocal (most often, Schirmer) score floating around, since zillions of church choirs and amateur choral groups perform all or part of Handel's Messiah this time of year, and lots more people own copies that they take to Messiah sing-alongs. Emory Waters Speaking of "The trumpet shall sound" from Handel's Messiah, Klaus says: >>You should be able to read the trumpet part as plain horn in D. The catch will be to find a piano >>arrangement of the string and continuo parts if you can’t snap your fingers at your servants for them to >>take their violins, violas, cellos, and basses. Klaus --- On Sat, 12/6/08, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: > From: [EMAIL PROTECTED] <[EMAIL PROTECTED]> > Subject: [Hornlist] horn and bass > To: horn@music.memphis.edu > Date: Saturday, December 6, 2008, 1:56 AM > Anyone know of a work for horn and (vocal) bass? > Sherry Baker **Make your life easier with all your friends, email, and favorite sites in one place. Try it now. (http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&ncid=emlcntaolcom0010) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Brahms Trio, Op. 40
What Richard says is all true, except that he is describing the Third, Adagio Mesto, movement. The first movement is the Andante movement mentioned by Steve F. in his original post (not that it is any "easier," particularly in balancing with the violin in the numerous passages in thirds and sixths, and in maintaining the power and control to bring off the end of the movement). Difficulty of the piano part? In a performance I was involved in many many years ago, the pianist came down with a bad case of tendonitis from all of the parallel octave passages in the Scherzo. Emory Waters In a message dated 11/19/2008 6:38:31 P.M. Eastern Standard Time, [EMAIL PROTECTED] writes: I second what David wrote. The Andante is not as "easy" as it looks. It was written to be almost an elegy to Brahms' departed mother. The tempo is serene, but not funereal, and requires real breath control and dynamic control. The horn part is very exposed and pianissimo in some sections. It's worth working on very seriously. Richard in Seattle **One site has it all. Your email accounts, your social networks, and the things you love. Try the new AOL.com today!(http://pr.atwola.com/promoclk/10075x1212962939x1200825291/aol?redir=http://www.aol.com/?optin=new-dp %26icid=aolcom40vanity%26ncid=emlcntaolcom0001) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Dvorak Horn Solo, Part 2
Many composers (most notably Richard Strauss) continued well into the early Twentieth Century to write their horn parts as though they were crooked in various keys, even though they knew that the parts were being played on valve horns, and that the players were transposing the parts. Even to this day, many (if not most) orchestral horn players prefer the clean look of parts with relatively few key signatures and accidentals. Emory Waters In a message dated 10/5/2008 9:48:19 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: I am also curious as to WHEN most composers switched to writing for Modern Valved Horns. Dvorak wrote this Cello Concerto in 1895, and included at least one spot where the Second Flutist had to play the Low B-Natural, which began being manufactured in 1877! I would think it was a bit risky for Dvorak to expect that all orchestras in the Late 1890's to have a "B-Foot Extension" for their Second Flute Players (who also have to switch to Piccolo a few times), but his Horns are still using Crooks?!? Wasn't Wagner writing for Valved Horns in the 1880's? **New MapQuest Local shows what's happening at your destination. Dining, Movies, Events, News & more. Try it out! (http://local.mapquest.com/?ncid=emlcntnew0001) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: NY Times horn feature
By any chance, was that a Saturday broadcast performance, maybe in late January, of the last season in the old house (i.e. January or February of 1966)? Emory Waters In a message dated 8/29/2008 4:21:57 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: What I did want to toss in was that it was Lester Salomon that lost his gig at the Met due to messing up the second horn part in Fidelio. I have heard various versions of this tale, including directly from the late Lester Salomon himself and I am not sure about the lawsuit part from my any of my recollections but Lester did lose his job. **It's only a deal if it's where you want to go. Find your travel deal here. (http://information.travel.aol.com/deals?ncid=aoltrv000547) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Leonard Brown video
The strings + 2 Horns piece is the slow movement of the Beethoven Sextet (opus number in the 80's though from the style of the writing it clearly dates from around the same time as the Horn Sonata and the piano-wind quintet, I would think). Emory Waters In a message dated 3/30/2008 1:24:48 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: Can anyone identify the pieces for Soprano and Horn and the string quartet + 2 horns that were used in Leonard Brown's video? Sean ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com **Create a Home Theater Like the Pros. Watch the video on AOL Home. (http://home.aol.com/diy/home-improvement-eric-stromer?video=15&ncid=aolhom000301) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] horn + flute (+ violin + piano) repertoire
A spectacularly good piece for flute and horn is the "Four Two-bit Contraptions" by Jan Bach. Emory Waters In a message dated 3/9/2008 2:43:39 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: I have been looking for some repertoires for horn + flute (with/without violin) (with/without piano); that is, it could be horn flute duet, horn flute piano trio, horn flute violin trio, or horn flute violin piano quartet, for an intending double instruments (flute + horn) concert, (considering the violinist and pianist are paid accompanists...:) **It's Tax Time! Get tips, forms, and advice on AOL Money & Finance. (http://money.aol.com/tax?NCID=aolprf000301) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Repertoire for Horn, Tenor, Piano
Schubert's "Auf dem Strom" for one. I have a set of three songs, originally soprano, horn, piano (actually one is voice and horn, one voice and piano, one all three) where the voice and horn piece (a setting of Dylan Thomas's "The force that through the green fuse drives the flower...") would work very well with tenor. Emory Waters -Original Message- From: Sandra Clark <[EMAIL PROTECTED]> To: 'The Horn List' Sent: Thu, 21 Feb 2008 7:25 am Subject: [Hornlist] Repertoire for Horn, Tenor, Piano Hi Folks - I would like to include a tenor in an upcoming recital and am seeking repertoire. This particular trio has done all the Britten pieces a couple of years ago. The only works I know of are the Britten ones, and a short work by Franz Lachner. Any help would be much appreciated! Sandra Clark Toledo OH ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com More new features than ever. Check out the new AOL Mail ! - http://webmail.aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Wienerhorn player
At last! These past few years of studying Japanese are finally paying off: The subtitle that appears when the lead Wienerhorn has his first solo labels him as "Lars Mihael Stransky" (that is, as the Katakana transliteration puts it, "Rarusu Mihiyaeru Sutoransukii" of the "Uiin Fuiru" or Wien Phil). Emory Waters In a message dated 2/12/2008 5:26:38 P.M. Eastern Standard Time, [EMAIL PROTECTED] writes: In a message dated 2/12/2008 3:33:17 PM Central Standard Time, [EMAIL PROTECTED] writes: In this video: http://www.youtube.com/watch?v=__vrWsx8Gao , Stefan Dohr is incredible, as usual. Also extremely impressive is the lead Wienerhorn player -- anyone know who he is? Chris Hi Chris, Not the best resolution, but that looks like Lars Stransky. Hope all is well with you, Sally, et al. Best regards, Jerry **The year's hottest artists on the red carpet at the Grammy Awards. Go to AOL Music. (http://music.aol.com/grammys?NCID=aolcmp0030002565) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: UnRaveling
Taking this thread back a little closer to where it started... The other night at a read-thru-stuff-from-another-group's-library session of the Richmond Symphonic Winds, we encountered an arrangement of the theme from the second movement of Tchaikovsky's 5th, transposed down a major third, arranged as a trombone solo with band accompaniment. Pretty nightmarish. Emory Waters In a message dated 2/9/2008 3:18:12 P.M. Eastern Standard Time, [EMAIL PROTECTED] writes: Kenny Leadfoot Betts wins a year supply of Marvel Air Tool oil. He was very close to guessing the location of the lost horn part of the Ravel Pavane travesty. He did not include the leaf blower nose flute and solo flatulence by Aunt Noreen. In reality the horn solo was meanderingly sprinkled through out the expanded orchestra. KLB can pick up his oil the next time he visits Wildomar or Big Bear CA. Big confession. Masterdenting. I used to to this in private with my horn but have now been caught doing this in public. My MD says says this is probably caused by my latent preclamming. He said that there are no known cures. Is this true? Bill ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com **Biggest Grammy Award surprises of all time on AOL Music. (http://music.aol.com/grammys/pictures/never-won-a-grammy?NCID=aolcmp00300025 48) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: [NHR] Englilsh inconsistencies
That's like the old New York State joke: Passenger at the railway ticket window: I'd like a one-way ticket to Schenectady, please. Ticket Agent: How do you spell that? Passenger: Never mind, I'll go to Troy instead. Emory Waters In a message dated 12/13/2007 5:51:17 P.M. Eastern Standard Time, [EMAIL PROTECTED] writes: Steve wrote: > How about Llanfairpwllgwyngyllgogerychwyrndrobwantisiliogogogoch, a > village in Wales. > Used to be my nearest railway station! But it was quicker to commute by bicycle than to wait in line to ask for a ticket home. :-) **See AOL's top rated recipes (http://food.aol.com/top-rated-recipes?NCID=aoltop000304) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Congratulations are due
Looking through the current issue of "Symphony," the magazine of the American Symphony Orchestra League (soon to be renamed the League of American Orchestras) we find in the "Musical Chairs" section the following item about one of our list members (sidebar on page 11): "The San Francisco Symphony has promoted ROBERT WARD to principal horn." Emory Waters **Check out AOL's list of 2007's hottest products. (http://money.aol.com/special/hot-products-2007?NCID=aoltop000301) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Romance/Romanic/Romanisch (was Corno in Ut)
It's true that "romanic" is what "romanisch" would be if it were an English word. However, "romance" as an adjective is the word currently in use in English to mean "pertaining to the family of languages descended from Latin." In the English-German/Deutsch-Englisches dictionary I have in my house (Cassell's), "romance" as an adjective is translated as "romanisch," and "romanisch" is translated as "Romance, Neo-Latin." "Romanist" is translated as "teacher or student of Romance languages." Emory Waters In a message dated 12/6/2007 8:35:42 A.M. Eastern Standard Time, [EMAIL PROTECTED] writes: Be it so, if you trust wikipedia, but for us in the heart of Europe, these languages are the Latin or Romanic. Not all is orientated after the English terms. **Check out AOL's list of 2007's hottest products. (http://money.aol.com/special/hot-products-2007?NCID=aoltop000301) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Corno in Ut
Generally speaking, publishers in countries with Romance languages seem to use the Sol-Fa syllables to name the key the horn is in (Corno in FA, Cor en Si-bemol). French sticks with UT, Italian (and I believe Spanish) use DO. If they don't qualify the Syllable name with a flat or sharp symbol, then "flat" is some version of "bemol" and "sharp" is some version of "diese." German uses mostly the same letter names as English--the only thing that can trip up English-speaking horn players is Horn in B, which means "Horn in B-flat" in English (German uses "H" for "B-natural" so the Bach Mass in B-minor in German is in H-moll). Scandinavians, do you use the German system? Emory Waters In a message dated 12/5/2007 7:17:56 P.M. Eastern Standard Time, [EMAIL PROTECTED] writes: This was in reference to naming keys (the initial question was what is horn in Ut) **Check out AOL's list of 2007's hottest products. (http://money.aol.com/special/hot-products-2007?NCID=aoltop000301) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Carter Horn Concerto
...or, for that matter, my concerto for Horn and Concert Band (or its alternate version for horn and orchestra)! Emory Waters In a message dated 11/21/2007 5:55:44 P.M. Eastern Standard Time, [EMAIL PROTECTED] writes: Adam Black raises a pressing issue: "In the words of my teacher (a professional player), composers now often forget about "writing for the horn", and just what horn music is. Maybe we need to get away from contests, and get back to beauty " Ah yes! I couldn't agree more. What you need is my concert piece for horn and chamber orchestra! David Lamb in Seattle **Check out AOL's list of 2007's hottest products. (http://money.aol.com/special/hot-products-2007?NCID=aoltop000301) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mother Goose Suite - Mute Notation
"Otez les sourdines" = "get rid of the mutes," the same as the Italian "via Sordino." Emory Waters -Original Message- From: Bill Gross <[EMAIL PROTECTED]> To: 'The Horn List' Sent: Sat, 11 Aug 2007 5:01 pm Subject: [Hornlist] Mother Goose Suite - Mute Notation The group I am with just started work on the Mother Goose Suite. We need help with the notation "Otez les sourdines." Best we can figure "sourdines" is a muted passage, "san soordines" is un-muted. Just don't have a clue on the other. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Cold Sores
Actually, the words are etymologically related (e.g. "holocaust" is Greek for "burning the entire thing"). Emory Waters In a message dated 8/6/2007 3:50:50 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: Funny how a misplaced 'w' changes the whole meaning of the questio. I meant to say holistic. -Original Message- From: "Jeremy Cucco" <[EMAIL PROTECTED]> To: "The Horn List" Sent: 8/6/07 3:45 PM Subject: RE: [Hornlist] RE: Cold Sores Any thoughts on wholistic cures for ear infections? ** 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/archive%40jab.org
[Hornlist] Quasi horn-related: Opera Performance in Petersburg VA
For any of you horn listers who might find yourself in the Washington-Richmond-Charlottesville area two weeks from now, the following might be of interest. Three things make it "quasi horn-related:" (1) The composer is a member of this list; (2) another list member (Nelson Lawson) is playing in the orchestra; and (3) our Stage Director (Michelle Harman-Gulick) sang the role of Woglinde in a concert performance of "Das Rheingold" with Solti and the CSO at Carnegie Hall back in the early 1980's. This note is just to let you know about the upcoming production in Petersburg, Virginia of "The Edge of Glory," an opera about an African-American family in late 19th-Century Petersburg. Characters in the opera are rather loosely based on members of the Bragg family, some of whose members are still living in Petersburg, The music and libretto were written by Emory and Mary Ann Waters.The Opera is being produced by The 2007 Opera Partnership, a consortium of the City of Petersburg, The Petersburg Symphony Orchestra, Virginia State University, and WCVE, our local Public Broadcasting affiliate. Ulysses Kirksey will be conducting, and Michelle Harman Gulick will be Stage Director. The cast includes faculty members and students from Virginia State University, Virginia Commonwealth University, Virginia Opera, and other local professional singers. Performances will take place at Petersburg High School, Petersburg VA, at 8:00 p.m. on Friday, June 15 and Saturday June 16, and at 4:00 p.m. on Sunday, June 17. For ticket information call the Petersburg Symphony Office at 804-897-2824. The production of "The Edge of Glory" has been adopted as an official program of Petersburg 2007’s year-long Petersburg 2007 Arts Festival, as well as the official program of Virginia State University’s year-long celebration of its 125th anniversary and celebration of the African-American contribution to music. The Cast: Danah Dargon Harold J. Haughton, Sr. Renée G. Feggins Hugh Harrell III Jarvis Wyche Johnnella Edmonds Monique Woodard Michele Orr Emory Waters ** See what's free at http://www.aol.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] OT: Cornetto WAS Cimbasso
For anything you could possibly want to know about the Cornet, check out _http://www.angelfire.com/music2/thecornetcompendium_ (http://www.angelfire.com/music2/thecornetcompendium) by Dr. Richard Schwartz. E Waters In a message dated 5/18/2007 3:08:00 PM Eastern Daylight Time, [EMAIL PROTECTED] writes: The modern cornet evolved separately, most likely from a coach horn. ** See what's free at http://www.aol.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR - Beethoven #5 video
This video is probably about as close as we'll ever come to seeing what a Beethoven-Da Ponte opera might have been like. Emory Waters In a message dated 5/5/2007 4:42:13 PM Eastern Daylight Time, [EMAIL PROTECTED] writes: Hail Caesar! Thanks, David. Steve Ovitsky === David Goldberg sent: Beethoven #5 video http://www.youtube.com/watch?v=EEhF-7suDsM&mode=related&search= ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com ** See what's free at http://www.aol.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Math and Bach
The best discussion of this topic remains Douglas Hofstadter's "Goedel, Escher, Bach," although I will say that Hofstadter's discussion of the relationship between Goedel and Escher, or Escher and Bach, seems more convincing than his discussion of the relationship between Goedel and Bach. Nevertheless, a fascinating and beautifully written book. Hard to believe it's already over a quarter-century old... Emory Waters In a message dated 3/4/2007 7:28:17 PM Eastern Standard Time, [EMAIL PROTECTED] writes: > One of the phrases tossed about when discussing Bach is the > "mathematical > precision" of his music. Just what exactly does that mean? Is it the > rhythm or something else, or perhaps is it just a phrase that someone > used > once and has become a toss off line with no real meaning? ** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Synesthesia
I've always heard the term "synaesthesia" used in connection with the tendency some people have to hear specific pitches as specific colors (e.g. F is always red, G is always blue, etc). For such people it gives them a form of absolute pitch. Apparently different people have different color associations: I used to know a woman who had one set of pitch/color associations; her mother had a totally different set. Emory Waters In a message dated 2/22/2007 9:48:16 PM Eastern Standard Time, [EMAIL PROTECTED] writes: Interesting topic. Thanks for bringing it up. I wonder if this could be connected to transposition too; the feeling of intervals as distances. I'd assumed it was a learned ability. Hm... ** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: transposing
That's all very well as long as there are transposed copies to play from. Often there aren't. Emory Waters -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Tue, 23 Jan 2007 1:26 PM Subject: [Hornlist] Re: transposing You people who 'insist' on having horn players transpose make me laugh. It's so ridiculous. It's like saying if you're going to drive a car you have to learn to drive a stick. No you don't, it's so silly. Drive the automatic and give yourself less grief. I have often found more mistakes on the 'originals' than the transposed copies. Play the transposed F part and get involved with the music you're playing, watch the conductor, be in sync with the rest of the section, the rest of the symphony. Leave the mental gymnastics to the Rubik's cubeand yes, I can transpose quite well thank you very much. Jim ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horn-Saxophone composition principles
In my Concerto for Horn and Concert Band, I decided to turn the band horn player's bete noire into a musical joke, and so there are several places where the principal alto sax is featured as a foil to the solo horn. Oddly enough, so far only horn players have gotten the joke. On the topic of band scoring in general, particularly if you are transcribing a piece originally written for orchestra, it works out that an alto sax solo stands out in relation to the sound of the band tutti in much the same way that an oboe solo stands out in relation to an orchestral tutti (provided that the solo passage lies in the range shared by both instruments). This is useful to know, since good oboe players are usually rarer than good saxophone players in community bands (at least in the US). Emory Waters In a message dated 11/18/2006 4:17:09 PM Eastern Standard Time, [EMAIL PROTECTED] writes: Often the alto sax parts and the horn parts are the same. While occasionally, a discriminating composer/arranger may want this particular blend of sound, I suspect these parts are put together for other compromising reasons such as: a) composer inability to score different lines for these instruments; b) composer laziness; c) necessity or practically concerns for having saxes cover when horns are not available or are incapable. Then, what is the responsibility of the conductor for selecting the appropriate instrumentation for the ensemble IF there are sufficient and capable horns available for playing the alto lines? If particular music pieces are best orchestrated for horns, is it the responsibility of the conductor to adjust the instrumentation to achieve the desired sound? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] band instrumentation
David, Though I'm chiming in late on this: A couple of years ago I wrote a concerto for horn and concert band, and used standard band scoring as you just summarized it. In performances balances haven't been a problem, since the solo passages are fairly lightly accompanied (and naturally the conductor and ensemble have to take the care you always have to take when a large ensemble accompanies a soloist). However, it is true that when writing for band, you're considerably less certain about the size of the ensemble and the proportions of the sections (or even whether certain instruments will even be there--such as oboes), so the degree of subtlety you can employ in your scoring is far more limited than when you're writing for symphony orchestra. Emory Waters In a message dated 11/15/2006 8:30:32 PM Eastern Standard Time, [EMAIL PROTECTED] writes: Thanks to those who have given advice about band scoring. Over the years I have written a half dozen or so works for band, and the instrumentation has been fairly standard: 2 flutes, picc., oboes, E-flat clarinet, 3 B-flat clarinets, alto clarinet, bass clarinet, (sometimes contra bass), bassoons, 4 saxes (SATB), 4 horns, 3 trumpets, 3 trombones, euphonium, tubas, and percussion. In asking my question, I hoped to find out if there were special considerations in writing a piece as an accompaniment for solo horn. That full concert band would be overpowering for a piece that is essentially neo-rococo in style. The Dvorak Serenade is gorgeous, and perhaps that would work well for the thing I have in mind. My piece would even be compatible on a program! Tim Costen's suggestion about the wind version of K495 also sounds promising. This may call for some experiment. Thanks again! David Lamb in Seattle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Deklamation from horn concerto by Paul Hindemith
The poem is in fact the text of the music that the horn is declaiming (i.e. the horn's music is a setting of the poem--syllable for syllable, word for word). --Emory Waters In a message dated 11/4/2006 2:22:13 AM Eastern Standard Time, [EMAIL PROTECTED] writes: A speaker will cost extra, most horn players do have a special trained speaker voice - but I understand this poem as a good hint how to play the recitativo. Leave the poem in the program notes & just play the piece. Further: as the poem is written in German, a very special German, a translation into whatever language would never be at least similar. It is not the written word, but the "music" in the words. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: The Pope Effect
In a message dated 11/2/2006 8:40:24 PM Eastern Standard Time, [EMAIL PROTECTED] writes: >>Of course, a kosher horn never has clams. >>Cheers, >>Steve ...and of course, let's not forget Silvio Coscia, member of the Met Opera horn section for many years. Emory Waters ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Overtones, etc.
[In case you've lost track of who is who, >> is Marc Gelfo, >>> is Marc Gelfo quoting Steve Freides, and > is Steve replying to Marc.] In a message dated 6/3/2006 7:47:58 PM Eastern Standard Time, [EMAIL PROTECTED] writes: >> Steve Freides wrote: >> > It is essentially impossible for a human being to distinguish those >> > overtones as individual pitches. (If we could, we would have a >> > completely different perception of sound than we do, and I believe >> > music as we now think of it would not exist.) >> >> This is very untrue. You can train yourself to hear >> individual harmonics. I can fluctuate between perceving a >> tone as a single entity and tone as a combination of >> overtones. It took me a lot of practice. >You are the first person I've heard of that has tried to teach themselves to >do this - I'm glad you are able to do it. I guess it's not impossible then, >but it certainly isn't the way most people, musicians or not, hear. If you sing a low sustained steady pitch (near the bottom of your voice range) and then keep changing the vowel without changing the pitch of the note you're singing, you will hear the overtones change over the fundamental (each vowel has its own characteristic timbre, so changing the vowels is sort of equivalent to feeding a musical tone through a band-pass filter and constantly changing the settings). Thirty-six years ago or so I heard a recording of a Stockhausen piece called (I believe) "Stimmung" which used this phenomenon as one of its basic compositional elements. It is also I believe the basis of at least one of the styles of singing known as "Tuvan Throat Singing." Emory Waters ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horn Concerto Perfomance
If any list members are in the Richmond Virginia area on Tuesday May 30, you can hear a performance of my Concerto for Horn and Concert Band at a concert by the Richmond Symphonic Winds. Amanda Burton, the group's Principal Horn, will be soloist. Ira Schwartz will conduct. The concert will be at 7:30 p.m. at Powhatan High School (Powhatan is a small community a few miles west of Richmond). The concerto was written about a year and a half ago. It was commissioned by the Richmond Public Schools to honor my long-time friend and colleague in the Petersburg Symphony (and member of this List), Nelson Lawson, on the occasion of his retirement after many years as Supervisor of Music in the Richmond schools. Nelson gave the first performance in March of 2005 with the Richmond All-City High School Band. Another item of interest on the program will be Dr. Richard Schwartz's transcription for concert band of the Final Movement of Anton Bruckner's Eighth Symphony. Those of you on the list who are aficionados of historic brass instruments will recognize Dr. Schwartz's name as author of the "Cornet Compendium," the definitive history of the development of the Cornet in the 19th Century. Emory Waters ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Who knows this poem
Okay, it took a bit of Googling, but the first two lines are quoted in English by Barry Tuckwell in some biographical liner notes on "Giovanni Punto" (aka Wenzl Stich), as the epitaph on Punto's gravestone: Punto received all the applause. As the Muse of Bohemia applauded him in life, so did she mourn him in death. My high school Latin didn't take me very far into Latin verse, so I'm at sea as far as the other two lines go, except that a pun involving "Punto" and "punctum" (musical note) seems to be involved. I'm pretty sure I know who "Mozardus" is, but who is the rogator Romanus? Emory Waters -Original Message- From: Hans.Pizka <[EMAIL PROTECTED]> To: 'The Horn List' Sent: Mon, 22 May 2006 21:51:17 +0200 Subject: [Hornlist] Who knows this poem Omnis tulit punctum Punto, cui Musa bohemia Ut plausit vivo, sic moriente gemit Muta rogatoris romani puncta minora Mozardi punctis. Hicse rogatur honor Please, Paul, let the others answer. I know, you know it. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eww02%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] OT - Haydn trumpet concerti
The topic of the Haydn and Hummel concerti got me wondering about the instrument they were written for, so a quick google on "Anton Weidinger" brought up the following very interesting website: _http://abel.hive.no/trompet/articles/keyed_trumpet/_ (http://abel.hive.no/trompet/articles/keyed_trumpet/) Emory Waters ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Raised Intraocular pressure.
I don't know about high notes per se, but a year and a half ago I had some spot welding on my retina, and the ophthalmologist told me to lay off horn playing in general for about a week to give it time to heal. Emory Waters In a message dated 2/9/2006 1:37:25 A.M. Eastern Standard Time, [EMAIL PROTECTED] writes: Can anyone tell me if playing high notes , or any notes,can raise intra-ocular pressure? I am a diabetic with eye problems and have recently( in the last 3 months) begun to increase my range upwards. Have now started on Bach BWV 1. on the Natural horn and now (after about a week ) have got a rather large "floater" covering my whole visual field. My opthalmologist says it wouldn't make any difference. but I am not sure. Also have increased my practise time considerably. Hence my dynamic range has also increased. I understand about diaphragm support. Cheers, Ruth Redfern. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Reminded from the Chicago Horn Section
...and wasn't he also related to Isaac Bashevis Singer (maybe even his son)? Emory Waters In a message dated 2/3/2006 8:07:13 P.M. Eastern Standard Time, [EMAIL PROTECTED] writes: And speaking of musical families, just for fun, Joe Singer was of course Arnold Jacob's first, I believe, cousin. Now there's the start of a musical family reunion. And talk about covering the parts, Arnold Jacob's mother was a pianist and when Jacobs auditioned at Curtis, when he was about 13, he played the Carnival of Venice on the Tuba, since he had earlier won a cornet playing it on the trumpet. I confess I don't know what else Singer could play, but probably something. Shel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horn quartet with band
A nice piece we've done a couple of times in the Richmond (VA) Symphonic Winds (details supplied by the group's director Iris Schwartz): "Holiday for Horns" by Jack Jarrett, former Asst. conductor of the Richmond Symphony and former VCU Professor...published in 1967 by Barnhouse Emory Waters >>Our community band is playing "The Four Hornsmen" this winter. We were >>wondering if there is any other music for horn quartet with band >>accompaniment that would be suitable for a group such as ours, (a basic >>amateur "I-haven't-played-since-high school" community group.) Our director >>is a horn player and she is not familiar with anything along that line. >>Del Stein ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Handicap Question
In a message dated 10/11/2005 11:35:26 PM Eastern Standard Time, [EMAIL PROTECTED] writes: I just received a call from the parent of a 15 year old who saw my ad on hornplayer.net. She's interested in having her daughter study French Horn with me, as both of her siblings play a musical instrument and she wants her to have the same opportunity. The problem is, her daughter does not have a left hand. She said that a friend of hers who is a "chamber musician" suggested that maybe the French Horn would be a good instrument for her to learn because "you don't need both hands to play one." I told her I would do some research and get back to her within a few days. I also asked her if the girl was dead set on playing the horn. Her reply was that they just wanted to find some sort of musical instrument for her to play, preferably with others. If she is missing her left hand, I would think that the horn would be about the worst choice of brass instrument. Cornet or trumpet would be ideal, since they are fingered with the right hand and are light enough to be played one-handed. Emory Waters ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Brass Trio
Another nice trio (I assume it's still in the Robert King catalog) is one by Robert Sanders. Emory Waters ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Mahler 4 Chamber Version
In a message dated 5/18/2005 3:18:31 PM Eastern Standard Time, [EMAIL PROTECTED] writes: I don't believe that Mahler's fourth has an instrumental reduction other than the piano version. the only recording I remember listening to was done by a Scandinavian group, I thought - Ostrobothnian, maybe? If you have any interest in these works, feel free to email me privately, and I can get more information about them. About a dozen years ago somebody sent me a privately-recorded cassette of a concert by the Boston Pro Arte Orchestra (Gisele Ben Dor conducting), which included the last movement of Mahler's 4th in a chamber orchestra transcription--but since the main focus of the cassette was a different piece (the composer was sending it as a demo), there was no info about the Mahler. Emory Waters ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Canadian Brass
In a message dated 5/16/2005 12:14:01 PM Eastern Standard Time, [EMAIL PROTECTED] writes: >Everybody who plays brass quintet gigs owes a debt of gratitude to The >Canadian Brass for popularizing music for tuba, horn, trombone, & 2 >trumpets together. >Before The Canadian Brass, brass quintet music pretty much meant canzonas & >Gabrieli & the Robert King Catalog -- lots of tunes, but not much stylistic >variety. Well, not entirely true--look at the repertory of the NY Brass Quintet from the 1960's: Alvin Etler, Collier Jones, Malcolm Arnold, Robert Sanders, et al et al. Emory Waters ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Haydn #53?
In a message dated 3/20/2005 6:48:20 PM Eastern Standard Time,
[EMAIL PROTECTED] writes:
Even if the 1st horn in Bb alto and the 2nd in G both are treated like pure
overtone instruments (I don't remember any hand horn stunts), then they
together act almost like at two (alto)-trombones' section. They don't just
play Hornquinten, they take part in a thorough and detailed representation
of the more complicated harmonies as found in minor keys. But as natural
horns after all aren't as adaptive scalewise as trombones, then the two
horns eschew all traditional voicing principles for horns. The one which can
play the crucial note of the given harmony gets it. The other one is parked
on the fifth or the root.
In addtion to the crooking scheme in the outer movements of K. 550, I
believe I remember (from playing it nearly 40 years ago) that Haydn's Symphony
# 44
in E minor ("Trauersymphonie") uses a similar scheme in the outer movements:
one of the horns is in E and the other in G. For a piece in the minor mode
that makes sense, since between them the two horns can produce the root and
third of both the tonic chord and the relative major. It also makes for some
very awkward-looking horn writing. Beethoven does something similar in the
Funeral March from the "Eroica" (though not nearly so awkwardly) by pitching
two
of the horns in C and keeping the third in E-flat.
In K. 550 the horns have the additional complication of being crooked in
E-flat for the slow movement. In the "Trauersymphonie" I believe the slow
movement is scored just for strings, but in the Minuet both horns are pitched
in E.
It's true that by crooking in two different keys the usual
high-horn/low-horn relationship gets a little confused, but after all, the two
genres of horn
playing actually shared a great deal of common pitch range and common
technique.
Emory Waters
___
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Re: [Hornlist] Re: Yamaha models (NHR)
In a message dated 3/16/2005 6:12:46 AM Eastern Standard Time, [EMAIL PROTECTED] writes: Just like Honda offers several car models in Germany that aren't available in the US (models that would sell really well). [...] p.s.what's a probefahrt? Test drive. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
