Re: [Hornlist] contacting Hans Pizka
Hello Daniel, editing Videos (have a backlog of about 100 DV casettes to be edited) is real fun extremely fast. I´ll try the program Final-Cut to be better. Everything works better I can run VISTA as parallel desktop anyway to use some of my older business programs. I also installed PARAGON, to read HDs formatted in NTFS reading MAC Windows files. As my son uses the same machine (iMAC 24, 4GB, 1 TB disk) I have a good assistant if needed. He is in the hardware business since 15 years being in the grossist sales. Kindest regards from Kirchheim Hans ++ Am 24.08.2009 um 09:46 schrieb daniel.canaru...@unifi.it: - Message from hpi...@me.com - ... I special enjoy editing all the videos from life long travel... using my new iMAC. What a difference compared with PC ... Hello Hans! Welcome among those who have seen the light! I'm glad you're enjoying your retirement. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hpizka%40me.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] contacting Hans Pizka
to all forum members my email has changed, as I switched to iMAC finally. If you like to contact me off list, use the following ID, please: hpi...@me.com I will keep you informed, when my homepage will be moved to a new home, but it will take another few months, to restructure my homepage, publication list, translations, change or add some pictures, update my travel pages, etc. To all: I am enjoying retirement since 2 years 5 months now, still performing just here there privately, but also in public (doing the Huebler Concerto for 4 horns orchestra). These are privat performances for charity special occasions, all without any honorary. We both, my wife Boorlian me, enjoy very much on our travels to China India. I special enjoy editing all the videos from life long travel (may-be some 100+ DV casettes many VHS super8) using my new iMAC. What a difference compared with PC, but I have not thrown my PCs Laptops (2) to the garbage, as they still work well are quite useful, but all now off-line to avoid the spam virusses. But I will even replace the Laptop against a very compact Macbook next year. Healthwise everything seems to be fine, otherwise we could not go up to 5.000 m (17.000 ft.). I still continue with new publications (just completed 32 Var. for horn alone by Franz Strauss, two duet + orchestra pieces by F.Strauss, the op.6 Originalfantasy with orchestra, Lucia di Lammermoor Fantasy w/ orch., Lied ohne Worte w/orch,etc.), the Wagnertuba studies rewritten and enlarged using FINALE, the Stary Etudes 3 books rewritten, an unknown double Concerto by Hoffmeister, an unknown quartet for horn strings by Hoffmeister, another by Klemp, etc.etc.). Wait for the announcements on my publication list. I´m also working on a better biography of Mozarts uncle-like friend Joseph Leutgeb, by collecting all available textes about him by some family research. The biography of famous horn player Josef Suttner is allready available from Hans Schneider Musikverlag, Tutzing, Germany. If some of you have some special questions, to which I might be able to provide the right answer, do not hesitate asking me. Take this as an update about a retired horn player. Warmest regards from Kirchheim near Munich Hans ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Strauss no.2
The last eight before 36 in the last movement of the Strauss No.2 is indeed misprinted. The natural after the written d# (2nd eight in the same measure= concert f#, as the part is in Eb) is missing, but we all played the right note at the end of the measure (last eight notated as d2 = f concert). I´ll have a look into the autograph score later today let you know about). Bozza´s En foret, well many of us play the low A (concert d) as mentioned by Christopher, even it is written as one octave higher (the a below staff = concert d). Most just wanted to demonstrate, that they can play a low A. But musically, the a, as written by the composer is much better. He did not use the low A, nor did he want it. And, is it really a tour de force ? It might be a tour the force for players, who have not yet developed their personal playing technique embouchure to play this short but obviously demanding piece. x It is now later in the day I had a look into the piano reduction, Gottfried von Freiberg, my teacher, arranged using the autograph. This arrangement is handwritten was arranged before the Boosey Hawkes publication. Voila, there is the “natural” for the last eight in the measure before the study number 36. The study numbers are by Strauss himself. The solo part is missing the “natural”, but von Freiberg played the written “d” not a “d#”. And we learned the Concert, using the Boosey publication, but played it with the “natural” even I never inserted it into my part. The d# would be most unnatural. Just as a reminder, I inserted the natural today. Do we (my generation) or better, did we have a better feeling for such errors or eliminating such errors automatically ? I eventually corrected an error in my part for Ariadne auf Naxos, not only here in Munich, where the second premiere took place, but also in Vienna, when I played there as a guest – and they had premiered the opera there, and at other opera houses. Thanks to Christopher Griffin for pointing to that stuff. Here are the missing tempo adv. In the BH publication: 1st mov.: M7: missing “frei” (ad lib.), [1] missing “a tempo”, 5 meas. after [7] missing “rit.” t the 3rd beat, 2 meas. after [9] should read “poco meno” not “rit.”, 4 measures before [14] “breiter” (piu largo) is missing, two meas. before [18] missing “rall.” upon the 3rd beat, one measure before [18] missing “a tempo” upon the last beat. 2nd mov.: four measures before [24] missing draengen (drag). 3rd mov.: seven before [35] missing ruhiger (meno mosso), one before [35] missing viel ruhiger (molto meno mosso), five meas. past [39] missing calando, ten meas. past [39] missing tempo primo, eleven meas. past [46] missing calando, four meas. before [47] missing accel., [47] missing tempo primo, [50] missing draengen (drag). That´s all on tempo corrections, when comparing the first performance solo part and the first piano reduction (by Freiberg) with the 1950 Boosey Hawkes publication. But will these corrections help much, as we live in a time, when speed and show off with technique seems to be all, when musicianship is missed much ? When singing the horn seems to be outdated ? -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Solo beginnings
How about Verdi´s Don Carlo. The classic version most played begins with the solo horn quartet. Richard Strauss Silent woman starts with the solohorn, Richard Wagner´s Liebesverbot starts with Castagnettes solo; more to come Wednesday, when back home after 4 weeks+ travel in Asia. Regards Hans -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Brahms Violin Concerto Horn parts
Never played it on natural horn. Would not make any sense in a modern orchestra except the orchestra as a whole would adopt instruments of the relevant epoque, including strings set to that time. Greetings from back home Hans Original-Nachricht Datum: Sat, 8 Nov 2008 03:29:35 EST Von: [EMAIL PROTECTED] An: horn@music.memphis.edu Betreff: [Hornlist] Brahms Violin Concerto Horn parts Sorry, I forgot to change the subject line. Would anyone like to offer an opinion as to whether the horn parts in the Brahms Violin Concerto should be played on valved or natural horns. lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Atterberg Sonata Op.27
Kurt Magnus Atterbergs Sonata op.27 from 1925 is NOT a horn sonata but a Sonata for a stringed instrument (cello, viola, violin). Original-Nachricht Datum: Fri, 7 Nov 2008 21:09:51 -0500 Von: Debbie Schmidt [EMAIL PROTECTED] An: The Horn List horn@music.memphis.edu Betreff: Re: [Hornlist] Atterberg Sonata Op.27 Paxman Debbie Schmidt Sent from my iPhone On Nov 7, 2008, at 8:56 PM, Benjamin Lieser [EMAIL PROTECTED] wrote: Hello, I am looking for the publisher for a sonata by Kurt Atterberg. Any help would be appreciated. Ben Lieser ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Konzertst ü ck Problem, Part 2
The Schumann Konzertstueck thread: Yes, there is a 4-horns-only-score, also a piano reduction a conductor score, published earlier by KaWeAmsterdam, which is part of my publishing, since I acquired this company after the death of Klaas Weelink 1983. This piece has not been written for the average hornplayer. It has not been written for the average professional hornplayer, at least the first two solohorns. It also has not been written for the very good prefessional hornplayers, but for the very best of the best professional hornplayers. What seems so difficult in the first part, seen from modern composers eyes ? The chromatic, used by Schumann ? Why at all ? Nothing special. All is within the common natural horn technique. But how should a composer, who is not a very specialized hornplayer of outstanding qualities know that ? No way ! Most hornplayers do not believe such technique was possible on the simple handhorn. Did they or do they believe, that all the Wagner- and Richard Strauss- and Mahler-stuff be possible on the single Viennese F horn ? How should they believe it be possible, to play op.86 on the handhorn ? But I might say as excuse, that the same happen in other fields of life. To the composers on the list: should a composer implement all possible effects, the full compass with the extreme high the extreme low notes on the horn in his or her compositions ? Certainly not ! If he or she has an equal superb knowledge of the horn technique as had Richard Strauss, well, keep on writing one piece better than the other. If the effects or the extreme compass would be necessary to pep up the pieces because of lack of imaginative power, better quit. We have enough garbage pieces, which only look interesting for the musicologue or from graphical view. And we need more good pieces for the average player, not competition pieces of greatest difficulty. Furthermore: I am missing melodic lines on most contemp solo pieces. A last word to the musicologists: Nobody can expect, that they were specialists for all instruments. Nobody can be a specialist for more than one instrument (the related instruments included; for the horn: wagnertuba, descant, Viennese, handhorn, parforcehorn, double, etc.). And most musicologists are not be found at high professional level of that particular instrument. The result is the rather amateurish approach to the interpretative technique of the instrument. Moral: the musicologists should much better listen to the very high classified instrumentalists, but not take everything as bare truth. If they listen better to the high qualified instrumentalists evaluated their (the instrumentalists) explanations, statements etc. with their (muscologists) critical view, they would be right on of highest value for all musicians. Regards from Hot Spa (46 centigrades) in SW Thailand,enjoying retirement Hans -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Beethoven #1, Horn in C - Alto or Basso?
Hello Steve, Kjellruns tumb rules are valid with the exception of C-alto, which is not explicitely noted such. This special transposition is found in certain Haydn ouvertures, in Mozarts Idomeneo etc. but rarely i the music of the 19th cent. You have well noted, that the horn parts would be far too high, if they were in C-alto (sound as written) in Beethoven no.1. So you are right. The horn parts of this symphony are rather simple. High horns are in Beethovens no.2 (A) and No.7 (A) with prominent solo spots. The no.4 has one entrance with high Bb, but the part is in Eb, so noted as high c. I´ll answer your mouthpiece question as soon as back home late next week. You should remember, that I am retired since April last year. BTW: will expect the first snow back home, but arriving from a quite hot country (Thaiand), where we enjoy the hot spa. Greetings Hans -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Corno in Mi
Lawrence, silly question: is england so small now ?? Original-Nachricht Datum: Sun, 16 Mar 2008 19:52:14 EDT Von: [EMAIL PROTECTED] An: horn@music.memphis.edu Betreff: Re: [Hornlist] Corno in Mi Do (or ut) Re Mi Fa Sol La Si (in england we say tee then Do to finish off Remember The Sound of Music - Do, a deer (a female deer actually) Did Julie Andrews do it all for nothing? :-) Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Corno in Mi
Hello Adam, it was common use, to have the horn parts in different keys in the past. The most common keys were F, E-flat D, less often E. Baroque music was anotated in a different way. BTW, my first shipment (you remember, I resent it) just arrived back three weeks ago. I had addressed it to School of Music instead School of Medicine. But the music had a very long journey. Greetings from Lanzhou in the middle of the Silk Road. Ha´ns Original-Nachricht Datum: Mon, 17 Mar 2008 10:16:27 +1030 Von: Adam Black [EMAIL PROTECTED] An: horn@music.memphis.edu Betreff: [Hornlist] Corno in Mi Dear Hornists, I have recently purchased a piece for flute, horn and piano (by Muller). The horn part starts as corno in Mi. By looking at the flute and piano parts, this must be for horn in E. This is the first time I have seen this. Can anyone fill me in on the origins? Thanks, Adam Black _ It's simple! Sell your car for just $30 at CarPoint.com.au http://a.ninemsn.com.au/b.aspx?URL=http%3A%2F%2Fsecure%2Dau%2Eimrworldwide%2Ecom%2Fcgi%2Dbin%2Fa%2Fci%5F450304%2Fet%5F2%2Fcg%5F801459%2Fpi%5F1004813%2Fai%5F859641_t=762955845_r=tig_OCT07_m=EXT___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: RE: [Hornlist] chicken or egg - I try it the 3rd time
Mark, Paul Rincon answered correctly regarding R. Strauss, but regarding Mozart I might ask you, if you ever have had a look who arranged the piano reduction of the Mozart Concertos you studied or you will study. Do you own the piano parts or do you just study your horn part from a copy of a copy where the arranger is not visible any more ? Would any arranger in the world dare it to write a new piano reduction, if genius Mozart had written the piano version first ? You are quite funny. Mozart wrote the concertos in a very special way as we can see on the incomplete scores for the two movements in D, we erroneously put together name it concerto no.1 and in the also autograph score for the no.3 concerto, which we number as no.4 today and in the so called Concert Rondo K.371 the other fragments. He started with the introduction as full score. As soon as the solo instrument joins, he continued with the sololine, the first violin the bass line first until the next tutti. After completing a movement he filled in the 2nd violin, viola thze usual four wind instruments, which sometimes were not written in the score but as a separate sheet of music. On repeated passages, Mozart left the work for the copyist, who wrote out the performance material. There was no score published earlier than the first Breitkopf publication edited by Henri Kling, who also arranged the piano reductions. The Mozart Concertos were not popular in the 19th century. There was just the old Andre edition of the three concertos in E-flat, but also another publication of the (modern numbering) no.4 concerto K.495 by Contore d´arte et d´industrie in Vienna, perhaps under Leitgeb´s participation. All the Mozart Concertos became popular by the effort of Karl Stiegler from Vienna Aubrey Brain in London. You have to remember, printing was extremely costly then, so very few sets were published. Printed music was too expensive for most players students. Well, some got the chance to opy parts by hand. So things became preserved also. This is the message I tried to send. Believe me, I never had any control or censorship of my letters from China. You seem to believe old myths. You should come to China to think different. I have been here about 40-times since 1984 and seen experienced the unbelieveable changes. I have Internet high speed access from nearly every hotel room (I do not travel like these rucksack tourists staying in 5 - 10.- dollar lodges but also avoid the 80.- USD up hotels.), - and the internet access is complimentary. What bothers, is the language situation. Even taxi drivers seem not to understand the term hotel, jewelry shops dont know gram or ounce as weight, even sign language fails often as they are not trained to think further. But you find a lot people, trying to help you even not being asked for. That is nice. If they speak any foreign language they try to use it when where possible. And you get everything in the shops. The shopping malls are up to date. You see all famous bran ds, the real things not copies. The architectural modern design mixed with some traditional (Tang Dynasty) is very impressing so is the size. Traffic is enormous. Food is excellent perfect cheap. We had ten satays mutton, thick noodles with tofu vegs, a plate peanuts in 5 colors plus sliced lotus roots cucumbers, another plate of vegs, 1 middle sized coke, turkish bread for a total of 5.-USD. And they had an English menu. The other day we ate Peking Duck 5 other delicacies one bottle beer for 19.-USD (famous restaurant). Greetings from Xi´an in the heart of China to all. Hope the message gets out Hans Original-Nachricht Datum: Fri, 14 Mar 2008 19:52:01 -0500 Von: John Baumgart [EMAIL PROTECTED] An: \'The Horn List\' horn@music.memphis.edu Betreff: RE: [Hornlist] chicken or egg Give it time. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Ellen Manthe Sent: Friday, March 14, 2008 7:15 PM To: The Horn List Subject: Re: [Hornlist] chicken or egg And no one has been the least offended by any of his comments... Ellen On 3/14/08 7:06 PM, Dan Phillips [EMAIL PROTECTED] wrote: On Mar 14, 2008, at 6:38 PM, [EMAIL PROTECTED] wrote: ___ post: horn@music.memphis.edu These empty messages are being caused by filtering by the list server. Hans is sending messages that include only HTML, without the plain text alternative that is normally part of HTML emails. When the server strips out the HTML, the result is usually an empty message body, which the server discards. After looking at the raw message source and the headers, my best guess is that for some reason, the messages he is sending are missing some HTML tags, and the filtered result includes only the two carriage returns that we are seeing. The horn list sends plain text messages with no
Re: [Hornlist] Re: Horn Digest, Vol 59, Issue 30, 8D leadpipe
But how about the many high class professional (full time) players who never altered their horns, but had a descant at hand for special tasks, a nice full double for day-to-day work - but also used the same mouthpiece for all tasks for 30 - 40 years ? +++ Original-Nachricht Datum: Mon, 26 Nov 2007 12:07:37 + Von: Peter C. Miller [EMAIL PROTECTED] An: horn@music.memphis.edu Betreff: [Hornlist] Re: Horn Digest, Vol 59, Issue 30, 8D leadpipe When I still had my H series Conn, I changed to a Lawson first then later to an Atkinson A5. The A5 was perfect for that horn and me. I am so sorry I ever sold that horn, but you live a learn. I've never found another one that played so well in the lower register as well as so clear in the upper. I could out blow the tubas one minute and play Haydn's Hornsignal the next! The A5 really centers the 8D's, which can play like a wild mustang if you don't learn to tame them. My Hoyer 7802 is the closest I've come to the sound, but it too needs to be tamed and a new leadpipe and possibly a new bell might do the trick. I would also suggest getting the valves checked, cleaned, etc. I've also used a McCracken on a 900,000 series Conn with good results. Good luck! -- Peter C. Miller, M.M., M.M.Ed. Private Consultant (334) 524-0161 -- Original message -- From: [EMAIL PROTECTED] This message has been processed by Symantec's AntiVirus Technology. Unknown.data was not scanned for viruses because too many nested levels of files were found. For more information on antivirus tips and technology, visit http://ses.symantec.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna Der GMX SmartSurfer hilft bis zu 70% Ihrer Onlinekosten zu sparen! Ideal für Modem und ISDN: http://www.gmx.net/de/go/smartsurfer ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Il Trovatore: Cavatina Leonora - Ab Horn
In the well known Verdi Operas there is no A-alto or A-flat-alto, but I am not sure if it could be in the nearly unknown Verdi Operas. Il Trovatore has no A- or A-flat-alto definitely. Milton answered regarding Bb-alto or basso. = Original-Nachricht Datum: Sat, 23 Sep 2006 21:29:04 -0400 Von: [EMAIL PROTECTED] An: horn@music.memphis.edu, [EMAIL PROTECTED] Betreff: [Hornlist] Il Trovatore: Cavatina Leonora - Ab Horn Hi All, I don't have quick access to the score and I was wondering if anyone knows whether the Ab horn (IV part) in the Cavatina Leonora from Il Trovatore is Ab (LA b) alto or basso. I would normally read it as an alto transposition but that puts the 4th horn up to high B-flats and never below B-flat third space. Thanks in advance for your help. Marc Cerri ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from ViennaNEU: GMX DSL Sofort-Start-Set - blitzschnell ins Internet! Echte DSL-Flatrate ab 0,- Euro* http://www.gmx.net/de/go/dsl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Zdenek Tylsar died
Very sad news received from a close friend in Czech Republic: Zdenek Tylsar died yesterday in Prague at age 61 Greetings from India Hans Pizka -- SigfridFafner the under ground horn player from Vienna Der GMX SmartSurfer hilft bis zu 70% Ihrer Onlinekosten zu sparen! Ideal für Modem und ISDN: http://www.gmx.net/de/go/smartsurfer ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] High Range
If you play the high notes the way you desribe, my goodness, I cannot imagine any nice sound. High yes, but aweful pinched or shrill. To use the lip aperture like a camera aperture - better as the iris of an eye or old fashion camera - classic - is not the right description. Better would be, the aperture between two grass blades, or between the reeds of a bassoon mouthpiece, well, this description might be valid. But directing the airstream down to the chin, this is perfectly wrong as the airstream is best controlled when directed into the middle of the sound hole (= centered), but this requires a different holding position: the horn more up, so the leadpipe does not form an angle with the axis through the mouth. Nor were it very good, to have the chin down the neck bent, creating a lot of tension, etc, etc .. Original-Nachricht Datum: Mon, 7 Aug 2006 06:56:56 -0700 (PDT) Von: James Wester [EMAIL PROTECTED] An: The Horn List horn@music.memphis.edu Betreff: Re: [Hornlist] High Range Nicholas, This may or may not help. But with all my chops woe's I've had over the last ten years, the one thing that has never left me in my high range. When I play in the high range the air stream coming from my embouchure( sp?) is going straight down, it would hit me square on the chin if the mouthpiece wasn't there. I also like to think of my embouchure as an aperture of a camera, the higher I play the smaller the aperture ( ie not pinched but round ). Hope this helps. James Nicholas Hartman Hartman [EMAIL PROTECTED] wrote: Recently, I have been worrying about my high range, or lack thereof. I can make a C3 sound almost 100% of the time, but I have to work very hard, my face turns red and scrunches up, and I can feel it for about ten minutes after. Having studied with professional players all my life, I know that all of these are not supposed to happen, but when I try to use less pressure, try to be less tense, and try to let the air do all of the work, my lips won't even vibrate. I feel like I'm chronically missing some key piece of advice because none of my peers seem to have this problem. Please, any advice would be invaluable as nothing seems to be working for me now. Thank you. Nick - Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great rates starting at 1¢/min. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/ndspmustang%40yahoo.com - How low will we go? Check out Yahoo! Messengers low PC-to-Phone call rates. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna Der GMX SmartSurfer hilft bis zu 70% Ihrer Onlinekosten zu sparen! Ideal für Modem und ISDN: http://www.gmx.net/de/go/smartsurfer ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Air travel rules
Yes, it refers to density, but you can use other semi-stiff material also (some left over packing material except air bubble sheet. The most severe restrictions are for flights to UK USA, not inside Europe. But it might be wise to ask the airlines tell them about the horn. Hopefully they would understand what you are talking about ?? Original-Nachricht Datum: Tue, 15 Aug 2006 18:30:30 +0100 Von: Corenut [EMAIL PROTECTED] An: horn@music.memphis.edu Betreff: [Hornlist] Re: Air travel rules The info on packing the horn (Hans) is most helpful thank you. Can you or someone please clarify moss rubber please? Does this refer to its density and what type of retail outlet should I be visiting to locate this product? I am travelling to S France in early Sept avec cor but by boat going south and Lufthansa (BMI charter) coming back from Toulouse to Manchester. I trust by then the 'authorities' will have sorted themselves out and not make me drink the valve oil.. Cheers, Foxy ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna Echte DSL-Flatrate dauerhaft für 0,- Euro*. Nur noch kurze Zeit! Feel free mit GMX DSL: http://www.gmx.net/de/go/dsl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
re:[Hornlist] quickie transposition question
Simon, you did not understand my message, by Erin understood me well sent me a very, very nice letter. My letter was not intended to attack Erin or others, but remind all of us, thzat we should use more of our intelligence not following the main trend to get all prechewed or told or made or prepared etc. Greetings from Nanjing Hans (what a big change here since I was here 1994, unbelievable - just watched a CCTV9 program with their main political commentator the ambassador CEO of the chamber of Commerce of Mongolia talking about their experience with the transition of their country to free democracy free market society. Could you imagine that ?) === --- Ursprüngliche Nachricht --- Von: Simon Varnam [EMAIL PROTECTED] An: horn@music.memphis.edu Betreff: re:[Hornlist] quickie transposition question Datum: Fri, 31 Mar 2006 18:46:32 +0900 [EMAIL PROTECTED] wrote why are we all so friendly helping out at the most simple questions everybody should be able to answer ? ... Get back to be human not humanoid. Give him a break, Hans! The guy's ignorant, but he knows it and has the guts to admit it. He needs a hand and we'll gladly lend it. That's what this list is for. And this is a question that many of us amateurs are able to answer, so give us our chance to shine. We'll leave the difficult ones for you. Your expert advice on horn-playing is always much appreciated. May I suggest you stick to YOUR speciality and leave the teaching of etiquette to those more qualified? respectfully yours, Simon (Pizka mpc user) = ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna Feel free - 10 GB Mailbox, 100 FreeSMS/Monat ... Jetzt GMX TopMail testen: http://www.gmx.net/de/go/topmail ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Concerto Editions
The slurs dots added later come from performance tradition, most handed down by mouth to mouth tradition (meaning of tradire = lat.) special in Vienna, where the concertos were written. The first complete edition of K495 is by Art et Industrie publications in Vienna according to the autograph, which was in Leutgeb´s hands for the greater part. The tradition was handed downb to Martin Rupp, the Lewy brothers, Richard Lewy, Schantl, Richter, Stiegler Freiberg, just to name a line. And the bows dots follow the violins are influenced by our language the singing tradition. This might be difficult to understand by non-German speakers. But if you like to stick to the ur-text (like the autograph), continue in the clumsiness, while Mozart trusted his friends (most were horn players in Vienna) their skill experience taste. == --- Ursprüngliche Nachricht --- Von: Bill Gross [EMAIL PROTECTED] An: 'The Horn List' horn@music.memphis.edu Betreff: RE: [Hornlist] Mozart Concerto Editions Datum: Tue, 13 Dec 2005 09:42:44 -0600 Just a follow up to Hans' statement below. If the original published version (is that the correct interpretation of ur-text?) of the concertos did not include slurs dots we are used too how did they end up in current publications? Are they from individuals who heard the original performances or are they from later performances that became accepted as standard interpretations? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, December 12, 2005 4:18 PM To: The Horn List Subject: Re: [Hornlist] Mozart Concerto Editions HENLE Verlag in Munich has all four concertos in urtext, as far as there is urtext (K412 , K447, K417 are existant except slow movement of K417 missing. K495 is existant just from middle of 2nd mov to end middle of third mov. until the end. But there is the first Viennese publication of K.495, where Joseph Leutgeb took part obviously (as he had the missing parts). The urtext publications dont have the slurs dots we are used too. ___ 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/hans%40pizka.de -- Lust, ein paar Euro nebenbei zu verdienen? Ohne Kosten, ohne Risiko! Satte Provisionen für GMX Partner: http://www.gmx.net/de/go/partner ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: embouchure strengthening device
Dear Prof. I. M. Gestopftmitscheist, would you kindly send me one of your F.A.R.T.s bill me via Paypal Here is my address: Sickfrid Fafner Furzergasse No.10 A- Vienna, Fart district --- Ursprüngliche Nachricht --- Von: [EMAIL PROTECTED] An: horn@music.memphis.edu Betreff: [Hornlist] Re: embouchure strengthening device Datum: Sun, 28 Aug 2005 12:27:48 EDT Steve Ovitsky wrote: Here's possibly the last embouchure building gadget you'll ever need. eBay item 7344912178 Now, I must be making the tellings to you all that this device is a probably maybe a knock-off and imitator of my famous and almost patented French horn Articulation and Range Titanicator (or F.A.R.T. for short) which helped many people have the mostest of successesses in their chosen professions as well as get their third degrees! Kindestest of Greetonings and Mostestest of Debuffifications, Prof. I. M. Gestopftmitscheist Principal 8th horn and Principal 4th Wagner Tuber, Schplittenotendorf am Oedland Staatsoper und Philharmoniker, (ret.) Solo Horn, Exit 2 Brass Quintet Hornist, Broken Winds WW Quintet Solo 4th Horn (Leader, call me for bookings), Smirnoff Horn Quartet Assistant Associate Principal Mellophone, NJ Turnpike Authority Drum and Bugle Corps, The Phantom Lane Changers Hornist as Needed, L'Ensemble du Chambre des Palourdes Principal Natural Horn, I Soloisti di Feces Principal Baroque and Hunting Horn, Camarata Vongoleforte Adjunct, Part-time, Arms-length Professor of Horn and Pest Control, Exit 2 Community College, Exit 2, NJ Author, The Kopprasch Connection, Kopprasch for Fun and Profit, Kopprasch for the New Millenium: Where Do you Fit In? Hooked on Hornonics, and What If Saddam Had Given Ouday and Qusay Olds Ambassador or Conn Pan American Single F Horns and a Kopprasch Book Instead of AK 47's, Booze and Porn? Founder, Director and CEO, Universal Institute for the Study, Preservation and Dissemination of Kopprasch Throughout the Solar System Founder and Guru Extraordinaire, Hornaholics Anonymous Grand Poobah of the Koppraschian Kult Director and Program Manager, The All Kopprasch Channel (AKC), Kopprasch Public Radio (KPR) Host of The Kopprasch Factor on AKC and All Kopprasch Considered on KPR Founder of Kopprasch Depot, your one stop shop for all you need! Interplanetarily Known Soloist and Artist of Record Exclusive Bundy, Carl Fischer, Olds Ambassador, Sansone and Conn Artist Who Does Not Get His Horns For Free Phone: yes Fax: yes E-mail: yes Website: no Kopprasch is worth fighting for. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna 5 GB Mailbox, 50 FreeSMS http://www.gmx.net/de/go/promail +++ GMX - die erste Adresse für Mail, Message, More +++ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
=?ISO-8859-1?Q?Re:_[Hornlist]_Re; _Mahler_1_,_c/o_Hans_Pizka,_and_performa?= nce practice.
Ellen, playing in an university ensemble or as soloist with an university in not compareable with professional orchestra playing, where you market your skin every night. Not having played in a professional orchestra, means knowing NOTHING about it. Truth. Greetings from Bangkok Hans --- Ursprüngliche Nachricht --- Von: Ellen Manthe [EMAIL PROTECTED] An: The Horn List horn@music.memphis.edu Betreff: Re: [Hornlist] Re; Mahler 1 , c/o Hans Pizka, and performance practice. Datum: Fri, 26 Aug 2005 09:36:53 -0500 I must interject a comment on this post. It is very difficult to earn a DMA in applied music. Not only must a student earn a B level or higher in many hours of musicology, theory, technology, and ethnomusicological classes, but one must first EARN admission to the program in the first place by performing either a recital or lecture recital that is at the doctoral level in musical proficiency. At least, that was the case when I entered the Michigan State program in 1995. The horn prof maintains very high standards for both herself and her students, and I think that this is true of other professors in other programs. -- SigfridFafner the under ground horn player from Vienna GMX DSL = Maximale Leistung zum minimalen Preis! 2000 MB nur 2,99, Flatrate ab 4,99 Euro/Monat: http://www.gmx.net/de/go/dsl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mahler 1 Excerpt Question
William, Sandra other wise list members, following your recommendations I must recognize, that many of you seem to play the horn without having done the proper home work. Otherwise you would not post that weird nonsense about fingering intonation. Go back to Kopprasch no.1 or the Schantl Methode - why not every five years - to refresh your knowledge or even get first hand knowledge what' s about playing the horn. Recommending fingering the low F (written) on F-horn 123 lipping it down just because Vienna Phil seems to do it, is insane perfectly insane. The Vienna Phil has no other choice on their F-Pumpenhorns, but they do not lip it down. They use the right hand. Have you also noticed that they do not blair or fart these low notes but play them like a double bass not like a basstrombone or euphonium or tenorhorn. 123 on the F-side is even a very sharp f-sharp. But why using that, if you have the Bb-side just a valve stroke away. Go back to do some solfege instead playing with the tuner, as if you play with the tuner, you will lip up or down the note in question automatically. But if you go to the next note, the desaster will be unchanged. Listen better to your playing correct the note by mini-lip-action the use of the right hand. But avoid right hand action when you can correct the pitch by the lip action. It is a MINI-ACTION not a bif affair. You also have two sides of the horn at hand (F Bb). Why dont you use both sides in a proper way ? Just choosing the better in tune pitches from every horn no matter in high, middle or low range. The g1 is better in pitch on the F-side, all e-flats are better on the Bb-side, the f2 is best with 1 on Bb, the d2 is best on F as open, the c-sharp2 is best with 2 on F (not with 12), the e-flat2 (if played on F) should be fingered with 2 not 23. g2 is open on both sides not 1 on Bb. The only combination fingering 23 comes for the g-sharp as 2 on Bb is flat allways. This means, using the F-side up to e2 or even g2 (except delicate entrances) is much better intonation wise as Bb up from c2. The exception is the e-flat1 e-flat2 on 1 Bb, as it is much better in tune as on the F-side. Low octave from c1 down: all on the F-side until f-sharp (3rd ledger line below staff), then continue on the Bb, as all notes speak much better. Get the same C to G on the F-side (impossible on the Bb-side anyway) the rest down to the fundamental on the Bb-horn, but avoid farting. Get it with proper lip opening just releasing more or less air according to the dynamic requests. But never BLOW the air into the horn. RELEASE the air instead. Refrain from over practising every passage. These things, like Mahler 1, must work after trying it twice or threetimes. Otherwise stay away from such pieces, if you are not mature enough. It is the wrong method, practising a spot to death, because fundamental things have not been acquired first. It is much better, to practise a certain technique LONG BEFORE such tasks might come up. Otherwise you will slip fall upon your snout earlier or later. Remember, it is far not a waste of time, to practise Kopprasch, Maxime-Alphonse, Paudert, DeGrave or the Schantl books. It improves your skill, so you can master such special - ooops, Mahler 1 is quite conservative even for the ADVANCED amateur - tasks. I wonder, that some of you (the ones I tried to address with my letter) even teach students, but are improper trained themselves. Yes, I admit, not everybody can be trained like the Philharmonics, but the basic elements are an absolute MUST. Greetings from Far East (NE Thailand), where you find very fast internet access everywhere at nearly zero costs (65 US ct./hour) Hans --- Ursprüngliche Nachricht --- Von: [EMAIL PROTECTED] An: horn@music.memphis.edu Betreff: Re: [Hornlist] Mahler 1 Excerpt Question Datum: Wed, 24 Aug 2005 17:00:37 EDT Thanks, by the way. I shall try them in the practice room shortly :) -William In a message dated 8/24/2005 5:52:15 A.M. Central Daylight Time, [EMAIL PROTECTED] writes: Hi William - here's my 2 cents worth: to avoid the severest intonation and smoothness issues, stay with short fingerings on the F horn, and long fingerings on the Bb horn. So - Db, use trigger 2/3, Eb use trigger 1, but the F, use F horn 1. The Db might be low (or high - depends on your horn) - use your hand to fix the Db, and any other note. As for sound, keep in mind that it's not a horn solo section - the horn is used in collaboration with other instruments. Sandra ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna Lust, ein paar Euro nebenbei zu verdienen? Ohne Kosten, ohne Risiko! Satte Provisionen für GMX Partner: http://www.gmx.net/de/go/partner ___
Re: [Hornlist] Julius Caesar
From top alias with introductory higher grace note and abschlag. --- Ursprüngliche Nachricht --- Von: [EMAIL PROTECTED] An: horn@music.memphis.edu Betreff: Re: [Hornlist] Julius Caesar Datum: Sun, 21 Aug 2005 12:22:12 EDT Hans, What is the true baroque manner for a trill? Thanks, Ron ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna 5 GB Mailbox, 50 FreeSMS http://www.gmx.net/de/go/promail +++ GMX - die erste Adresse für Mail, Message, More +++ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re:Mozart norn concertos
Yes, I agree that most of the edited Mozart Horn Concerti are edited in a way against the Mozart style. Some editors even dared to add embellishment so do some even well known soloists. In Vienna, we grew up with the Henri Kling Edition, which following more or less the Urtext (see 1888 first complete edition of Mozarts works). Well, he did not know the Leutgeb prepared edition from Vienna (K495) which appeared the year after the Andre publication (shortest), but he (Kling) did not shorten the concerto except the 4 or so measures on the last page. We also grew up withe the mouth to mouth tradition of playing Mozart, and we set the missing articulations according to our pronounciation, as we speak about the same idion as did Mozart himself (avoiding a hard t replacing it by a somewhat harder d, etc.), which is not easy to be explained to a non speaker of this idiom, even a native German from Frankfurt or from the north. This idiom is best found in Southern Germany, Austria, bordering Saxony Bohemia, perhaps in the most northern part of Italy. So the phrasing is set according to our language flow, nothing as sacred, but more or less. Single slurs are not a must, but recommended, e.g. slurs from beat 4 to 1, 2 to 3, etc. Wait, until I have completed this task have sent it to my homepage. Concerto no.4 was, but I am in the process of moving all to a separate place (for easier access) a new provider. Regarding orchestra parts: I do not understand, why some (even prominent) editors dare to change something coming from Mozarts hand Selfish non respect. Adding or changing a slur here there for practical reason does not mean any change, but changing notes , my-goodness, can we sink deeper ? Again greetings from Far-East. Mt.Everest was a great experience, but a one-time. Chitwan national park on the Nepali-India border was excition, because of the lovely people there the phantastic very close encounter with rhinos (3 m infront of our elephant) tiger (just 5 m away in the bush - monkeys had warned us our elephant - we were just on the hunt with one elephant - she had taken off a branch from a tree for defense, but tiger ran away). Can recommend this tour to everybody with good nerves robust constituation. If interest, pls, write to me, as I can give links addresses. Hans -- SigfridFafner the under ground horn player from Vienna Lust, ein paar Euro nebenbei zu verdienen? Ohne Kosten, ohne Risiko! Satte Provisionen für GMX Partner: http://www.gmx.net/de/go/partner ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Julius Caesar
Klaus, it cannot be overheard that the Caesar solo aria horn solo is scored for F-horn, because it would not be possible for any other natural horn, to play this aria. There are two other 4 horn numbers there, scored for G-horns, with a cadenza up to our high d3 in p dynamics - very delicate. And the other number for 4 horns is scored in A, if I recall right - or also in G - with many, many trills, which must be delivered in true baroque manner. Have played the Giulio Caesar more than 25-times. At age near 64, I stepped down from solo to deputy first, to perform a quieter life for the (nearly) two remaining years making way free for a potential successor. Johannes Dengler, whom we hired at age 19 fresh from school, leads the section now since July 1st. I think, it was the right decision by myself I like it. Greetings from NE Thailand Hans --- Ursprüngliche Nachricht --- Von: Klaus Bjerre [EMAIL PROTECTED] An: The Horn List horn@music.memphis.edu Betreff: [Hornlist] Julius Caesar Datum: Sun, 21 Aug 2005 00:23:07 +0200 Hans ought to be online now with his Munich experiences not being too old, but then there are so many other knowledge pools available on this fine board. DRTV1 just finished a direct transmission from our Royal Theatre of Händels Julius Caesar with Andreas Scholl singing the lead. The orchestra was Concerto Copenhagen, which plays replicas of original instruments. I spotted a small schizzo in the bass section, where a double bass appeared to have steel strings, and another section member played a fretted violone. I seem to remember, that Hans at some point reported about a high horn job, actually a duet supporting the singers, towards the end, where he used a single descant horn. As far as I remember an Alexander in F (mine ditto is in G). I also seem to remember Hans telling the key of that section to be Bb. When the two natural horns of Concerto Copenhagen exploded their artistry in the most wonderful way in the said section, I bent over in pure awe. However being the cynic my genes tell me to be, I pulled one of my recorders out of the basket standing next to my chair and found that the key actually appeared to be Bb. I don't haul out a horn this late in the night, as I live in a condo. This made me think of a standing discussion on the recorder list (I taught brasses as well as recorders for a living). I never accepted A=415 instruments, as they narrowed down the real life applicability of my students. If they could get church jobs, these all were in A=440. And even if I don't have totally perfect pitch, instruments tuned to A=415 tend to sound dull in my ears. All this typed noise just to ask: is the said horn passages of the said opera actually written in Bb? If so, I will salute Concerto Copenhagen (CoCo among friends) for playing in modern pitch. And as I have worked with baroque music as well as statistics, I tend to find B natural horns very unlikely to happen in the Händel repertory (even if playing 2nd in Brahms 2.2 is a marvellous experience). Klaus ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna GMX DSL = Maximale Leistung zum minimalen Preis! 2000 MB nur 2,99, Flatrate ab 4,99 Euro/Monat: http://www.gmx.net/de/go/dsl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Clarinet/Horn duets
But you can order it also from my publications. I published it many years
ago.
Greetings from Kathmandu
H.Pizka
--- Ursprüngliche Nachricht ---
Von: David Goldberg [EMAIL PROTECTED]
An: horn@music.memphis.edu
Betreff: [Hornlist] Clarinet/Horn duets
Datum: Sun, 14 Aug 2005 23:48:01 -0400 (EDT)
A few years ago I offered to send listers copies of the Georges Fuchs
op.56 duets for horn and clarinet. This is a group of 24 pieces forming 6
duets. They are very 18th century - lots of noodles for both players.
The copies come from the Bibliotheque National de France.
In this electronic age, the paper is now scanned and I am happy to email
to anyone here who wants it. The package consists of an attachment of 17
jpgs totalling about 900K.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
___
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--
SigfridFafner the under ground horn player from Vienna
Lust, ein paar Euro nebenbei zu verdienen? Ohne Kosten, ohne Risiko!
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Re: [Hornlist] Clarinet/Horn duets
clearly set by hand by a music calligrapher. --- Ursprüngliche Nachricht --- Von: [EMAIL PROTECTED] [EMAIL PROTECTED] An: horn@music.memphis.edu Betreff: Re: [Hornlist] Clarinet/Horn duets Datum: Thu, 18 Aug 2005 09:50:54 -0400 At 3:01 PM +0200 8/18/05, Hans Pizka wrote: But you can order it also from my publications. I published it many years ago. Is your publication a facsimile edition or a newly typeset edition? mail2web - Check your email from the web at http://mail2web.com/ . ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna 5 GB Mailbox, 50 FreeSMS http://www.gmx.net/de/go/promail +++ GMX - die erste Adresse für Mail, Message, More +++ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Languir per una bella
The solo is just a few measures. If you are called to play the opera on first horn, it should be no difficulty for you. It is just like playing Franz Strauss Nocturno. But be aware it is either in E or D, so care about as you might play it on the Bb horn. Good luck. Greetings from Lhasa Tibet Hans Pizka --- Ursprüngliche Nachricht --- Von: simon locke [EMAIL PROTECTED] An: hornlist horn@music.memphis.edu Betreff: [Hornlist] Languir per una bella Datum: Wed, 3 Aug 2005 21:16:13 +0100 Dear Hornists I have soon to play Rossini's L'Italianna in Algeri and I am told their is lovely horn (and difficult ) solo accompanying Lindoro's first aria - Languir per una bella. Has anyone got the horn part and had the experience of playing it? If so, please let me know. I would like to be well prepared for the first rehearsal. Know what I mean!! Thanks in anticipation. All the best Simon Locke ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna GMX DSL = Maximale Leistung zum minimalen Preis! 2000 MB nur 2,99, Flatrate ab 4,99 Euro/Monat: http://www.gmx.net/de/go/dsl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] solo of your choice
Aa Luke said before, stay with the best known pieces for any audition like Strauss no.1, Mozart no.2 or No.3 or No.4 depending on the vacant position. Think it is more worth to play as few notes per $ but highest quality than to play a million notes per $ neglecting all beauty of phrasing, tone etc. An audition committee cannot be impressed by fast notes only while missing the opportunity to use the beauty of our instrument to impress the members of the jury. Technique can be produced by a machine also, but beautiful expression is human. Greetings to everybody from Kathmandu. Hans = --- Ursprüngliche Nachricht --- Von: Luke Zyla [EMAIL PROTECTED] An: The Horn List horn@music.memphis.edu Betreff: Re: [Hornlist] solo of your choice Datum: Mon, 01 Aug 2005 17:04:28 -0400 Mark, You should stay away from En Foret and other very difficult solos. I made the mistake of trying to impress the comittee with my blazing technique at my first audition. As it turns out, my technique wasn't so blazing that day. Someone on the comittee gave me some good advice. Play something you can play flawlessly. Some audition comitte members will not be horn players. They are impressed by good rhythm, intonation, sound and musicality. They don't like clams! CORdially, Luke Zyla 2nd horn, WV Symphony Orchestra www.wvsymphony.org Mark J. Syslo wrote: When auditioning for an orchestra, virtually everyone asks for a solo of your choice. However, are most audition committees expecting to hear either the first movements of Mozart #2 or #4, or Strauus #1 or #2? Are the other staples of the literature (En Foret, Saint Saens Concertpiece, Adagio Allegro) appropriate for an orchestra audition? Mark J. Syslo ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/lzyla%40charter.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka.de -- SigfridFafner the under ground horn player from Vienna 5 GB Mailbox, 50 FreeSMS http://www.gmx.net/de/go/promail +++ GMX - die erste Adresse für Mail, Message, More +++ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music for Rosetti Concerto for 2 horns in F Major
They were using my publication for thzeir recording. By the way, his name is Klaus not Klauss. Remind me after May 15th, to send it to you, as I am writing from Shanghai at the moment. What a incredible change since I was here last time in 1996. This city outbids Tokyo Hongkong has undergone the same big change as did Bangkok the last thirty years, but here they scrapped one area after the other. When I was here first time in 1984, there was no Pudong area where some of the wqorlds tallest construction stay nearby each other (Pearl Tower, Jin Mao tower etc., the new Opera House in its futuristic design, many skyscrapers still under construction. And one becomes a real shopping addict maniac, really. I did not expect that. All people extremely friendly, food super superb, policemen very helpful, taxi driver no cheating, easy immigration. A place to visit befor prices will boom up more. Heading for Luoyang tomorrow, to visit the famousa Longmen Buddha grottoes. Get some info about by searching under Google Longmen. Warmest greetings from 30 centigrades Shanghai. We travel WITHOUT even the mouthpiece. Wonderful. Hans Hi everyone, I was listening to the recording of Klauss Wallendorf and Sarah Willis playing the Rosetti Concerto in F Major for Two Horns and Orchestra and was wondering if anyone knew where I could get the music, either orchestral score or piano reduction. It sounds great and a friend and I wanted to give it a shot. Thanks in advance! -Kipp __ 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://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna +++ Lassen Sie Ihren Gedanken freien Lauf... z.B. per FreeSMS +++ GMX bietet bis zu 100 FreeSMS/Monat: http://www.gmx.net/de/go/mail ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Wagner tuba question
Yes, d-daaah-dh-daaah-dooo - nice effective. But the most exciting Tuba parts are in Frau ohne Schatten (R.Strauss). Janacek used them also. I published 4 volumes of Wagner Tuba studies (excerpt books). Visit my Web Site to know more: www.pizka.de/Pizka-music.htm Vienna Philharmonic used the Wagner Tuba for Heldenleben Don Quixote. There is also a very difficult Wagner Tuba part in Josephslegende (ballet by R.Strauss), really difficult single Tuba part. But the first horn part is like hell. The last page of tzhe 90min. piece just high a2 high d3, the only piece, where I used the descant for the last page. Terrible embouchure killer, but fun to play up down up again (exception lasdt page). Really challenging. Still, greetings from Shanghai, 05:50 morning Thursday. Last night the skyscrapers were in the clouds, really. The opera house just 5 min. from my hotel at Nanjing Road is a masterpiece of contemporanean architecture as are some of the tall buildings like the pagoda style Jin Mao building with 420,5 m the Pearl Tower with 468 m. Exciting. Traffic like in New York. When I was here the first time 1984, cars were seen hardly. You could cross the main streets with closed eyes, but now - hallelujah - you get difficulties crossing at the zebras. And the food .. gorgious . abalones .. lobster termidor ... fresh fish ... no rice at the parties ... keeps you slim. People knowing me would not believe, I lost more than 32 lbs. since last August Played a perfect Long Call last night using a borrowed horn on the spot a borrowed mouthpiece. Just lucky. Because of Mao-Tai, perhaps. Another exception. = == On Wednesday, May 4, 2005, at 03:52 PM, Paul Rincon wrote: Off the top of my head, I only know of the following: Bruckner Symphonies Nr. 7,8,9 Wagner RING Cycle Strauss: Elektra Stravinsky: Rite of Spring Doesn't The Pines of Rome also call for Tuben? Paul Mansur ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna +++ Neu: Echte DSL-Flatrates von GMX - Surfen ohne Limits +++ Always online ab 4,99 Euro/Monat: http://www.gmx.net/de/go/dsl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Is that you, Hans?
After tomorrow I will be back home. Greetings from Musikverein in Vienna Is that you, Hans, or has someone now 'pinched' your pass-word for the horn list?? If they did that, then, you will need to get a new one from Cabbage HQ, and that is, sadly, to be done only between 1:00 AM and 1:03 AM, on Sundays. Otherwise, Cabbage HQ is not available for ordinary business activities -- yours may not be ordinary, however!! Have a good visit with your own bed!! Joe Duke ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna Superg?nstige DSL-Tarife + WLAN-Router f?r 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Stopped Horn Pitch
This is quite an helpful article, but Why does the writer use concert pitch (using F-Horn) ? This is just disturbing. Why does the author say for any given fingering ? The fingering is not relevant at all as it just changes the length of the sounding wave. The phenomenon is more or less equal, tending to result in sharp pitch or flat pitch according to length of the tube, but remaining the same basically. If the valve is activated, the tube´s length will be increased, but the jumping effect will also occur. If the samples would be reduced to the plain (no name) row of natural tones (pitches), the function would remain better understandable for the average horn player, - but the article might be shorter also. For extensive research results, I would recommend Dr.Robert Pyle´s studies again. carson smith schreef: Does anyone know what issue Dr. Robert Pyle's article can be found in? Or any other articles on this subject? Thanks, Carson I don't know if this is what you're looking for, but there is an article here http://www.well.com/user/smalin/hornstop.htm Michiel van der Linden Bruges, Belgium ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna Supergünstige DSL-Tarife + WLAN-Router für 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 21, Issues 14, 13, 12, 11, 10, etc.........
Some people use this sterilizing procedure or another, to prevent out of pitch entrances or other wrong notes, clams etc. As I have no possibility to sterilize my horn while on concert tour, I have to hang to the traditional methods to prevent clams, wrong entries, out of pitch playing. May-be, lip sterilizing would work also. A small towel, a bit of 100-proof clear alcohol, . but be careful, most careful, the effect could work the other direction. == In a message dated 12/09/2004 18:45:09 GMT Daylight Time, [EMAIL PROTECTED] writes: The best way to sterilise your horn (and yourself too) is in boiling water. . -- SigfridFafner the under ground horn player from Vienna Superg?nstige DSL-Tarife + WLAN-Router f?r 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 21, Issues 14, 13, 12, 11, 10, etc.........
attention, this message by M.P. must be a fake, as he had even mixed up Macchu Pichu, the former capital of the Inka Imperium, with (the Man of La) Mancha, compagnion of Dox Quixote, which we play tomorrow night in Madrid. And, Macchu Pichu id not at the Amazonas but high above. Thus, what has the distinguished Amazonian Horn Club to do, except if this club is not named after its location but according to its membership of amazons, perhaps. The offered Tone Free Model Horn (if real) would fit at best for Dr.William Scharnbergs (former president of IHS) Piece for Horn solo, which I also performed in a recital once very successfully. If this horn would come as a clay horn I would believe the Inka-Amazonian story eventually, but as a brass instrument ? And if it is a clay instrument, how could it hold for the entire career of the esteemed Prof.Gestopftmitscheisst, as he usually drops horns on the concert podium - to entertain the audience -. Even Nero-san or his friend Walter could not fix the horn then. So, your answer must be a fake. Greetings from a beautiful hotel room in Madrid, nicely functional including a 220 cm wide bed (??useless??) a ceiling high mirror of wall size (??but useless??) - the question marks are for colleagues in similar situations. The high speed internet access is free here. Really, an up to date hotel. If you go to Spain, search for Melia Hotels. But they are not cheap. Internet booking helps a lot pricewise. == In a message dated 9/12/04 10:01:12 AM, [EMAIL PROTECTED] writes: Exclusive Bundy, Carl Fischer, Olds Ambassador, Sansone and Conn Artist Who Does Not Get His Horns For Free Dear Sir: A representative from our company recently heard your performance with the NJ Turnpike Authority Drum and Bugle Corps, The Phantom Lane Changers What a shame that an artist of your stature has to purchase his own instruments. Our company would like to offer you an Artist Clinician position and (of course) a free horn if you would consider performing on and sponsoring our newly designed TONE FREE MODEL quadruple horn. It is superbly made by well trained craftsman from Manchu Pichu who have been constructing horns for over five centuries and who guarantee it for the life of your career. A recent review of the horn appeared in the Amazonian Horn Club's latest digest. The reviewer found the horn to be unbelievable in all respects adding, if I had such a horn, I would never have another worry about the direction of my career Hoping you will accept our offer, all we require is a money order to secure your flight to Manchu Pichu for presentation of the horn and pictures for our brochure (approx. $4000 US). Hoping for your fast and enthusiastic response, we remain sincerely in awe of your qualifications, the guys from M. P. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna Superg?nstige DSL-Tarife + WLAN-Router f?r 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Stopped Horn Pitch
It seems a bit difficult to fill the mouth with helium at many places where stopping occurs right after a very short pause of just half a measure or less, like before the last written long held e in the Long Call. And to Carson: timber timbre a most different things. To William: the F horn came first place not because of the abilities to produce a better pitched stopped sound. It came as first choice because of the sound qualities (4 - 5 additional sounds enriching the quality, while the Bb horn has 1 - 3, the high F just the mere wave). Indeed, one can arrive at similar sound qualities with a well blown Bb horn, and sometimes the Bb horn must be the only choice for the best result. Also, these decisions are not for the average non professional but for the very professional who really controls the horn. William Karl gave quite excellent explanations for the gestopft gedaempft (Echo horn is not the same as hand muted or gedaempft , it is a different effect), while Graeme pointed to the complexity of this thematic its only relevance for academic research without any practical benefit. Knowing what to do rigt for the best possible result is much more important than all theories. For those interested earnestly, I would recommend to read the articles provided by acoustician horn player Dr.Robert Pyle, some 15 years ago in the Horn Call. Greetings from Madrid Hans (on tour with Zubin Mehta, Don Quixote Heldenleben) == A similar effect happens when you introduce dense air into the column - try filling your horn (and mouth) with helium (very dense compared to nitrogen) and you'll notice the pitch rise quite a bit and a stopped horn tone quality without the hand in the bell. . -- SigfridFafner the under ground horn player from Vienna Superg?nstige DSL-Tarife + WLAN-Router f?r 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Schoeck Concerto
Boosey Hawkes should be the right choice. The Schoeck Society told me one or two years ago, that they plan to get the concerto published again soon, but no progress since. I tried to get the rights, but they declined. So we have to wait or to search around for a used exemplare, because Boosey Hawkes are quite curious to persecute any illegal copying. Greetings from Torino Prof.Hans Pizka === My daughter, a senior at Northern Arizona University, is planning to work up Othmar Schoeck's Concerto for Horn, Op. 65. Does anyone have a spare copy to sell? I see versions by Alfred and by Boosey and Hawkes. Any preferences? Any performance suggestions would be greatly appreciated. Thanks, Don Birchett ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna NEU: Bis zu 10 GB Speicher f?r e-mails Dateien! 1 GB bereits bei GMX FreeMail http://www.gmx.net/de/go/mail ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Schoeck Concerto
There are also two CDs containing Dennis Brains live performance of the Schoeck Concerto, - financed by the late maezenas Dr.Willi Aebi, who sponsored composition performance -, in the Tonhalle in Zuerich of May 4rth, 1956 with the Paul Sacher Chamber Orchestra under Paul Sacher. The Jecklin JD715-2 CD contains also the violin concerto, played by Stefi Geyer in a recording of Feb. 6th, 1947, Volkmar Andrae conducting. I have also published the Schoeck performance with Dennis Brain, but years earlier (1996) than Jecklin. It is HPE-CD02, together with the Beethoven Sonata, the Danzi Concerto (Live) the Hindemith Sonata.. Radek Baborak has also recorded the Schoeck. If I recall right, Baumann did it at the Vienna Horn Symposiums Gala Concert with the Austrian Radio Symphony right after Tarjani had played the Hidas Concerto, with a long pause to the following Britten Serenade (myself playing on Viennese single F Pumpenhorn), as we had to swap our concert dress, as Tarjani had forgotten to bring the tails with him. I listened to Baumanns performance enjoyed it very much, most mature perfect. Greetings from Torino Hans Hello My copy is an authorised photocopy from Boosey Hawkes' archive. I think it's still possible to get it this way from BH. There is a good recording of the Schoeck Concerto with Bruno Schneider, the Swiss horn player. (Successor to Ifor James as Professor of horn in Freiburg, Germany.) I'm afraid I can't remember which orchestra, but to aid searching, the other piece on the CD is the Schoeck violin concerto with the BBC Scottish Symphony Orchestra and a soloist whose name I have forgotten. The violin concerto sounds like it has interesting horn parts. There is also, I believe a recording with Hermann Baumann where he uses a lot less rubato than I had to in order to get through just the first movement of this very strenuous piece once. There are not many opportunities to get the mouthpiece away from your chops. On this recording the second movement also follows the first with a barely perceptible break, a thing which an ordinary mortal horn player in a live performance probably wouldn't want to do. The last movement demands great technical facility. I think it's a nice piece and should be performed more often. Has anyone ever heard it performed live in a public concert? best Wishes, Benno (Playing 3rd in The Brahms Academic Overture tonight, what a lovely part! And many thanks to the Horn Excerpts website for helping with the music. The Schumann Konzertstück is also on the program so there should be a few horn players in the audience, probably) On Friday, September 10, 2004, at 04:08 AM, Don Judy Birchett wrote: My daughter, a senior at Northern Arizona University, is planning to work up Othmar Schoeck's Concerto for Horn, Op. 65. Does anyone have a spare copy to sell? I see versions by Alfred and by Boosey and Hawkes. Any preferences? Any performance suggestions would be greatly appreciated. Thanks, Don Birchett ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna Supergünstige DSL-Tarife + WLAN-Router für 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Eastman horn - a review
Hello Kendall, I only can confirm your impression of these horns. I was in the factory in Tenjin in China in 1994 watched, how the women workers assembled the valves without inspecting the provided parts. We told the engineers how to improve the assembling style, but they promised but did not. It is a pitty. But nevertheless, the horns are not bad at all, but require a few hours to improve them. It is a real bargain if you compare invested money playing qualities with other much more expensive products. I also used one of these horns for a concert. Not bad. But if we just look for the bargain, we will ruin our own horn makers by the time. It is woth trusting our makers pay the higher prices, as we have their warranty their service at hand. They do their best to provide us with the best possible horns. Greetings from Torino (Don Quixote Heldenleben with Zubin tonight). Hans Hello Listers, I recently purchased a Paul Eastman horn from an E-bay seller. I paid $808 including shipping. I spent a week with Walt Lawson and Co. earlier in August working on various projects, one of which was to analyze the Chinese made instrument. Here is a review. We were first truly amazed at the finish. The seller had written that it is was nickle silver and also silver plated. It is neither, but a brass horn with bright nickle plating. Walter said this is a good finish but will be problematic in removing dents as it will tend to flake off when worked. Lowell had mentioned the pitting problem as well, but remember, you will have the same problem with hard laquer. It does look very nice, though. Upon arrival, the change valve was sticking and no amount of oil helped. When I got it apart, we discovered that all the valves were poorly fitted as they had just put them together and sent it off with no lapping or finishing. The slides had not been deburred as well and several were out of line. I spent about four hours disassembling the horn, lapping and refitting the valves, deburring and refitting the slides, drilling the plating out of the string holes on the levers, and reassembling. Bruce measured the valve tolerance when I was finished and had them working fine. He said they were at .003, about the same as Holton. The bearings are tight and the valves spin freely. All the slides are now fitted properly and it is very, very shiny. To summerized the quality, this horn was 4 hours labor shy of a finished product. Go figure but there are more expensive horns out there that are 4 hours or more shy of finished, also. Playing characteristics of this instrument are quite good, especially considering the price. Response is good and intonation is excellent, much to our surprise as it is an obvious Conn 8D copy. They apparently did not copy Conn intonation! The sound was also surprisingly good, though a bit dead compared to real NS. The soft end was particularly fine. The loud end has a tendency to blatt out rather than edge. The case is a very nice copy of the Pro Tec form case. Nicely finished and well fitted. I think this is an excellent student horn, especially at that price. Figure $50 and hour labor and it cost me about a grand. Does it play $1500 different than a new Conn? No. It plays better, IMHO, than the new 8D's. Was the workmanship $1500 different than a new Conn? No. More like $500 difference. I would have liked the sound better if it had a Conn bell, I'm sure. Is this a bargain? Yes, if you are willing to have the horn finished by a tech. BTW, Martin Smith of the Pittsburgh Symphony and his wife both tried the horn as well and agreed that it was an excellent student instrument. We figured this horn would get someone through HS and non-conservatory college studies without much trouble at all. Will you see these in major orchestras? Probably not but you never know. There are some pretty cheap pros out there! I haven't decided yet what to do with it. I'll let you know if I put it up for sale on hornplayer.net or e-bay, whatever. Or, if there is a real cheapskate amongst y'all who needs a new horn, make me an offer!!! All best wishes, Kendall Betts ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna NEU: Bis zu 10 GB Speicher f?r e-mails Dateien! 1 GB bereits bei GMX FreeMail http://www.gmx.net/de/go/mail ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tchaik 5
Catherine, play it like a love song, very relqxed but full of love. Do not power !! Please. If you seem to be not loud enough, well, ask the conductor to keep the string sound at a real piano level. Do breath enough but not too deep, just normal. Divide the solo into phrases if you were playing a string instrument. Good luck. Greetings from Bruxelles Hans === Hello all, I hope everyone's summer went well. This Tuesday I start rehearsals for my first season performing Tchaik 5 (playing principal). I was wondering if anyone has any stories (good and bad!) about rehearsing or performing the piece, since the solo and the piece is such an important part of the repertoire. Any tips are appreciated too. I was a able to work on the solo in a lesson with Dale Clevenger a few weeks ago, so I have most of my plan worked out, but all ideas are welcome. Also, what, if any, differences are there when playing it in audition vs. in the orchestra. I will be playing it for college auditions in the spring and I don't know how to approach it in that setting. Thanks! I look forward to some stories! Catherine Eisele West Chester, PA ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna NEU: Bis zu 10 GB Speicher f?r e-mails Dateien! 1 GB bereits bei GMX FreeMail http://www.gmx.net/de/go/mail ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] haydn concerto piano reduction
Scott, and this recording was done using the Leloir score of the Haydn (? I have to check myt books when home !). And, how do you know, that Kling added notes to Mozarts say K.495, as the first movement the main part of the 2nd movement are not preserved as autograph , but just in the earliest edition initiated by Andre by Leutgeb himself (the Viennese Art d' Industrie Edition weeks after the shortened Andre first edition) And, every serious horn player will recognize poor or good interpretation of the piano reduction, which anyway will be a poor replacement for the full score. How about the new Urtext editions by Henle in Munich ? The elaboration was done by my very young solo flutist colleague Hendrik Wiese. We were forced (??) by surprise to use it for an audition. The piano reduction was arranged by a well known pianist. Well, just in short: to make sales easy, the piano part wasa reduced to a minimum difficulty sounded such. It was to run away in shame. The horn section does not allow any further use of that poor elaboration. This just to illustrate the momentanean situation. Working on such masterpieces as by Haydn or Mozart needs a bit of real wisdom, a student might not have acquired yet. The same is about phrasings: we in Austria have inherited the Mozart Haydn style by mouth-to-mouth direct tradition. We live with it. The phrasings for both composers goes along with the special idiom of our mother language, the Southern German idiom, spanning from Suebia to West Hungary parts of Bohemia to most northern Italy (South Tyrol). That' s it. This is our advantage. It does say nothing about the playing qualities, off course. Other nations have other advantages. Leave it to them. Leave it to us. We leave your advantage to you. Other topic: while on tour, Fox or BBC or CNN are often the only source of quick information. My question is now: why must it be that participients on political discussions on these stations quack-quacke like belfing dogs each other. Isn't there any chance to get this civil;ized ? Greetings from near the Laotian border Hans -- SigfridFafner the under ground horn player from Vienna Superg?nstige DSL-Tarife + WLAN-Router f?r 0,- EUR* Jetzt zu GMX wechseln und sparen http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] haydn concerto piano reduction
Scott, if you have not seen the Leloir or Musica Rara piano reduction, how does it come that you compare your edition with others ? This is something strange. I do not know any other edition of the double concerto in question. And regarding the Mozart concertos: I have had the chance to listen to many new editions, which are absoluytely garbage stylish perverse compared to the Henri Kling edition, which are not pianistic, but one has to be able to play them the right way, --- and they sound. And the phrasings of many modern editions are set in a way, that a listener grown up with the direct Mozart tradition (in Austria) starts rolling on the floor for laughter. May I kindly ask you, Scott, what you used as source for your edition of the Haydn two horn concerto ? Would be very interesting to know. I am reading this mail not so far from #the roof of the world# just 60 mls off the Tibetan border in Shangri-la PRC Yuennan Province at an altitude of 12.000 ft. Monday we were welcomed at the Chuxiong Torch festival by 75 #over-the-mountain-horns#, all made of brass. Two of them were really very big. Some others were like a pot with an extendable tube, some played additional buffalo horns. Very interesting. Pictures will be on my Web site after my return mid september. Greetings to all Hans All: As stated before, I have seen neither the Leloir (full score or piano reduction - in fact, I was unaware of their existence prior to being kindly informed by Professor Pizka) -- SigfridFafner the under ground horn player from Vienna NEU: WLAN-Router f?r 0,- EUR* - auch f?r DSL-Wechsler! GMX DSL = superg?nstig kabellos http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] haydn concerto piano reduction
Scott, if you have not seen the Leloir or Musica Rara piano reduction, how does it come that you compare your edition with others ? This is something strange. I do not know any other edition of the double concerto in question. And regarding the Mozart concertos: I have had the chance to listen to many new editions, which are absoluytely garbage stylish perverse compared to the Henri Kling edition, which are not pianistic, but one has to be able to play them the right way, --- and they sound. And the phrasings of many modern editions are set in a way, that a listener grown up with the direct Mozart tradition (in Austria) starts rolling on the floor for laughter. May I kindly ask you, Scott, what you used as source for your edition of the Haydn two horn concerto ? Would be very interesting to know. I am reading this mail not so far from #the roof of the world# just 60 mls off the Tibetan border in Shangri-la PRC Yuennan Province at an altitude of 12.000 ft. Monday we were welcomed at the Chuxiong Torch festival by 75 #over-the-mountain-horns#, all made of brass. Two of them were really very big. Some others were like a pot with an extendable tube, some played additional buffalo horns. Very interesting. Pictures will be on my Web site after my return mid september. Greetings to all Hans All: As stated before, I have seen neither the Leloir (full score or piano reduction - in fact, I was unaware of their existence prior to being kindly informed by Professor Pizka) -- SigfridFafner the under ground horn player from Vienna NEU: WLAN-Router f?r 0,- EUR* - auch f?r DSL-Wechsler! GMX DSL = superg?nstig kabellos http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] haydn concerto piano reduction
Sorry, Amy, if Scott uses the scores available on the market (edited bz Edmond Leloir - former KaWe or the other score from Musica Rara) instead of any score from complete Haydn Works (I do not know it yet), he is breaching the copyright law, as he is using copyrighted materal. If he travels to Germany to see the set of parts from the Oettingen Wallerstein Collection, writing his own score making his own piano reduction from material he prepared himself, well, no objection at all. But the two scores mentioned above, are protected, as Leloir von Pringsheim invested a lot of work to eliminate writing errors, set better clear phrasings etc. Jumping on board of a car which is running well, is too easy. Greetings from near Shangri-la Hans +++ If Scott has done his own piano reduction from the full score, however, he's not breaking copyright, is he? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Hans Pizka Sent: Saturday, August 07, 2004 7:36 PM To: The Horn List Subject: Re: [Hornlist] haydn concerto piano reduction Hello Scott, the piano reduction for that double concerto is not #out of print since long#, very sorry, it is available at any time in Edmond Leloirs reduction from the original score, which is protected under copyright. It is K.100 or K.099 as full score the parts are available as well. Greetings Prof.Hans Pizka, on tour in Yuennan South Western China heading for Shangri-la. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna NEU: WLAN-Router f?r 0,- EUR* - auch f?r DSL-Wechsler! GMX DSL = superg?nstig kabellos http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] haydn concerto piano reduction
Hello Scott, the piano reduction for that double concerto is not #out of print since long#, very sorry, it is available at any time in Edmond Leloirs reduction from the original score, which is protected under copyright. It is K.100 or K.099 as full score the parts are available as well. Greetings Prof.Hans Pizka, on tour in Yuennan South Western China heading for Shangri-la. All: Some of you may know from postings/discussion from several months back that I'll be performing the Haydn (attributed, but we'll call it that for the sake of convenience) concerto for two horns this fall (with orchestra.) My fellow soloist and I have met several times to rehearse and make some artistic decisions (grace notes, etc.) and we've been using a rehearsal pianist playing a reduction done by myself. To the best of our knowledge, only one piano reduction was ever done, and its now long out of print. My reduction is very playable and, being a piano player as well, I tried to keep the part pianistic. I know that this concerto has received some recent attention on the list - I thought I'd offer my reduction to any listers who might be interested, for perhaps four or five bucks (Basically, what it will cost me to go buy large manilla envelopes and pay shipping.) As far as I know, this work is in public domain, and I'm not violating any copyright laws; if I'm wrong, I'm sure someone on the list will set me right! If interested, let me know. Scott in Altoona __ Do you Yahoo!? New and Improved Yahoo! Mail - 100MB free storage! http://promotions.yahoo.com/new_mail ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- SigfridFafner the under ground horn player from Vienna NEU: WLAN-Router f?r 0,- EUR* - auch f?r DSL-Wechsler! GMX DSL = superg?nstig kabellos http://www.gmx.net/de/go/dsl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] new Viennese Horn on ebay
Hurry up, there is a brand new Viennese Pupmpenhorn on ebay to be auctioned the next 30 hours. It is by Jiracek. The price is quite moderate. I have not played it, but the seller says, that he used it for a few performances of Bruckner Symphonies but he got a historic instrument now, so he must sell this one. It is still covered by warranty of the maker. http://cgi.ebay.de/ws/eBayISAPI.dll?ViewItemitem=3735497781ssPageName= STRK:MEWA:IT Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Cerminaro
Hello friends, I received an exciting CD with LIVE recordings from John Cerminaro, playing Gliere, Strauss 2, Mozart 2 Amram. His playing is incredible good, beautiful, warm, brilliant, convincing, admirable, superb. John asked me to produce this CD within my series of historic recordings. As authors rights are included, the CD will be in the middle price range. I hope to produce it until the Christmas shopping. Let me know, please, if you are interested. BTW: two copies of the Strauss op.11 concerto piano version in the composers hand writings (very clear) cloth bount one leather bound copy are still available. Greetings from Munich recovering from the coldest July I ever remember. Hans Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] to Ken Pope
Hello Ken, a virus has destroyed most of my letters adresses. Would you kindly contact me privately with your mailing address included, so I can send you the part for Leighs horn. Sorry to the list, for this private letter. Greetings from Munich Hans Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Strauss op.11
Have left some seven more copies of the R.Strauss op.11 horn concerto piano part with instrumentation indicated, all by R.Strauss hand writing, beautifully, plus beautifully bound in dark blue cloth. Incl. shipping (air) registered EURO 41,02 (about 50.- USD), extremely rare. Was available since 30 years, but few knew about, so there were some copies left from the limited 500. I acquired them to sell them to list members. Hurry up ordering with incl. your address credit card info (safe with my computer, will not be stored on the computer after billing your card). Greetings from moderate tempered Munich Hans Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] unusual concert venues
We video taped Haendels Fireworks Music Watermusic back in 1969 during our summer opera festival in July. The recording begun near to Midnight as we had a Don Giovanni performance that night. The recording took place in the former prince electors famous garden at Schleissheim castle, right at the fountains (Water Music). There was a magnificent Fire Works in the back ground. And we had to act like playing, meant playing actually. No problem. We had recorded the sound already, so we played along the tape. As the time progressed during this summer night, we got some refreshments, also alcoholica. You can imagine the ensemble after 03:00 A.M., and it became late night early morning cool, but we had to play again again for some other shots. Everything became wet the sound was like cats music. The terrible thing was, we had to keep concentrated earnest faces for the close ups. Quite strange. So as the morning arrived we had to drive back home, we had to call taxis, as we were unable to drive because (see above). ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] fun (NHR)
Little Fritz approaches his father to explain him what politics is like. Father says: Off course, I will explain politics to you. Let´s start with our family. I bring the money home, - that´s capitalism. Mother administrates the money, - that´s the government. We both care about your welfare, consequently you are the people. Our maid belongs to the working class and your little brother, still in diapers, represents the future. Did you get this ? The son is not secure with that like to sleep it over for one night. He awakes during the night, because his brother shit full his diapers cries. So he gets up knocks at the parents sleeping room, but mother is in deep sleep cannot be waked up. Consequently he goes to the maids room, but finds his father in the maids bed, but both dont let get them disturbed. So Fritz returns to his bed continues sleeping. Father asks Fritz the next morning, if he had understood politics now if he could explain it with his own words. Fritz said: Yes, I know it now. Capitalism abuses working class, while government asleep. people ignored completely future full of shit. Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Wagner's anti-Semitism
While I can agree with you on most points I might ask you one thing: Were the composers of the German Austrian Marching music anti-Semitic, just because their compositions were used by any SS-brass band ? No, they weren´t, as even the hornists of an SS-brass band or a fire guard band blew straight into the horn while the sounds escaped cracked quite often. There was a difference indeed, as the cracking horn player of the SS-brass band had to stand guard for another night perhaps, or if he cracked too often, he was transferred to the front troupes. You cannot say, that the music influences politics, but I agree, that the right emphatic music can be abused became abused often, to enthusiasm common people as well as people of high education. The world is some kind of irrational, special in the music or around the music. You also should consider - you did it to a greater extent already - that there is a big difference between anti Judaism (related to religion) and anti Zionism (a mere political issue). You also might consider, that despite of Wagners´s anti judaistic speeches writings, many German speaking people of Jewish tradition became enthusiastic about Wagner´s artistic creation. Some of them became great interpreters of his art as singers or conductors (e.g. Levi). Hans Richter was an anti semite , but he had reason which you might understand if you read about the music politics at the Vienna Imperial Opera House around 1900 with all the intrigues which culminated by replacing Richter by Gustav Mahler. So it was just personal hate. We could discuss this topic for weeks, but it might be better to return to enjoy Wagner´s music. I enjoy reading the facsimiles of his scores in all their perfection, created by a most imperfect human being. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jonathan West Sent: Tuesday, June 29, 2004 10:13 AM To: The Horn List Subject: RE: [Hornlist] Wagner's anti-Semitism As a human being, Wagner was a disgusting man. But what an artist. There lies the main issue. It seems to me that various points follow on from this. 1 ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mouthpiece popping
Question: Why didn´t Mozart or Wagner or Strauss or Mahler ask for mouthpiece popping ? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Robert Dickow Sent: Monday, June 28, 2004 7:35 AM To: The Horn List Subject: [Hornlist] Mouthpiece popping About mouthpiece popping... I have at least two compositions that call for mouthpiece popping while the horn is still attached to the instrument. The pieces have been played all over the world (well England and the U.S. ;-) and I've never had a problem. On one occasion, however, a hornist objected that doing this effect could cause his mouthpiece to get stuck. No, I don't think so only trumpets have this problem, I assured him. Well, you guessed it. One 'pop' into the piece and his mouthpiece was thoroughly jammed into his leadpipe. His tone on the popping effect, however, was superb. Robert Dickow Lionel Hampton School of Music University of Idaho ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Mouthpiece Popping
But WHY - In serious music, it is shit, mere shit. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, June 28, 2004 8:01 PM To: [EMAIL PROTECTED] Subject: [Hornlist] RE: Mouthpiece Popping Of course,,, if one takes a dry finger and rubs in around the inside of a dry mouthpiece cup while it's in the horn, and entirely different (and rude) sound can be made. Ken Pope (of course,,, I've NEVER done this..;) ) Just Put Your Lips Together And Blow http://www.poperepair.com U.S. Dealer: Ricco Kühn and Dietmar Dürk Pope Instrument Repair 80 Wenham Street Jamaica Plain, MA 02130 617-522-0532 ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Wagner's anti-Semitism
If you are that bigot, you have to turn yourself away from most arts artists, who frequented brothels, drank excessively, used drug (Mozart did both), committed adultery frequently (Mozart is one of the best examples), betrayed friends voluntarily or out from their incapability handling money (Wagner), or served to the one or other regime like whores (most composers - even Beethoven dedicated the Eroica to Napoleon, even he eventually cancelled that dedication later). If you see all from the view of the hypocritical Bush aera, hallelujah, would you be better than those political religious fanatics on both sides of the Jordan river ??? Let´s examine the stuff for Wagners operas: Liebesverbot, a story about the very sad carnival in Venice, made sad by a German commander. Rienzi, the last tribune, a story from medieval Rome Lohengrin, a sage from Brabant the Holy Gral , but Brabant is in Belgium, the Holy Gral in Spain Flying Dutchman, plays in the Baltic Sea, a saga about the cursed law breaker who has to remain alive, but wants to die finally dies freed of his curse by a loving maid. Rheingold, Walkuere, Siegfried Goetterdaemmerung: antic Nordic - NOT GERMAN - Saga, originating from Norway Island, several thousand years old, while Germanic tribes came from the East (Ukraine, Middle Asia) - Yes, Goetterdaemmerung plays partly at Worms on the middle Rhein, while Siegfried, incestuous product of Wotans twin children Sieglinde Siegmund, is murdered by the son of the anti god Alberich, Hagen. Where are the Germans here ? The knights on the court of King Gunther ?? Tristan Isolde, another Islandic Saga - NOT German The Meistersinger from Nuernberg, just a monument for a historic picture about the social artistic situation in a particular city. Well, the less than 1% minority of jews in Germany were excluded from the handicrafts. The people were catholic then. They were it all around Europe. Ooops. Tannhaeuser, another monument about medieval arts, the Minnesinger. Walter von der Vogelweide, Wolfram von Eschenbach, Tannhusaere, Landgraf Hermann von Thueringen, Holy Elisabetta, Beowulf, all lived. The Wartburg still exists, but it became also the place for Martin Luther. Parsifal, another Christian Saga, but it plays in Spain, not in Germany. Well, if you are not Christian but Jewish, you might hate this Christian stuff. But if so, you are also not better than these hatred blind people in Near East, Middle East, Afghanistan, USA, Germany, Austria or elsewhere in the world.. I know Wagner perhaps much better than anyone else on this list, and I do not find anything anti semitic in his operas. Would you call Ehret die deutschen Meister, was gut ist und was recht ... , would you call this rassist or anti semitic ? Then you must belong to the short sighted pharisaeans. And my dear horn player fellow, you should get more information about Richard Strauss Herbert von Karajan. Strauss was made the president of the Reichsmusikkammer, who else as the greatest living composer then, even his daughter in law was jewish. He dismissed later anyway. Herbert von Karajan gave his party book back was not allowed to continue conducting. I have never heard, that they were behind the expulsion emigration of their fellow musicians. Strauss had so many friends (jewish) within the Vienna Philharmonic. Clemens Krauss sent some musicians to the front. R.Strauss eventually wrote an open postcard, writing about when the authorities would start searching for Mozarts not Aryan roots, - meant very sarcastic, but it was even dangerous for Strauss himself. How about the first performer of the 2nd horn concerto, Gottfried von Freiberg, who´s grandfather was a baptized jew from Prague. The premiere was 1943 August ??? And Carl Orff, he composed Carmina burana after the Manuscript found in Upper Bavaria in a monastery. He had to make a living composed upon order as all do. Music is a whore. Who pays, get the say. Who´s bread I eat, thus song I sing. Classic quotation. Do you think you are one dime better today, or that we are better today ? By no means, we are the same scrupulous, but incomparable regarding quality of arts. And Wagner´s music became abused by the Nazi, not the other way. Wagner did not plough the fields with his music, to make way for the nazi hordes. The Nazi did not throw boms in the rhythm of Wagner´s music. We, the generation after the war, we abused his music again for apocalyptic movies to underlay war news with music to make it more impressive. And, even Wagner regarded himself a more a philosopher than a composer, he made a living by composing conducting (Mozart Beethoven Weber Mendelssohn). His attacks against jewish composers had a background, the back ground of the jewish clique around Meyerbeer in Paris, who were not so nice to him, indeed. No wonder that he wrote that well known garbage later. There was a wide anti jewish or anti Zionistic movement all over Europe after the mid of
RE: [Hornlist] Mouthpiece popping
Why did no composer ask for kick the composer into his aß or Hit the conductor with your music stand or throw a garbage can over the conductors head ?? Most of them are eunuchs, they know how it should work, but they cannot do it themselves. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Benno Heinemann Sent: Monday, June 28, 2004 10:24 PM To: The Horn List Subject: Re: [Hornlist] Mouthpiece popping Why didn't Orlando Gibbons write Brahms' 4th Symphony? Why didn't Montiverdi write Beethoven's 9th? (Come to think of it, why DID Beethoven write it?) ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Mouthpiece Popping
If composers would use this mpc popping effect as a joke, well, effect du surprise, why not, but their problem is it, that they use it just because it is possible. And they use it on places where it would not be logic. This disqualifies them. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of BVD Press Sent: Tuesday, June 29, 2004 1:41 AM To: The Horn List Subject: RE: [Hornlist] RE: Mouthpiece Popping But WHY - In serious music, it is shit, mere shit. Humor has and always will be part of music. Even if the music is serious! Shit happens, Bryan Doughty BVD Press 79 Meetinghouse Lane Ledyard, CT 06339 [EMAIL PROTECTED] 860 536-2185 http://www.bvdpress.com/ ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mouthpiece popping
Toscanini did that, and I witness the Joseph Keilberth did it once during Falstaff. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of John McCoy Sent: Tuesday, June 29, 2004 1:31 AM To: The Horn List Subject: RE: [Hornlist] Mouthpiece popping Well, I've never seen a score instruction that the conductor should throw a baton at someone, but I've seen them do it. Maybe this is the logical result of certain jazz-nicks extreme emphasis on improvisation? == john == John McCoy [EMAIL PROTECTED] --- Hans Pizka [EMAIL PROTECTED] wrote: Why did no composer ask for kick the composer into his aß or Hit the conductor with your music stand or throw a garbage can over the conductors head ?? Most of them are eunuchs, they know how it should work, but they cannot do it themselves. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Alexander 301 Triple Horn
Most makers do not pay any license fee as patenting something new is not worth the fee you have to pay to get the patent protection worldwide. It cost 6.000.- EURO just to cover the E.U. How much would you ask for a valve mechanism license per piece ? 20.- Euro ? Would require 300 instruments in the E.U. alone to break even if there were not other administrating costs to deduct. Resolution: if something is new the customers suggest to use this, every maker makes his own tools or forces the valve maker to make the requested new mechanism. Patent licenses are only interesting, if there is a mass production to make profit. But, there are some very interesting improvements. Young progressive makers invent a lot. But they have not the money to initiate a bigger scale production, so they offer their invention to bigger companies, which (sometimes) buy them let them die, because they have to sell their own first. And why should they change their product line. Alexander is a middle size company can afford experiments. But they produce too many different models to keep the product quality very high for every single instrument. That is the problem with them. If you produce one or two models, and if an expert player is involved can test check play every single horn, much better for equal quality. But this is only possible for a niche product of small scale. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Graeme Evans Sent: Tuesday, June 22, 2004 7:44 AM To: The Horn List Subject: Re: [Hornlist] Alexander 301 Triple Horn The 301 is an interesting horn, and should be worth trying out. The change valve mechanism is similar to that on Paxman descants and triples (I wonder whether Alex are paying a licence fee!!) ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Horn Digest, Vol 18, Issue 19
But it is not that way always. Sometimes it goes: One-n-tw-n-three-ee-ee Or one-ee-ee- two-n-three-n or ONE --two-three Or one-two-THREE Or One-two- one-two-three - one-two Even that is not consistent as the rhythm shifts with the composers will. The best is it, if the conductor decides, but certain sections or individuals might find it better for their particular entrance, if this particular measure is conducted in a special way. If so, ask your conductor to assist you for your entrance by considering a special way of conducting. Well, this might be sound strange but it is necessary for the perfection. Some conductors (??? Not worth the term !) might feel it as an insult as any question coming up from the orchestra. Fire this kind of conductors as they ruin not only the music but also spoil your fun making music, except you are some kind of masochistic. You could ask something like: Maestro, you would help us a great deal for our entrance at measure XY, if you would subdivide kindly measure XY If he gets furious or refuses to do so as just suggested, give him a very hard time until he gives up or bows in. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Friday, June 18, 2004 10:04 AM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] Re: Horn Digest, Vol 18, Issue 19 The conductor of my college orchestra, a very experienced professional player used to conduct it One, two, three-ee-ee It worked very well. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Cor anglais Cor de basset
Sorry, my mistake. The Cor anglais existed even before Mozart´s time as Oboe da caccia (hunting oboe) since J.S.Bach´s time. This instrument has undergone a complete transformation. It first was made of a wooden piece, split into two parts hollowed, fixed together wrapped with leather like the zinc. This resulted in very uneven intonation. Later it was straighten out, but the angle remained in the metal piece between mouth piece wooden body. Now with the straight body, the inside can be drilled the wall be smooth. (so the intonation is much better , hopefully or sometime). The English Horn has one thing in common with a good Horn: it appears as a solo instrument very lonesome often (Tristan, Tannhaeuser, Siegfried - to speak about famous solos). The Bassetthorn or Cor de basset has been invented in Passau in the middle of the 18th century. It is a small bass clarinet, so the literary translation. It first was angled as the Cor anglais, but later got the short snout, while the bass clarinet got the longer curved neck snout. Anyway, the clarinet family is one of the younger wood wind families. For Mr.Chiu in HKG: basset means little bass. And the instrument was named bassett horn, as the sound registers, special the mellowness, are very similar to the horn, - so the saga, to be found in larger musical dictionaries. Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] NHR Spell check and a bit of irrelevant info
Hello Susan, - first thanks for reminding me of Beethovens birthday every year since how many year ? More than twenty years, very nice indeed - I once had a poster for one of my concerts with big letters telling MOZALT CONCELTO Guess which country ??? About thirty years ago... Greetings from Munich == -Original Message- ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] NHR Spell check and a bit of irrelevant info
Sorry, Klaus, vely solly - I thought you might name China (Lichald Stlauss Concelto conducted by Callos Kleibel, ha, ha !). Have you been there ? But they don't have this kind of difficulty. My name was printed pronounced properly always, but not in the English or American manner, but like done by Germans or Austrians. It happen in Japan, that the poster had MOZALT CONCELTO (Kyoto !). And this story (below) did not happen to a prime minister. It is the old joke of the big meeting, where the one prime minister asks the other when discussing democracy: We have elections every five years. How about you ? Then the Far East prime minister responded with a big smile: I have an election evely molning ! === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Klaus Bjerre Sent: Thursday, June 17, 2004 8:22 PM To: The Horn List Subject: Re: [Hornlist] NHR Spell check and a bit of irrelevant info on 17/06/04 21:05, Hans Pizka at [EMAIL PROTECTED] wrote: Hello Susan, - first thanks for reminding me of Beethovens birthday every year since how many year ? More than twenty years, very nice indeed - I once had a poster for one of my concerts with big letters telling MOZALT CONCELTO Guess which country ??? About thirty years ago... Could have been Thailand or Malaysia. At any rate the speakers of the native language in one of these countries have problems with the pronouncing of L, when speaking English. They make it sound like an R. It caused some embarrassment years back, when the prime minister at an English spoken international press conference tried to say: I hope I will have an outstanding election tomorrow! Klaus ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] R.Strauss op.11
Will receive some more ten copies of the Facsimile of R.Strauss op.11 horn concerto piano version by R.Strauss´ own hand writing, nicely bound in blue cloth. Very accurate hand writing with remarks for the instrumentation, some text included. They come for 41,02 EURO (about 50.- US $) including airmail registered. Order should be accompanied by credit card data, eventually split to two emails. I got two leather bound copies (price to be settled later). A beautiful present for a horn players jubilee or birthday anniversary. Will care to get it again as long as stock of my source lasts. Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Amateur Conductors!
Paul, is that guy with the Puccini the one I asked you for sometimes ago isn´t he a very good cembalist ??? Just curious. And, isn´t he the one, who conducts that wild, that the shirt jumps out of his pants he has trouble to get it back on its place ... before leaving the pit. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Paul Kampen Sent: Wednesday, June 16, 2004 2:11 PM To: The Horn List Subject: [Hornlist] Amateur Conductors! Message text written by The Horn List Any conductor, whether s/he is a student, amateur, or even a polished professional, has to begin, somewhere! Dear All This reminds me that the orchestra here is the resident orchestra for the Leeds Conductor's Competition. . reminds me of the time that a player stood up and shouted I cann't follow the b windmill at a well known conductor who was having problems with a Puccini opera) until, with a look of sheer panic on his face we got to the end - I think that HE got to the end a bit later. Cheers Paul A. Kampen, 4th horn - Orchestra of Opera North (Leeds UK) ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Cor Anglais French Horn
To add to the confusion, if you would use it for fishing, it could be named angler´s horn, which is not any hybrid language term but genuine English.. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Benno Heinemann Sent: Wednesday, June 16, 2004 9:57 PM To: The Horn List Subject: Re: [Hornlist] Cor Anglais French Horn So I suppose the proper name ought to be Cor Anglé. Not to be confused with Corps Anglé, which is what occurs when you bend over to pick up a dropped mouthpiece, or other fallen article. Benno The name English Horn is a verballhorning of Cor Anglais, the horn, built in an angle, of which just the angle in the short metal tube at between mouth piece instrument remained. The Cor Anglais was developed in Passau (border town between Bavaria Austria, on the Danube) during Mozarts time. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Advice Info
George, tell me the article I will scan it send as email attachement. Have both books in front of me. May I guess: the article In memoria Lorenzo Sansone! Profiles Lorenzo Sansone. Was my guess right, George ? Hope things go better health wise with you. Kindest greetings from Munich Hans -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of G Napuda Sent: Tuesday, June 15, 2004 5:33 PM To: Memphis HORNLIST Subject: [Hornlist] Advice Info All. A crosspost. I am interested in one page from the Horn Call Vol. II No. 1 two pages from Vol. VI No. 1. First. Neither one is available for a back issue order ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Happy Birthday Richard Strauss
We did Don Quixote Heldenleben with Zubin Mehta. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of John Baumgart Sent: Saturday, June 12, 2004 4:00 AM To: [EMAIL PROTECTED] Subject: [Hornlist] Happy Birthday Richard Strauss WFMT in Chicago served up a lot of birthday cake for Richard Strauss today (6/11). They were playing Till when I woke up, the last mvt. of the 2nd horn concerto (Baumann) and the beginning of Rosenkavalier on my way to work, and T.u.V. on my way to lunch. John Baumgart ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Horn Cleaning
An how about the effect of a cleaning snake, where parts of the brush get off are swapped into the valve system ? Detergent, attaching the pipe of the hand brush to the lead pipe (take care that the water does not get too hot for your hand !) let the water flush all through. You might take off the valve slides first. But snake ? Better a big No-No. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Larry Jellison Sent: Friday, June 04, 2004 9:39 AM To: [EMAIL PROTECTED] Subject: [Hornlist] Horn Cleaning Clean the inside by moving water quickly through the piping (sometimes with dish detergent and a cleaning snake); soaking in a tub doesn't provide the fluid mechanics for effective cleaning of the interior of the horn. Consider that some bathtubs and sinks have residue of abrasive cleansers that could wash into the horn tubing. ___ Internet Access, Shared Dedicated Web Hosting. Colocation and Domain Name Registration at http://www.SharedPoint.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Horn Cleaning
Better think of : How can I care better THAT THE HORN IS NOT SPOILED INSIDE. If a snake is needed to clean the lead pipe inside, my goodness, how long are the intervals between cleaning your horn. If you care, nothing accumulates inside the lead pipe, nearly nothing. But if you eat candies cake during the intervals, drinking all the sugar containing refreshments and forget to clean mouth teeth, yes, a lot of dirt will accumulate. If you consider my advise to care about the instrument, you have not to care about using a snake to scratch away all the crusts left in your horn. Snake can lose parts of the brush. These parts can be flushed into another corner of the horn remaining there for years, perhaps, but you would wonder about some crazy noise in your horn. Inside flush your horn once a month, should be enough. Get it ultra sonic cleaned every two or three years by a good repair man who has these facilities or where else you find ultra sonic cleaning equipment bif enough to contain a horn. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of rebecca ferris Sent: Friday, June 04, 2004 8:24 PM To: [EMAIL PROTECTED] Subject: [Hornlist] RE: Horn Cleaning i don't get it, why is a snake so bad? and if a snake is not used, then how does the horn get cleaned? -rebecca An how about the effect of a cleaning snake, where parts of the brush get off are swapped into the valve system ? Detergent, attaching the pipe of the hand brush to the lead pipe (take care that the water does not get too hot for your hand !) let the water flush all through. You might take off the valve slides first. But snake ? Better a big No-No. Find what you are looking for with the Lycos Yellow Pages http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default .asp?SRC=lycos10 ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] horn baths
If you intend to bath your horn the first time after years and if your horn is not lacquered, well, you should use a professional soap which contains some sand so to clean away all the grid accumulated. Just joking. Real: use a mild dish washer detergent mild warm water. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of rebecca ferris Sent: Wednesday, June 02, 2004 5:28 AM To: [EMAIL PROTECTED] Subject: [Hornlist] horn baths what's the best way to give a horn a bath? should soap be used or not? thanks. -rebecca Find what you are looking for with the Lycos Yellow Pages http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default .asp?SRC=lycos10 ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] horn music
Why not visiting my publication site at www.pizka.de/Pizka-music.htm == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Tara Islas Sent: Tuesday, June 01, 2004 3:59 AM To: Horn List Subject: [Hornlist] Horn music I¹m new to this site and I am sorry if I repeat what has already been answered: Can anyone tell me a good site to order horn music? Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] R.Strauss op.11
1.- EURO equals about 1,22 USD to 1,24 USD Hans Sorry I wasn't up on my euro/dollar conversion rates. Do you take paypal? LMK (let me know) LT ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] HELP! Linz horn made in Italy
A bit of knowledge in geography might reveal, that something is wrong with that obscure Linz horn made in Italy, as Linz has nothing to do with Italy. The producer of this instrument might have nothing to do with the engravings either, but the dealer (s), who got it engraved (perhaps). Such kind of (cheap) horns are now made in countries as Brazil Pakistan or elsewhere. To camouflage the origin they are engraved that way, but as the engravers mix up geographic terms the wrong way, they are not aware, that some people might be able to detect that. Linz is a very old city in Austria (Mozart composed his Linzer Symphony there. The house still exists.), once the capital of the greatest imperium ever existed on earth during the time of emperors Friedrich III. Maximilian, including Spain, Portugal, Germany, Austria, Bohemia, Hungaria,, the Netherlands, parts of Poland, Rumania, Serbia, Montenegro, northern Italy, Sicily, whole Brazil, Mexico, Peru, Colombia, Chile, Argentina, etc. parts of India ) - but no horn makers except Heidegger Lorenz, who ceased since long. made in Italy is also a fake. Yes, I know, why Linz rings a bell. 1938 March 12th, the annexion of Austria by the dictator with the little moustache - not Charlie, but similar - , who also grew up there. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] R.Strauss op.11
Full price incl. shipping (air registered) = EURO 41,02 payable by credit card, converted into USD about 50.- PS: Normally I do not answer such inquiries by no names. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Saturday, May 29, 2004 6:35 AM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] R.Strauss op.11 how much would these bad boys cost to ship to US? LMK LT ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Career on Horn performance, HS grades, degrees, ect....
Roland Berger has been exmatriculated from the Vienna Academy when he accepted his first horn position with Vienna Philharmonic without permission by the Academy . later he became professor at the same academy WITHOUT PAPER .. Paper is good to have, but it helps you NOTHING for thejob. But it is necessary if you want your study years being recognized for pension purpose (at least in countries with similar social system as in Germany, Austria, Swiss, France, ..) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Julius Pranevicius Sent: Tuesday, May 25, 2004 7:31 PM To: The Horn List Subject: RE: [Hornlist] Career on Horn performance, HS grades, degrees, ect --- Hans Pizka [EMAIL PROTECTED] wrote: Paper is paper, ink is ink, but playing is playing. but how russians says: bez bumazki ty kakaska or if in english without paper you are nothing... __ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/ ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Hi, Hans.
Go www.pizka.de/MySiegfriedHorn.htm to get a first impression. If still interested then, well, write again so I can send you pictures off list. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Joe Duke Sent: Saturday, May 22, 2004 8:03 PM To: [EMAIL PROTECTED] Subject: [Hornlist] Hi, Hans. Hans! That new horn is getting a rave review from the new owner!! Congratulations! If you have pictures on line of this instrument or one of its 'brothers', where would I look to see it?? Thanks!Joe Duke ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] R.Strauss
Four more copies of R.Strauss piano horn manuscript of the op.11 horn concerto, with introductory text, bound in nice dark blue cloth with gold name print, still available. Very hard to get. I do not know, if I will discover more, as it is out of print since long. Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Yamaha 668N
Depends on the human input. Sometimes you are blowing into the horn perfectly (you think doing so), but it comes out bent, so you think the fault being the horn, --- ooops, or was it just opposite, blowing the horn incorrectly, but the horn correcting everything, so to be a good horn ? === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Unkn own Sent: Wednesday, May 19, 2004 11:10 AM To: The Horn List Subject: [Hornlist] Yamaha 668N Heya, what do you guys think of 668N? how well does it play? thanks, Ian - Do you Yahoo!? SBC Yahoo! - Internet access at a great low price. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Brass protectors and Christmas tree ornaments
The other options are very simple: Go to a super market get few of these cheap micro fibre small towels. Whip the finger prints off your horn during playing breaks or practising breaks. The horn will remain shiny for quite some time, a year or more. If it gets too tarnished, clean it with a mild brass polish, but not once a month. Once a year would be enough. Take care that the polishing cloth is soft. If you do this in year intervals, you will never have to rub hard. Be sure, the horn will survive you. Care (for the horn) in time will save energy (and money) time later on. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Long, nice, last call
As you played it, your LAST CALL as a CLOSE CALL it was a CLOSET CALL perhaps (see the reaction of the management). What means they NEARLY fired me ? And I have to protest strongly: I WAS NOT PRESENT THERE, perhaps a clone, - otherwise I had FIRED you because of a CLOSET CALL (that´s the one we hear from kapellmeisters as one of their only few acoustical expressions during the concerts. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Tuesday, May 11, 2004 1:26 AM To: [EMAIL PROTECTED] Subject: [Hornlist] RE: Long, nice, last call Cabbage (moi) suggested On the other hand, you could try playing the Long Call with all the alternative transpositions, rhythms, and articulations suggested in Kopprasch Etude 40. And ask the conductor to do the optional D.C. at the end of the opera, just to make Hans jealous. And Hans P (himself) replied Surely, it would be a nice call, but also your LAST CALL. ** I tried this last night, with Hans P standing next to me as I played backstage. For some reason, they nearly fired me afterwards, but when I pointed out how nice Hans said it was, they fired him instead. Whew! That certainly was a CLOSE CALL. gotta go, cabbage ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Weird Colors
That´s the same with spectacles. If you clean them, but the towel has just a minimum of grease from your fingers probably, you will have a light rainbow effect on the spectacles. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Sunday, May 09, 2004 4:28 AM To: [EMAIL PROTECTED] Subject: [Hornlist] Re: Weird Colors I'm betting it's just some oily film on the surface. Michael mentioned before that it's a brand new horn. If you wipe it off with a towel or something, that won't remove an oily deposit. Clean it off with a little Windex and hopefully the Yamaha engineers won't have to scramble their private jets and tactical lacquer recovery teams to come to your house. They can stay at home and try to figure out how to get the buffing dirt out of their horns! - Steve Mumford ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] seigfried's long call
But they had to replace Kirstin Flagstad. And the first horn changed. Other RING recordings: the Swarowsky RING with Sueddeutsche Symphony, which was Czech Philharmonic; Yes, the Solti Ring was published as the first complete set. The takes were quite long, but there was some strong editing anyway. The Furtwaengler RING (both from Rome from Milan) were live recordings, but not published for some years. The same happen with the Bayreuth RING cycles. One early Bayreuth publications is the RING with Karl Boehm on LP. I think, it was a financial problem then, as pressing the LPS asked for much higher investment than for todays CDs, as they cost less than 1/2 USD. The biggest problem was to pay the advance royalties to the singers conductors. Today we have a different situation: these over 50 year old RING cycles can be published without paying any royalties to orchestra, conductor singers. But they are very interesting. There should be a RING Cycle from Tiflis. Quality unknown. I have to check with Naxos about it. Also today, some orchestras, singers conductors are just interested that their work with the RING might be conserved on CD, so they decline asking for any royalties. If the sale will be good or much better than expected, this excess income will be divided for the participants. Today there are no record companies who could afford a complete RING production or even a live recording. The recording companies doing such big projects, are more or less affiliated to the opera houses. Some are quite successful, but still impotent regarding the finances for such kind of a project, where every opera out of four would require an investment of minimum 200 to 500 TUSD before the first set would be sold. Most consumers have no idea about the additional promotion expenses, which go into the six digits also. I own about 25 different RING sets I am still looking for some strange set. Thee could be one from Moscow, another one from St.Petersburg from Warschaw. I do not know if they recorded it in Barcelona or Trieste or Venice (Suitner) or East Berlin. Another exciting RING set is with Barenboim (Bayreuth). == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Graeme Evans Sent: Wednesday, May 05, 2004 10:45 PM To: The Horn List Subject: Re: [Hornlist] seigfried's long call I think you will find the Decca Ring is the first complete version with no cuts or cast discontinuities in the main characters, and the first fully commercially released one. Cheers, Graeme Evans (Principal Horn, Melbourne Symphony Orchestra) +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) E-mail: [EMAIL PROTECTED] - Original Message - From: Hans [EMAIL PROTECTED] To: 'The Horn List' [EMAIL PROTECTED] Sent: Wednesday, May 05, 2004 11:39 PM Subject: RE: [Hornlist] seigfried's long call My fault, indeed. Thinking of so many recordings (I have some 25 RING sets here) I forgot the most important, perhaps. For me it is the most important. But Graeme, it was not the first recording of the complete RING. Moralt´s RING in Vienna the RING with Furtwaengler were around 1951. Both were productions, but one act as a one piece session public concert always. The 1937 RING of the MET is probably the oldest on record, but it was live recorded. The SOLTI Ring is the first ever with the Schnipsel Techique (= takes cuts takes cuts again, but with superb result). There was no audience. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Graeme Evans Sent: Wednesday, May 05, 2004 10:32 AM To: The Horn List Subject: Re: [Hornlist] seigfried's long call Hans Pizka wrote: There are numerous recordings of the RING on the market: Metropolitan Opera New York (Levine), Berlin Philharmonic (von Karajan), Dresden (Janovski), Bayreuth (Kempe, Keilberth, Adam Fischer, Peter Schneider, many others), Buenos Aires (2 sets Wallberg Erich Kleiber), Graz (Klobucar), Karlsruhe, Vienna Symphony (Moralt), etc. To say nothing of the first complete Ring recording (Decca 1958 - 1965) with Solti/VPO/Nilsson/Windgassen/Crespin/Hotter etc. The Long Call is played superbly by Roland Berger. Cheers, Graeme Evans (Principal Horn, Melbourne Symphony Orchestra) +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) E-mail: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/graev%40comcen.com.au ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options
RE: [Hornlist] tuning the horn
If you would read tzhe answers you receive here on the list, you would know the right way to tune the horn. I repeat it here, you have to use the best in tune pitches of both sides to tune according to the a form the piano. Play the (concert) f1, which is our c2 in the 2nd space from top or 3rd space from below. Do not bend the tone by the lips or by the use of the right hand in the bell. Listen to concert a play concert f - on the Bb-side. Repeat that process on the F-side. You get from F-side to Bb-side by pushing the thumb valve, if the horn is set in F/Bb. Or you get from Bb-side to F-side by pushing the thumb valve, if the horn is set as Bb/F. The tuning works with the main tuning slides, which are: Main tuning on the Bb-side: the main tuning slide is part of the first branch of the horn. The other slide on the same side but to the right of the main tuning slide is the tuning slide for the F-side. If this is done, both sides are basically tuned. Now tune the valve slides after the approximate rule: 1st valve pulled out circa 10-12 mms, 2nd valve : 6 - 8 mms, 3rd valve : 12 mms. The upper series of slides are for the F-horn, the lower series is for the Bb-horn. Here the slides should be pulled out about 1 - 2 mms less each than the upper series. If one of the valve combinations 12 or 23 produce too many missed notes, try to adjust the slides a bit. It will work. Tell your teacher, that he or she is a complete idiot, according to the advise given to you. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] tuning the horn
Hello Benno, verzapf doch nicht diesen Unsinn, bitte. The main tuning slides need to be pulled out, as the horn is designed to fit different environment. Temperature has a certain influence to tuning. Orchestra tradition is different in the world. USA orchestras have a lower a than European orchestras. And these orchestras have even a lower a than in Vienna. But the horns should fit all three regions, which means main tuning slides be pushed in much for Vienna, pulled out much for the use in the USA. But all within the limitations of one or 1 1/2 centimeters (main tuning slide). A pulled out slide CANNOT cut out some unevenness. In contrary it produces some unevenness in the tube, - like a little step. Just imagine a larger tube a smaller tube inside. Think about the mechanical function of two tubes, when one tube sticks inside the other is pulled out a bit. Ooops, I know about the German schooling quality. Natural science classes . Basic common knowledge please, please. No wonder people believe on superstition, reading in the palm, believing the stars , etc. And the few Professionals playing with all slides in, are using a very strong VIBRATO, where intonation means nothing anyway, as the pitch shifts around permanently. I know these players very well. Once in my master class, a student came to me with his horn, all slides pushed in completely. I asked him: why. He responded that his idols did the same. So I told him, that he had just one single choice: he should continue following his idol but never expecting a job as a horn player - and never wasting my time again -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Benno Heinemann Sent: Monday, May 03, 2004 10:21 PM To: The Horn List Subject: Re: [Hornlist] tuning the horn Leaving all the Slides in is certainly not good Advice. I can think of one or two Exceptions of Professionals who play well who do this, but not for a student who may not have developed strength or good Ears to play all the Notes in tune in spite of it. I like to push the main Slide all the way in, and then tune the F and B Slides down a little accordingly. I think it cuts out some unevenness just after the Leadpipe. Frank Lloyd told me this. (I believe this is not possible on some Horns where the F and B Horns are difficult to tune together) Greetings, Benno Heinemann On Monday, May 3, 2004, at 08:16 PM, william bamberg wrote: That advice is so bad that you should seek another teacher. Having the slides tuned by an experienced player, if you're not ready to do it, is the proper first step to learning how to do it for yourself. I play several horns regularly and find that I need to tune each horn as close as possible to a standard so that my tendency to lip notes is consistent from horn to horn. Although an electronic tuner doesn't really tune the horn, certain patterns are easily remembered and set. Often, the player prefers my settings to theirs because they've never given it much thought. Julius Pranevicius wrote on 5/3/2004, 10:03 AM: My new teacher said that it is not neccesary to pull out valve slides for new horn at all(only the main tuning slide should be adjusted). He said that i should adapt myself to horn, not the horn for myself.. I tuned my horn following the article in february's Horn Call and for Bb horn there was about 1cm, and for F - 1,5-2cm. Is it normal? And what do you think about tuning the horn, adjusting valve slides? What methods of tuning you know and preffer?? Thanks __ Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs http://hotjobs.sweepstakes.yahoo.com/careermakeover ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/billbamberg%40aol.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] how much is too much (dents)
INSANE - INSANE - INSANE - are we living in the Stone Ages or Middle Ages ??? Why not wrapping the whole horn with plastic tape, best of blue or red or yellow colour, so the horn´s surface will not be damaged by fingerprints will never need any polishing. There will never occur the bad effect of lacquer, influencing the sound. Furthermore the branches would not get lose so easily. If the lead pipe is bent due to dropping, just bent it back. As the plastic tapes cover the horn, it would not get leak so fast, even if the lead pipe is broken. And due to the plastic tape, the broken branches will not be lost. The other advantage will be for the right hand: no special washing ever, as the bell inside is also covered by plastic tape. It also prevents all the little dents. The black colour often found in the bell of an old hunting horn or baroque horn could be explained as residue of the old (under developed) tape of that time. After the removal of the tape, the glue remained attached to the bell. But this is of minor importance, as a new plastic tape is attached quickly. And you have a vast choice of colours, which is a further advantage. Just have a look in the store. But no guarantee for a pure horn sound. The horn will rather sound like toilet action or body gas escape. If it does not matter, well, go ahead with your repair. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of william bamberg Sent: Monday, May 03, 2004 6:25 PM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] how much is too much (dents) Long flat spots can do some funny things. Just pushing the dents out of the way is usually pretty safe. Leadpipes can present more complicated problems. Again, just pushing out the dent and leaving a few wrinkles is the safest course. A common leadpipe problem for school horns is to have the leadpipe bent double just where it enters the guard tubing. Rather than go poking around trying to bend it straight and distorting the taper, I usually cut the pipe at the crimp. With both ends exposed, I can see the taper. Either I can repair the ends and butt them, or I can splice in a short length of another leadpipe. For most horns, butting works well, inside a short length of tubing. Should the student drop the horn again, it will let go at the solder joint, and is simple to repair. If the break is right at the end of the guard, I can usually machine a shallow socket under the guard, and the solder joint is invisible, but will break off clean if broken again. J. Kosta wrote on 5/2/2004, 12:09 PM: I recall reading an article saying that dents that reduce the cross-section area of a tube by less than 33%, usually do not cause problems. With one of my horns, reducing a smallish leadpipe depression seemed to make a noticeable improvement. On another horn, fixing a similar leadpipe depression did not seem to make any difference. If your horn has consistent 'bad notes' (with for example intonation or sound quality), then perhaps fixing dents might help. Jay Kosta Endwell NY USA ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/billbamberg%40aol.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mouthpiece specialist
If the mouth piece is more or less corresponding with the instrument, THE PLAYER HAS TO ADAPT HIS LIPS (better said: has to get his lips used to the mouthpiece) TO THE MOUTHPIECE. Admitted, there are some better designed mouth pieces today than in the past. Better designed means here that some curves are better rounded or better edged, and it means, that the mouth pieces are better manufactured or produced with more precision (computer designed plus computer commanded machining). It is a fatal ERROR, to BUY everything adapted to the single individual AND that it will WORK without investing much ENERGY on the players side. Playing a brass instrument - depending on the standard of playing desired -- is not the same as walking on the street with a made-to-measure suit. Playing the horn is not a buy run affair. If one doesn´t make his daily home work for many years, horn, teeth, mouth piece, altered lips - all will not produce a reasonable player. There is more to do. Listen practise. And this remains a life long affair, as long as you play the horn. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Benno Heinemann Sent: Saturday, May 01, 2004 11:00 PM To: [EMAIL PROTECTED] Subject: [Hornlist] Mouthpiece specialist Hello, there is a chap not far from here, in Holland I think, who will in exchange for about 30 Euros measure your mouth Teeth and Lips and tell you what Mouthpiece you should use. My first Thought is that this is Nonsense but perhaps this is in error of me. Hence the following Questions: Are there many such Specialists perhaps in the USA? Does anyone believe we should allow another to select a Mouthpiece for us baseing only on physiologic Measureing? Does this service have even a limited Value to the learning Hornplayer? best Wishes, Benno Heinemann http://people.freenet.de/bennoheinemann/ ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Beethoven Quintet for 3 horns, oboe and bassoon
Hello Bob, I published this piece with an additional double bass. But it can be left off. The other parts are like the original. Will send it to you (please send me your postal address off list) plus the promised CD (no charge for the CD). -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Robert Ward Sent: Sunday, May 02, 2004 3:44 PM To: New Horn Mailing List; old Horn Mailing List - Subject: [Hornlist] Beethoven Quintet for 3 horns, oboe and bassoon Hi all, Have been trying to find a copy of this piece, but it is out of print. Would anyone out there be willing to lend me a set of parts (and a score if the have it)? Please contact me off list. [EMAIL PROTECTED] Thanks, Bob Bob Ward Acting Principal Horn San Francisco Symphony http://home.earthlink.net/~rnward ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] low register
But, William, how about the sound quality of the low notes if played on the F alto ? All overtones gone ? It is a fact that the F alto just sounds as the main tone without all co-sounding overtones. But it can be precise, off course. The Bb side is better for technical things in the low range, you are right absolutely. Most players dont believe that the lower octave is easier on the Bb-side. But we have to make a compromise anyway, as you said - long open notes better on the F-side even there. Question about the bowl shaped mouthpiece: isn´t your tone concept a bit different, more verse tenor horn, alto trombone or fluegelhorn (bugle) ? Do you produce any schmelz (mellowness) ? General use of Bb-high F horns is obsolete here. No sound horn player uses them in the professional orchestra, - except for tasks where they are requested (Bach, Haendel, some Haydn or similar). == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of william bamberg Sent: Friday, April 30, 2004 12:42 AM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] low register Gallay Etudes for 2nd horn work that range in a fun way. Also, see my earlier posting about using a large, bowl shaped mouthpiece in that range. If you can, pratice low parts for horn quartets. The low register should really be developed in context. Playing in context will help develop a brighter, more agile low register. I tend to favor the Bb horn unless the notes are slow and sustained. My Paxman 42 is superlative in the low range, and I can actually use the F alto in many passages. It also has an F attachment that is very effective in the low range. It has become my horn of choice for 4th parts, especially in a Geyer section. Julius Pranevicius wrote on 4/29/2004, 11:11 AM: I have quite bad bottom of the middle register and low register... the sound is not nice, has lots of dashes (i don't know if this expression is correct) and dynamic range is very small. what excersizes are useful and most efficient for improving this range... and, what is important in general while working to this direction. thank you julius sorry for my poor English __ Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs http://hotjobs.sweepstakes.yahoo.com/careermakeover ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/billbamberg%40aol.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] auction
As nobody but one showed any interest in the announced auction of three valuable horn methods of the past, I close the auction early sell the books top the one single bidder at opening price. But be aware, more valuable horn documents manuscripts will be auctioned later, giving preference to the horn list members. Those on the list, who asked me for copies of MP3 files from my archive, I might ask for some patience. I will prepare the CDs the next few days. Meanwhile you could send me your postal addresses. Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] old horn methods
Searching in my archive I found some surplus copies of old horn methods, which I will auction here on the list. They are: Joseph Mohr ( 1823-91), high exponent of the hand horn technique: Methode de premier de second Cor, published by Leduc 1869, original publication, soft cover, format 11,6 x 13 , all pages in order, no cuts, few pencil entries Offers not below 100.-USD Carl Klotz (born 1824), international soloist incl. Gewandhaus concerts 1854: Praktische Schule für das einfache u. chromatische Horn op.11, published by Andre/Offenbach around 1860, publishing number 8305, german, english french text, 43 pages format 13,6 x 11, all clean, no cuts, no entries, interesting basic exercises Offers not below 80.-USD Jacques Francois Gallay (1795-1864): Methode pour le Cor op.54, published by Henri Lemoine in the mid of the 19th century (when Gallay was alive), 118 pages format 13,6 x 11, all pages clean uncut, no entries, last page repaired, hard cover. Offers not below 150.- USD Winner will pay airmail at real costs, book rate. Payment by credit card only. I offer these books here, as I want to sell them to horn players or horn teachers only, not to students. Highest bids will be published ever second day without naming bidders as usual. Auction ends May 15th, 2004 I placed this auction here, as it is of special interest for horn players. Please send your offers off list. Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] review (fun)
We performed Mozarts Serail as a reprise but with a new conductor, who got several rehearsals. The critic wrote: the strange production the brave conductor Harry Bicket could not irritate the audience even the conductor showed a strong inclination to Tohuwabohu (Finale) Sorry, friends, I never read such a review, which perfectly reflects our feelings. He also conducted Giulio Caesare did not even dare a check look if I were on my position for the famous mezzosoprano - solohorn aria, smashed the down beat somewhere else looked into his score at the applaus. We are used to have world class conductors here in Munich, but that seems to be history already. Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: high notes
Hello Steve, even you said the right things here, you missed something. Why the alterated fingerings for the high notes the better result ? Because the students were playing higher harmonics on longer horns. The longer the horn the higher you might climb, very old rule fact. The high c3 is played as 23 on the single F Pumpenhorn, which means they play it at a step high as e3 on a D-flat horn. The psycho thing is really something to conquer. The trick works. The more they think about the high notes, the worse. Same with the loud notes. I preach always: INACTIVELY Playing = let the air out instead of pushing. Well, admitted, there are very few occasions, where you really have to push air out with JUST ONE STROKE (Blow), but not with lips formed in a way you were blowing at candles or the hot soup. These rare strokes are lightning fast explosions. Nothing for beginners or intermediate students. It is amazing, how students today look for the extremes of playing when still struggling with the basic. It is also amazing selecting for the future, how long some students work on a single piece - often six months, when they are missing some basic study - working note by note - hammering it into their brain -, while others do it within two three weeks, but return to it after a year to polish the piece. Greetings from Munich Hans == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Wednesday, April 21, 2004 11:41 PM To: [EMAIL PROTECTED] Subject: [Hornlist] Re: high notes Naturally there are a whole lot of reasons high notes might be a problem for somebody, but if the basic set up is ok, based on what I've seen from a lot of students, trouble often comes from doing more than necessary rather than not doing enough. If there's enough pressure and the lips are tense enough, it just makes sense they're not going to want to vibrate. I would often in lessons have students echo back notes for me. I'd play random notes with disjunct intervals and unusual fingerings so they'd get lost as to how high they were playing. After a few minutes they'd be playing A, B, C no problem. I'd say things like here's a medium high note then play high C fingered 1+3. These were kids who had trouble playing F but they would easily play C with a good sound. Then when I revealed what they were really playing, it would be hard again! There's a clue that it could be more mental than physical. A suggestion along those lines from Dave Krebiehl was to try to miss the note. Have the sound of the high note you're going to play clearly in mind then, instead of elaborately preparing and screwing up your chops, you take a breath and play with no preparation and mentally try to miss. It's amazing how clearly and easily the right note comes out! Paradoxically, it's almost impossible to miss. This can lead to a real epiphany about the type of effort needed for playing high notes. Anyway, just some silly mental tricks about being relaxed enough to let the high notes out instead of trying to force them out. Sometimes you just have to short circuit some of the crap your brain keeps trying to tell you! A similar thing works with playing loud. Let more sound out instead of pushing more sound out. Long tones are a great way to experiment with that! - Steve Mumford ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Weber Concertino
If the voice is a male voice, things go easy, but we have two ways now: 1st: the all original (authentic) way, which is quoted or asked for so often - This makes it impossible to do the Weber without the chords. 2nd: the alternative way, which allows any adaption if the piece itself is not altered. This means, you can make it easier for your own use where you might find it necessary. Very interesting to note, that people purists themselves regarding judging others have absolutely no scroupels to adapt the same piece for their own use. This means adaptable modern consequence ??? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of John Dutton Sent: Saturday, April 17, 2004 9:34 PM To: Memphis Hornlist Subject: [Hornlist] Re: Weber Concertino Conja writes: Does one necessarily have to have a horn chord ability to play the Weber? It seems like a silly thing to stop you from playing the piece. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Mozart 12 Duets K.V. 487 - Transpositions?
Jack, you should read my first message again, when I asked you to abandon reading music in absolute pitch. If we (both) talk about music from different stand point of view regarding naming the notes, we cannot find any platform for us. I TALK ABOUT THE MUSIC AS WRITTEN NOTES, not transposed to actual pitch from F-horn view. I repeat explain: Second space from top is c2, even it would sound f1 on the F-horn or d1 on the d-horn, etc. The first duet is noted down as 2/4th, beginning with M1: upbeat e3 in the first horn, followed by M2: g2-f2-e2-d2 (all 1/8th), M3: 1/4th c2 - 1/8th rest - 1/8th c2, M4: three 1/8th d2 followed by two 1/16th d2-e2, measures M3M4 repeated = M5 M6, M7: 1/8th c2, all 1/16th d2-e2-f2-g2-a2-b-nat.2, M8: all 1/8th c3-a2-e2-f#2, M9:1/4th g2 - 1/8th rest-1/8th g2, M10: all 1/16thh a2-b-nat.2-c3-a2 -- f#2-g2-a2-f#2, M11: all 1/16th g2-a2-b-nat.2-c3 -- d3-b-nat.2-a2-g2 M12: = same as M10, M13: 1/4th g2. So much for the identification. If your copy starts with a key signature of one flat, it is either transposed or you read it in actual (concert) pitch. Both is not good. One has to read these duets as they are, but transpose it while playing. So the parts remain clean: no sharps except the f#, no flats. All is processed in the brain while playing. This should not be any difficulty as transposing belongs to the essentials of horn playing. My recommendation stands as stated before. The indicated transpositions are to be seen within the context of the Urtext of the duets: notated without key signature. Allow me one comment: I really do not understand why the (concert) pitch thinking is still in use with certain teachers. Off course, we all know how our playing sounds (in concert pitch), but we think F-horn related, we transpose F-horn related, just with the exception of a few teachers, possibly coming from the trumpet business (all in C = concert). These folks often get a very hard time regarding communication with other horn players, as conductors get when unfamiliar with the F-orientation of the horn players. And again: remember this music is ours, related to our cultural environment, so we know about that particular style feeling etc. _ I would not place such a strong statement if it were music from another region. There I could give recommendations only. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jack Garrett Sent: Wednesday, April 14, 2004 9:16 PM To: [EMAIL PROTECTED] Subject: [Hornlist] RE: Mozart 12 Duets K.V. 487 - Transpositions? Thank you very much for this wealth of information, Prof. Pizka. Your reply was very thoughful, and I am grateful that you took the time to write such an elaborate answer. There is much to think about in your reply. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Slide Lubricants
To clarify it: gulden means golden. There was also the dukat, finally of 3,49 grs gold at 986/1000. The name ducat or ducatus deriving from duce or doge or duke as first produced by Duke Dandolo in Venice in the late 13th century. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of John Baumgart Sent: Thursday, April 15, 2004 3:26 AM To: The Horn List Subject: Re: [Hornlist] Slide Lubricants Actually, they were known as Joachimsthaler guldengroschen, with guldengroschen referring to the type of coin (enough silver's worth of groschen to be worth a gold gulden). St. Joachim's valley was an early 16th century silver boom area, which bode well for the count when he was allowed to mint coins. The Joachimsthaler guldengroschen were not the first such coins, however, although they were the most widely produced and circulated, becoming the standard silver coin in Europe. In 1486, Duke Sigismund of Tyrol coined guldengroschen bearing his portrait, but they weren't widely accepted or minted in the vast quantities as the Joachimsthaler guldengroschen. Had they been, instead of dollars, we'd probably be paying for our slide lubricants with ziggies. John Baumgart - Original Message - From: Hans [EMAIL PROTECTED] To: 'The Horn List' [EMAIL PROTECTED] Sent: Tuesday, April 13, 2004 3:33 AM Subject: RE: [Hornlist] Re: Slide Lubricants cents is a similar corruption as dollar. Somebody knows the origin of dollar ? It was at Joachimsthal in German cultivated East Bohemia, where Count Schlick got the right to mint his own silver coins (also doubles, half quarters) 1520. They were named according to the place Joachimsthaler from the St.Joachim valley (German = tal). The name was reduced to thaler later, just for simplicity. And this became dollar, dollar, taler etc. Cent is 1/100th of a certain (main) coin. Centesimo or centime would be appropriate, but again simplified to cent. And in Europe we got the Euro now, which has not a meaning at all. It is like artificial honey. Since gold standard was abandoned, money has just a hypothetical value. Pfennig was a separate coin, a basic coin itself as was the old Russian kopek or lira or heller or penny (the English word for Pfennig). They had not adopted the metric (1/100) system then anyway. = ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Mozart 12 Duets K.V. 487 - Transpositions?
If he talks about the initial note as (originally) a(1) second space a, he thinks in concert pitch but played on F-Horn, as the initial note is annotated as e2 (1st space from top) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Thursday, April 15, 2004 9:07 AM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] RE: Mozart 12 Duets K.V. 487 - Transpositions? Is the problem here not that Jack is talking in concert pitch, but that in his edition the duets are already transposed i.e. not written out in the key of C. I had such an edition and stuck it in the bin the day I bought an urtext edition. All the best, Lawrence þaes ofereode - þisses swa maeg http://lawrenceyates.co.uk ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] New invention
Hello Lawrence, I second that request, but regarding ErgoHorn I might ask, how about those who swivel around on their seat or dance-swing with their horn, as so often noted in auditions ? Big trouble then in the orchestra. And what to do during rests ? How to water empty the horn without any clonk from the ErgoHornStand, special if emptying must be performed most quickly ? I also wait for the invention of a rubber ass who sits in the pit on behalf of myself. Your requested rubber lips ´n bellows could do the job for me, while I would replace the guy in front using his stick for some kind of aerobic, but earning much money. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Thursday, April 15, 2004 11:43 AM To: [EMAIL PROTECTED] Subject: Re: [Hornlist] New invention This is fantastic - just what I need! I hope everyone in my section will get one. Please let me know when they produce a set of rubber lips connected to a set of bellows so that I won't need to blow either. All the best, Lawrence þaes ofereode - þisses swa maeg http://lawrenceyates.co.uk ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Bayerische Staatsoper
Sorry, Bob, the month April was not as busy as usual. I will give you an idea by copying our Mid Jan. to mid Feb. schedule 2004 soon some other ideas later. We are ten horn players under contract out of an orchestra of 143 members. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Robert Marlatt Sent: Thursday, April 15, 2004 2:29 PM To: [EMAIL PROTECTED] Subject: [Hornlist] Bayerische Staatsoper Hans Pizka: I better leave no for another Parsifal starting in two hours at the State Opera. A disgusting show man conducting this heavenly music. FYI, I checked out the Baverian State Opera website to see whom Mr. P was referring to: http://www.bayerische.staatsoper.de/c.php/index_bso.php?l=dedom=dom1 I then did a search/display of their April 2004 schedule. Compared to the any USA arts center beyond New York City the volume and scope of activity is phenomenal. Perhaps Hans: could you give us an overview of the musicians' schedules and how the horns in particular spread the work out? ie: how many hornists are under full contract. ...and I thought I was busy... Bob Marlatt Boston MA ps: I trust you take long vacations ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Bayerische Staatsoper schedule
Between Jan 17 Feb 15, 2004: 17 dress rehearsal Roberto Devereux evening La Cenerentola, 18 Xerse (Handel), 19: Roberto Devereux premiere, 20: rehearsal Rheingold all, ev: Nutcracker, 21: Rheingold, 22: Walkuere reh., ev: Ballet 2 horns, 23: Walkuere reh., ev. Roberto, 24: Rheingold, 25: La Traviata, 26: Walkuere reh, ev. Ballet 2 horns, 27: Walkuere, 28: Roberto, 29: Siegfried reh, ev: La Traviata, 30: Siegfried reh, ev. Ballet 2 horns, 31: Walkuere, 1 Feb: Siegfried reh., ev.Roberto, 2: La Traviata, 3: Siegfried, 4: Orhee et Eurydice, 5: Goetterdaemmerung reh, ev. Roibert, 6:Sleeping Beauty, 7: Siegfried, 8: Orphee, 9: Goetterdaemmerung reh, ev. Roberto, 10: Goetterdaemmerung reh, ev. Aida, 11: Goetterdaemmerung, 12: Orphee, 13: Sleeping Beauty, 14th: Goetterdaemmerung. Here the schedule for end June early July 2004: June 21: Meistersinger reh. Twice, 22: same, 23: Meistersinger reh one, 24: dress hehearsqal Meistersinger, 25: reh. Lulu, reh.Don Carlo, 26: reh. Missa, public dress rehearsal Meistersinger, 27th: free, 28th Don Carlo reh. Whole piece, 28: free, 29: premiere Meistersinger, 30: Don Carlo, July 1: Xerxes (very easy, just 40 seconds to play), 2: Meistersinger, 3: Don Carlo, 4: Lulu, 5: reh.Othello, ev.: Xerse, 6: reh. Mahler 3 Othello + reh.Rape of Lucretia, 7:reh. Rape of Lucr., ev. Meistersinger, 8: Lulu, 9: reh.Mahler 3, ev: Othello, 10: reh. Mahler 3 (open air), afternoon: Ballet all Chopin, ev.: Mahler 3 open air, 11: Meistersinger, etc.etc. a new production of Pelleas et Melisande to rehearse premiere (26th), Gounods Romeo Juliette twice, Roberto Devereux twice, Tannhaeuser twice, Midsummernightsdream ballet, another Pelleas et Melisande, premiere of Rape of Lucretia (Britten), plus Orphee, Rodelinda (Handel) twice and a final Meistersinger on July 31st. We had harder opera festivals in the past, like 1989 (Munich Workshop) playing all R.Strauss operas during one 4 week festival or March 1969 with two Ring sets, Zimmermanns: Soldiers premiere between plus two concert programs right after the first Goetterdaemmerung the 2nd Goetterdaemmerung (Tschaik. No.5 with Eliahu Inbal conducting, and smaller operas between the Ring operas. Nothing for cowards. Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] virus
Hello Milton, I am receiving W32Kletzky virus anytime I download my mail. They have a SPAM filter at t-online (the biggest German), but with rather mediocre effect as the SPAMMERS use all tricks to hide the key words. Well, I can live with that. But I do not understand, how the Kletzky virus gets through. It is intercepted by my always updated Norton Anti Virus (weekly update) and my both machines are virus complete checked every week also. This all is something as some people understand freedom. They understand freedom as to do everything they like, forcing people to spend a fraction of their life time just to fight these stupid pervers intruders. Long live the individuality. I better leave no for another Parsifal starting in two hours at the State Opera. A disgusting show man conducting this heavenly music. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of milton kicklighter Sent: Wednesday, April 14, 2004 12:04 PM To: horn list; The Horn List 2 Subject: [Hornlist] virus Hey Guys, For over a month now I have been getting at least two and sometimes three virus attacks when I open my email. My virus software always catches it before it gets in the computer, but I am thinking it may be coming from someone's computer on the horn list. Please, if you have virus software check out your computer or upgrade your software and see if you might have the virus on your computer. Thanks, Milton Milton Kicklighter 4th horn Buffalo Phil P.S The Buffalo Phil has offered a contract to a new 1st horn. Great player ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
