Re: [Hornlist] contacting Hans Pizka
- 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/archive%40jab.org
Re: [Hornlist] Hobo duets
- Message from goldb...@wccnet.org - Yikes - the scherzo is on me. I don't remember ever seeing that before, in Italian. It seems strange to omit the first name, with or without an honorific title since there are four Signori Besozzii to choose from. Grazie! It's an old-fashioned way. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] renewed website (double post)
Hello friends, after a non-short gestation the renewed site "Il Club del Corno" is online. It is partly in Italian and partly in English, with a few contributions in both languages (unfortunately I haven't time enough to translate everything, but if anybody wishes to help then he/she is welcome). The site is now based on a CMS (Content Management System) called Drupal, which required from me a non-little amount of time just to begin to understand the basics. As a consequence, the interactive features I had planned are not yet available: I still have to do all the updates personally, but now that task should be much faster than before. So if you have any horn-related information, which you think should be included, please let me know. Moreover, the site looks less home-made than before. You can navigate all the site without a login. The address is www.corno.it For some time the old site will be also visible at www.corno.it/index0.html but it won't be updated any more. All the best, Daniel P.S. If some Drupal expert has any advise to give, then he/she is welcome. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Beginning Horn Methods
Hi, for my daughter I'm using Hornschule by Fritz Huth (I'm not absolutely certain about the name, I can check later at home). I got advise about this method by a top level German hornist. I'm sure that that there are many, many others. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Using a Single Bb/A/Stop valve horn and fingerings help
- Message from bisonh...@gmail.com - Hello Fellow listers, I am going to be venturing into using a Single Bb horn with the 4th trigger A/+Stop Valve for playing some Mozart/Haydn/Rossini works this coming semester at college and wondered whom out there use this horn as their main axe and if they have good advice towards fingerings, tricks etc What models/Brands of Single Bb/A horns are players using? Thanks for the info in advance. I have a Hans Hoyer, with F extension and stop valve. It's good. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] bumping section mates
- Message from yateslawre...@googlemail.com - ... And don't forget, if you smack him in the mouth hard enough, there's a good chance that you won't see him again anyway! But there's also a good chance that he'll smack you in the mouth even harder... :-( Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Playing under a ceiling fan-not too hornrelated
Sorry, I should have written more precisely: pure theoretical deduction only works in very special cases. That's just because taking into account all possible effects is usually too complicate. But I do think that theory is necessary. Daniel - Message from william.s.gr...@gmail.com - That's right, it works in practice but would never stand up in theory. -Original Message- - Message from simonvar...@gmail.com - ..ouch, my brain hurts. Don't worry so much. The possible causes affecting any real physical phaenomenon are infinite. One of the main tasks of the physicist, not at all a trivial one, is exactly that of discerning what is really important. Usually, only a regular confrontation with practical experiments can help decision. Pure theory only works in very special cases. Daniel mathematical physicists & dedicated amateur hornist ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: 4. Re: Playing under a ceiling fan-not too horn related
- Message from simonvar...@gmail.com - ..ouch, my brain hurts. Don't worry so much. The possible causes affecting any real physical phaenomenon are infinite. One of the main tasks of the physicist, not at all a trivial one, is exactly that of discerning what is really important. Usually, only a regular confrontation with practical experiments can help decision. Pure theory only works in very special cases. Daniel mathematical physicists & dedicated amateur hornist ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] musical heritage (WAS: metronome...)
- Messagge from wri...@earthlink.net - ... Its a different perspective, and since classical music is amain part of their musical heritage, European players are much more into expression and less obsessed with technical issues. I'm not saying we don't have any of this, but in this country especially, i find it lacking. Classical music is not a main part of our musical heritage. Just my opinion. Hello Wendell; in a sense, we can say that the role of classical music at a social level is dwindling everywhere (in comparison to all sonic expressions which are more or less rightly called "music"). I think that the situation in Italy is among the worst in civilized countries; this is a special shame, since it used to be (up to a few decades ago) an important ingredient of our culture, even at a popular level. In other European countries the situation remains much better. On the other hand, in the US you have several top level orchestras and musicians, and music in the schools. So were is the main difference? I'd say that on this side of the Atlantic there is still a feeling that classical music has a different and special status, while I have the impression that in your country it is perceived just as "one of the genres of music", non distinguished at all and easily mixed with others. I may be wrong, so please correct me. I appreciate the initiatives to bring classical music to larger audiences, though we must beware that it must still be recognizable as classical music, otherwise the whole thing is pointless. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Acoustical studies
- Message from i...@brassarts.com - ... Someone else suggested a scientific study. A great idea, but who is willing to pay for it? Well, I believe that our rich beloved premier Berlusconi would be delighted to pay ;-) Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Receiver size on Selman double horn
- Message from hornonta...@yahoo.ca - Veering ever so close to NHR territory, I would suspect that since it is a proper name, Venturi should remain intact. OF COURSE!! Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Receiver size on Selman double horn
- Message from herb_fos...@yahoo.com - Thank you, John, for setting us straight. "Ventura" bothered me subliminally. Giovanni Battista Venturi was Italian, so shouldn't the singular be venturo, or is it one ventura, two venture ?-) For many Italian family names the final "i" is the Latin genitive, corresponding to the Anglo-Saxon final "s" or "son". So the first Venturi, several centuries ago, could have been the son of someone named "Venturo". Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] abbreviations (was: Rare horn piece...)
But why do you need such abbreviations at all? It seems to me that they are used only in the US (maybe also in UK?). Daniel - Message from lo...@mayhews.us - It seems that 2-letter abbreviations work for state and country abbreviations, 3-letter abbreviations are sufficient worldwide for baggage claim tickets, but orchestras need 4-letter abbreviations. That is why my orchestra is abbreviated SASO (Southern Arizona Symphony Orchestra). You might think "symphony" and "orchestra" are redundant words but it makes our abbreviation necessary and unique. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] List Members
Yes it was. - Message from william.s.gr...@gmail.com - According to Cornucopia (A publication of the New England Horn Society) Paul Mansur, long-time editor of The Horn Call and contributor here, has died. I may have missed the announcement if it was mentioned here. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Lawson horns (was: North East Horn Workshop)
Dear Kendall, thank you for your exhaustive answer. For the moment I asked just out of curiosity, and the level and frequency of my present musical activity wouldn't justify giving much time and efforts to try and improve my already excellent instrument. All the best, Daniel - Message from kendallbe...@aol.com - Dear Daniel, Thank you for your interest and questions. Our current "Classical" Model 804C is our version of a medium belled horn. This model made in red brass or yellow brass with yellow brass or ambronze bell flare would be what many European players would like. We have several over there currently played by professionals in Norway, Denmark and Switzerland and I have had inquiries of late from other Europeans. As to "American Sound," we are a large and diverse community of horn players here. Our "sounds" all have European roots, though, and the two "schools of playing" here evolved primarily from students of Gumpert. Anton Horner was an F horn player and promoted the silver large belled Kruspe. Hence the 8D, etc. Others such as Bruno Jaenicke and Willem Valkenier were B horn players, and preferred narrower belled brass horns. Hence the Geyer, Conn 6D (now 10D) etc. That's the story in a nutshell. Walter and Bruce Lawson successfully made designs over the years based on those roots. Their goal was to improve sound, response, intonation with those models listed above as the primary starting points as well as the Alex 103. Lawson horns are refinements, not just copies, and Walter purposely designed the wrap to be unique in the world. The early models were listed as small, medium, medium large and large. The small belled horns, similar to an Alex 103 played quite well and I think Ted Thayer used one for a while in the National Symphony, coming from an Alex 103. He switched to the "Classical" when it came out and the general consensus was the "Classical" was a definite improvement for this type of horn. We could build that again but we are busy enough making the current models. For Alex 103 players, our lead-pipes are worth a try and I have some being play-tested now by members of a German orchestra. The Lawson's had other Alex playing Europeans switch to our pipes in the past and I've converted Alex's for American customers this year already. The medium and medium large horns sold quite well, especially the medium large. Barry Tuckwell used a medium large Lawson for several years before signing on with Holton. Many Alex and Geyer type players also liked those. The large horn was most popular with many being made and still being used. The Kruspe/Conn type players primarily went for those. The medium large and large horns evolved into the present "Fourier" Model 804F with changes in the tapers, multi-boring in the straight sections and the V2 leadpipe. This is our version of a "Kruspe" type horn. The small and medium horns evolved into the present "Classical" model 804C, with the above listed changes done in a way to give the instrument more resistance, what some people call "slotting," I believe. This is our version of a "Geyer" type horn. We now offer many different bell flares with the goal of satisfying the various sound needs of different individuals. I anticipate having aftermarket flares available soon for makes not using the Alex type screw ring. As to the Berlin Philharmonic, players of that caliber can play on anything! I know they currently have a close relationship with Alexander. Previously, they were using Yamaha for a number of years. I would relish a chance, though, for them to try our equipment and I would welcome their opinions! I've made crooks with our tapers for my own natural and Vienna horns and this is something I hope to market in the future, as well. I know you play a Rauch, and we have made pipes for those as well. Please contact me off-list if you would like to arrange a trial. Best wishes, Kendall Betts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Lawson horns (was: North East Horn Workshop)
Dear Kendall, I have never had an opportunity of trying a Lawson, ad unfortunately I can't cross the ocean right now. I have a question, though. I understand, from various sources, that Lawson horns are mainly designed to yield the "big American sound". Is it true? Or, do you produce different models, some of them suited for (say) a German type of sound? Do you think a Lawson horn could be played in the Berliner Philharmoniker? (Yes, I know: "it's the player, not the horn"--I apologize if my question is too "equipment-minded"...) Daniel - Message from kendallbe...@aol.com - Dear Horn Listers: Please allow me this opportunity to invite those of you attending the NEHW at Ithaca College this weekend to visit the Lawson Horns / Kendall Betts Horn Camp exhibits in room 3304 in the Whalen Center. I will have the full inventory of Lawson demonstration models, mouthpieces, lead-pipes, and bell flares on display and available for testing. I have extensive stock of all mouthpiece cups and rims and will offer them at a discount for workshop attendees. Any order for a lead-pipe or bell flare made there will receive a discount as well. I also will have a used Lawson Model 8211 Descant for sale. This horn is owned by noted NY free-lancer, Bobby Routch, and is in "as new" condition. Here is an opportunity to purchase a fine instrument without a wait for delivery next year. I will also have information on KBHC. I welcome your visit and I will be happy to answer any questions you might have regarding Lawson Horns, KBHC and horn lore in general. All that said, this looks to be a stellar workshop with headliners Gail Williams, Adam Unsworth and the American Horn Quartet. I hope to see you in Ithaca! Sincerely, Kendall Betts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: AW: AW: [Hornlist] Re: Horn Digest, Vol 74, Issue 17
- Message from c.j.l.w...@newcastle.ac.uk - I just don't think the explanation is complete. In physics there is a very important mechanism called "symmetry breaking": a physical system may set down in a state which breaks the symmetry of the general laws it obeys to. In many cases, which particular state is chosen is essentially a matter of chance. You can't "explain" why, for example, the preferred hand for most people turned out to be the right hand, rather than the left. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] horn equipment question
I have a nice Hans Hoyer compensating double with five valves (bought for my daughter). It plays well, has a nice sound. The main drawback is that most valved positions in F are not well in-tune. It stands in Bb, it's thought to be played mostly in Bb. So it's not the right instrument for you if you play a lot on the F side. The fifth valve is for gestopf: the bell is easily closed even with a non-big hand, and you play with the regular Bb positions. In fact I plan to use it (rather than my Rauch) in an upcoming performance of Peer Gynt, where I have several stopped notes. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Why is shortest valve slide in the middle?
- Message from william.s.gr...@gmail.com - And this answers for me why the F side is mounted on top of the B flat side. I always thought it should be the other way with the shorter slides on top, but it's now clear from the information y'all have provided the F slides on the bottom wouldn't clear the bell, specially the 3rd valve slide. I always thought that the longest slides are on top of the shortest just for aesthetical reasons. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] "Dent" bags
- Message from jer...@sublymerecords.com - I'm sure you're familiar with the principle of physics which states that energy cannot be created nor destroyed. I'd say that the question has more to do with momentum (rather than energy) conservation. Sadly, there is no perfect case, that is for sure. Of course, no case can protect your horn from a gravitational collapse, or falling into a black hole, or dropping it under a tank. But a Thompson (Bags) case is a reasonable compromise in most situations, if you are normally careful. I don't know what would happen if you had to check it, but the only two times I flied with my horn the personnel didn't even give a look to the case (though one dimension is 5 cms larger than theoretically allowed). I own two of the cut-bell type (one for me and one for my daughter) and they are easily carried on your back. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] poll
My two choices: Vienna and Berlin over all other horn sections in the world. But perhaps the original post referred to some specific recordings. In that case I must say I only know, of the four proposed, the Vienna Horns CD. There, Thomas Joebstl' playing in Mahler's "Uhrlicht" is perhaps the most beautiful horn sound I've ever heard. I also love the sound of Hans and his friends in the Erich Pizka quartets recordings with Vienna horns. These are the two main examples of horn sound I have in mind. Daniel - Messaggio da amegen...@comcast.net - Data: Tue, 6 Jan 2009 18:01:43 -0500 For the Poll : Not familiar with the Texas Horns, but my choice would be The London Horns. Magnificent. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Vienna Phil
Hello, do you really _need_ a tour company? I'd suggest to buy just the air ticket, and maybe fix the first two nights in Vienna... Daniel - Messaggio da lz...@suddenlink.net - Data: Fri, 2 Jan 2009 16:31:53 -0500 After watching the broadcast, I was online looking for vaction tours to Austria. Are there any Americans on the list who can recommend a good tour company? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: thumb lever action
- Messaggio da hornl...@terrier.ampexguy.com - On the other hand, Dale Clevenger could pick up horns set up either way and immediately play with ease and facility - his horns stand in Bb. There are reasons why he's Dale Clevenger. You have identified one of them. The change seems to be very difficult for some and easy for others--independently of further hornistic qualities... Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] thumb lever action
Thanks again, Hans. No, there aren't manipulated notes in the Coronation Mass or in the Concerto for flute and harp. It's certainly possible to do as you say, if needed (though the natural C horn turns out to be a little more stuffy than I'm accustomed to). However I don't have to play this again soon. Moreover the next rehearsal will be after these holidays, so I have some time to see how it goes. And you know, in these amateur ensembles we usually do several rehearsals before a performance. And I promise I won't abandon the F horn :) Daniel - Messaggio da hans.pi...@t-online.de - Data: Mon, 22 Dec 2008 20:40:42 +0100 Why dont you push the trigger & hold it to get F tonality & add 1 & 3 to get a perfect C-Horn & then continue to play Mozarts coronation mass on a mere C-basso natural horn. It works. I do not remember, if Mozart used any manipulated tone during this composition. Explore the C-basso-horn with few arpeggios. That´s it. Very simple. If there is G-horn, use Bb plus 1&2. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] thumb lever action
First, many thanks to Bob Osmun and Paul Navarro: the matter worked exactly as described, though at first I feared I couldn't undo the lock ring on the articulated arm; but eventually it gave up easily, and then it was a matter of two minutes. Thanks also to Hans, even if this time I'm trying something which is not according to his advise. I now have more than two weeks till the next rehearsal, and that's the reason why I thought I'd try this right now. I practiced a couple of hours this morning (and played my daughter's Hoyer in the last two days). When I play only in Bb, then I'd say I have no big problem. The main difficulty is switching from Bb to F and back. I prefer g2 and f#2 on the F horn, so certain passages won't come at the proper speed, for the moment. We'll see. It's funny to think that, right now, I'd even have difficulties coming through a fairly easy C-horn program I played recently (Mozart's Coronation Mass and Concerto for Flute and Harp). On the other hand I feel less tension on average, and that seems to make some things easier. If I think of it, it's also an interesting experiment on how my brain works: trying to change 40-years old habits. Of course I'm interested in knowing about similar experiences. Daniel mathematical physicists & dedicated amateur hornist - Messaggio da irich...@flash.net - Data: Sun, 21 Dec 2008 18:12:29 -0600 Daniel, When I was in my mid-30's, I tried reversing the thumb valve action on my Moennig horns - they are engineered for it, so it was simple to do. My idea was to make the double horn and descant horn fingerings consistent (and single Bb would fall out as well). I found that 20 years of habit was a great obstacle to overcome. I tried for about two years, but I could never get the fingerings to come automatically and finally gave up. When I returned all horns to their original settings, there was hardly any residual habit to get rid of. On the other hand, Dale Clevenger could pick up horns set up either way and immediately play with ease and facility - his horns stand in Bb. When you get the linkage reversed, let us know how you do. Regards, Richard Hirsh ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] thumb lever action
Hello Hans, of course I expected your objections. I know your reasons and keep them in mind. However there are mainly two reasons why I'm considering this change. The first reason is that, in fact, I play a lot more in Bb; recently I had a lesson with our common friend Konstantin Becker: he is also a mainly Bb-horn player, and he suggested the change. The second reason is that I bought for my daughter a compensating horn (Hoyer) which can only lie in Bb: I was planning to use it myself sometimes, and can't think of using two different fingering systems at the same time. But I've not yet taken a final decision, much of it depending on whether I can actually do the change. Many thanks to Bob Osmun for his suggestions, I think I'll try those if I feel certain I won't damage the mechanism. Best wishes to everybody, Daniel - Messaggio da hans.pi...@t-online.de - Data: Sun, 21 Dec 2008 17:35:03 +0100 Hello Daniel, why do you want to change this action ? It is much easier to push (in) the valve (for help with the Bb) than to release it (see the beginning of Rheingold !!). And if you play e.g. Strauss op.11, the beginning of the solo (not the initial fanfare) with the octave slur is much easier started on 1F & push the Bb trigger to arrive at the one octave higher f (with 1Bb), or from the two f2 before high Bb, playing the first f2 on 1Bb, release for the second f2 (1F) & kick you up to the high Bb with the trigger, like kicking yourself into your back to jump. Think about before changing the trigger. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] thumb lever action
Hello all. A question to technical minds from a theoretical mind. I was examining the possibility of changing the thumb action from F/Bb to Bb/F on my Rauch, tried all the ways I could figure out but found no solution. I begin to suspect that it won't work, but before giving up I'd like to read the opinion of a competent person. At this URL http://www.dma.unifi.it/~canarutto/Rauchtrigger/ you can see two pictures of the trigger mechanism, with the lever not pressed (left) and pressed (right). You can also see the pictures enlarged, but I'm afraid that the second is not very sharp. Of course I also tried to move the thread-blocking screw to the free hole, but also in this way I could not find any working thread winding. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Donato Inglese
You are mistaken. He takes himself _very_ seriously. He's convinced he's an exceptional player, far superior to many renowned artists. He has offended, in public forums and with _very_ bad words, various principal horns of professional orchestras. Daniel - Messaggio da [EMAIL PROTECTED] - Data: Fri, 14 Nov 2008 21:48:00 -0800 I love him. He makes me laugh. Very entertaining. Sure he's "out there", but that's the fun of it. I love how fearless he is. Not afraid to take chances & never takes himself too seriously. I think the horn world could use a little more of that attitude. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Very interesting Youtube - how to convince
Please, take into account that by now this person has (in Italy) a well-deserved fame of madness. In one of his YouTube movies (now cancelled) he played while driving his car in a highway; he didn't even realize that that is a criminal offense. Daniel - Message from [EMAIL PROTECTED] - Date: Wed, 12 Nov 2008 21:08:58 +0100 Friends, I recommend a visit on Youtube & search for "donatoinglese". This is a real name: Donato Inglese. He fits into some peoples "how to convince". This guy is ruining the fame of the horn with his many video clips. One is taken (even prohibited) during his participation (first round only) at the September 2008 International Competition in Sannicandro in Italy. You can see the jury, when he plays Castel del Monte by Nino Rota. I was near jumping up & taking his horn away when he literaly blew this lovely introduction to pieces in his attempt "to convince the people by his power". What he did with Hermann Baumann was disgusting & infame. Have a look, please. Special interesting might be his Mozart K.495 interpretation & his Strauss No.1. Here the cameraman/woman, the pianist & the hornplayer created a convincing unity of incapability. The pianist hit a right note rarely. Listening to it is not a fun. But he is the GREATEST. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horns
A friend of mine who worked for several years in Germany had to sell his Paxman and buy an Alexander. Now he's back in Italy and did the opposite ;) I'd say that in Germany you'll be more successful with a German-style sound. I've been told (by a top-level German hornist) that a Hans Hoyer can also be suitable. Daniel - Messaggio da [EMAIL PROTECTED] - Data: Sat, 11 Oct 2008 12:54:35 -0600 Sorry i forgot to mention Paxman. Long story short I'm planning on re-locating to Germany to pursue horn there. On Sat, Oct 11, 2008 at 12:50 PM, Mathew James <[EMAIL PROTECTED]> wrote: Hey list, I'm currently in the market for a new horn. Here is what I am considering so far. Schmidt Ricco Kuhn Any advice between these horns? -- Mathew James ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re:there is music and music
Who is the horn player? nice playing indeed. Alon Reuven I think the hornists are Alessio Allegrini and Jonathan Williams. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] there is music and music
Worthwhile to listen and see: http://it.youtube.com/watch?v=BnHOIoyAwxA http://it.youtube.com/watch?v=6nT-xkkAlG4&feature=related Best regards, Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Wooden Mpcs
I think it was flaxseed oil with some special treatment, but don't know the details. It was discussed on the Italian Horn Forum at www.forumdelcorno.com Daniel Was the oil extra virgin? -Original Message- What I can tell you is that Enrico did use this ebony mouthpiece as his main mouthpiece for years; he says that it needed special care, including soaking in some special natural oil, but never had big problems. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Wooden Mpcs
KB wrote: ...His problem was that they would soak up moisture, dry out, soak, dry, etc. and then crack. The end of the shank was very thin and would crack easily as well. Ward said once one cracked in the middle of a concert and rang out like a gunshot! He tried every type of wood he could: oak, maple, grenadilla, ebony, mahogany, etc. He also tried various finishes, shellac, varnish, and chemical treatments. My Dad, a chemical engineer, even got stuff from DuPont, a mylar epoxy as I recall, for Ward to try. Nothing really helped the cracking... What I can tell you is that Enrico did use this ebony mouthpiece as his main mouthpiece for years; he says that it needed special care, including soaking in some special natural oil, but never had big problems. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Wooden Mpc
Enrico Caproni, a former (now retired) first horn of the Orchestra del Maggio (Florence, Italy) used to play with an ebony mouthpiece. You can listen to some of his recordings from his website http://www.enricocaproni.it/ I wouldn't say that his tone was dull or uninteresting. Daniel There was a brief trend toward experimenting with wooden mouthpieces when I was teaching in Rome. The players thought them very comfortable, but the tone was very dull and uninteresting. Some of the players were in military bands, and I advised them that if they were required to play in extreme cold (a rarity in Rome) they might consider using the wood mouthpiece, otherwise, forget it. The idea of the potato never occurred to any of us. Pasta didn't hold up during high fortissimo playing. I did see porcelain and crystal...more of a Venetian thing, I think. Orlando Pandolfi ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Alessio Allegrini
I should have added: however, Alessio Allegrini makes very few crumbs. Daniel I have found that the best bread makes the most crumbs. Hmm... Herb Foster - Original Message I forgot: besides the quality of his playing, Alessio Allegrini is also known for answering to Riccardo Muti: "Maestro, il pane fa le briciole e il corno fa li scrocchi" [Maestro, bread makes crumbs and the horn makes cracks] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Alessio Allegrini
I forgot: besides the quality of his playing, Alessio Allegrini is also known for answering to Riccardo Muti: "Maestro, il pane fa le briciole e il corno fa li scrocchi" [Maestro, bread makes crumbs and the horn makes cracks] Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Alessio Allegrini - Strauss 2
As far as I know, he is principal horn at Teatro La Scala in Milan. No more, Hans: since a couple of years Alessio Allegrini is principal horn at the Accademia Nazionale di Santa Cecilia, in Rome. The other principal there is Guglielmo Pellarin, a 20 years old (!) who won that position just recently. At La Scala they presently have only one principal horn; they keep calling substitutes, and seem unable to decide whom they want to hire. All the best, Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] song (was:Falling Apart)
Well, it seems that through my naivety I have invoked the ire of the list. Please forgive me, and I will keep this in mind the next time I play a piece. Thank you for informing me of this, and I assure you that I was not trying to insult any of you or the music. -- Tim Tim, on my side it was not ire but irony. Sometimes we older guys think we're allowed to address sloppy ways of young people. We believe it's for better. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] song (was:Falling Apart)
Steve Haflich wrote: probably the most embarrassing thing you've done recently is your use of the word "song" in the message above, posted to many hundreds of musicians... Steve, I recently played in a song named "Pastoral" by Bee... something. Only it was not one song, but five. I can't understand why classical composers must make it all so complicated. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] sorry for the mistake
I'm sorry for the last mistaken post, I was trying to forward the last post from Howard while asleep. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: The fun of conducting!
Steve Burian wrote: I would explain the appeal of conducting this way: .. Hope this help explain, Daniel. Yes, of course I understand that if you have all the non-common abilities needed to be a conductor, and if you conduct an ensemble of good players, than it can be quite rewarding. Personally, I prefer playing under a good conductor. I don't lack ego, but the responsability is too great and if the players are not good and disciplinate enough than it can be a nightmare: I can see this from several would-be conductors. By the way: several years ago, for a short period, I conducted a choir singing traditional music, and I'm not fond of those memories. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] The fun of conducting!
Jonathan West wrote: ...I had a think about what I have found makes a good conductor for amateurs and/or students... As an experienced amateur player, I'd say that your suggestions are quite reasonable. But I could never realize how conducting can actually be fun. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Agostino Rapone & Battista Cazzini
Tim, the company was Rampone & Cazzani, it used to make very good, renowned double horns at that time. One of these was the instrument of choice of Domenico Ceaccarossi (see http://www.profesnet.it/ceccarossi/ ). There is still a company with that name, but today they make saxophones. The few Rampone & Cazzani doubles still existing and in good condition are highly considered, at least for affection reasons. Daniel To Anyone Who Can Help: My girlfriend recently got two single horns from our high school band teacher. One is a Conn Bb single with an E serial number (1954?) and the other we are unsure about. On the bell, it says Agostino Rapone & Battista Cazzini Milano Made in Italy Does anyone know about this company? The only number I could find was near the valve casing, and that was 43. Is this the serial number? Is this horn worth fixing up? It is a single F horn, and looks like it is silver. It is missing the keys. I will upload pictures within two days. Thanks! -- Tim ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] test
Hans wrote: To make you more jealous, we just returned from Emperor Duck restaurant... The ducks are real jumbo ducks. We had problems to eat our 1/2 duck... All right, Hans, I'm jealous, but... the last time I saw you, you told me you were going to lose weight... now, just to make you jealous: I lose 4kg recently. All the best wishes, Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: OT: Is there a trumpet list similar to this hornlist?
How I love languages! ...snip... But I never could understand why ...snip... (nor why you call a wind quintet a "woodwind quintet", even though only a quartet of the five are woodwind). And actually the flute is not made of wood. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Humperdink "Evening Prayer" from "Hansel Und Gretal"
For example, while I dislike playing Sousa intensely, I have yet to hear a symphony orchestra do justice to a Sousa march, which should make your feet want to march. Only a band gives it the right character. I'm not familiar with these marches, maybe they are not so frequently played in this part of the world. However I once heard, in a local classical music radio broadcasting, a Sousa march called "Washington Post" (or something like that), played by the NY Philharmonic conducted by Bernstein. I did find that it was... how do you say... terrific! (It was a program about Bernstein.) Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Auf dem strom
Happy new year everybody !! Does anyone know of a good recording of Auf dem strom in Eb? Alon Reuven Yes, the recording of Wolgang Tomboeck on the CD "The Art of Vienna Horn". You can also get it from iTunes. Greetings, Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Concert Band question - upright bass
Could those of you with more experience with concert bands than me please answer a question or two about the role of the string bass? I have, sometimes but not all the time, seen a single string bass player in concert band performances. Is this part written in by band music composers? I think that even in older times it was common to have a string bass in wind ensembles. Dvorak's Serenade comes to mind. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Romance Languages
By the way, I learned relatively late in life that there are other languages derived from Latin beside the usual French, Italian, and Spanish. Romanian, for one, and I'm sure there must be others. You may have heard of Portuguese, which is spoken (among other places) in Brasil, not such a small place... And yes, there are other languages defived form Latin, spoken by smaller populations. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Ligetti
Hi all , can anyone tell me how the %^&*$!! can I turn pages in the Ligetti trio ?the guy forgot that we use two hands ! Alon Hello, I've never played it and probably never will, but I attended a concert where it was played by a famous hornist. He had made photocopies and glued the sheets into a strip, which he put on two stands. I immagine that it could be considered more or less legal, as long as you have the originals with you. I can't say it's the kind of music I prefer, but I had the impression that the piece was tremendously difficult. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] mozart full orchestra parts concert 1 d maj
I have a student ready to perform mozart d maj on hand horn. Does anyone have the orchestra parts and score to sell, rent or lend. Please let me know at [EMAIL PROTECTED] thanks Elliott L. Higgins, Hummingbird Music Camp, American Horn Competition International You should be able to get it from Thompson Editions. http://www.thompsonedition.com/ Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] masterclasses of Luca Benucci (corrected dates)
I got new informations about the masterclasses of Luca Benucci in the US. Unfortunately, it seems that some of the dates are different from those previously communicated. Not my fault. 19 OCTOBER MASTER at CURTIS INSTITUTE of MUSIC h. 11:00-13:00 Prof Elaine Katz Address: 1726 Locust Street, Philadelphia, PA 19103, Tel. (215) 893-5252 - Fax (215) 893-9065 20 OCTOBER MASTER at BOSTON UNIVERSITY h. 15:00 - 17:00 Prof. Eric Ruske Address: Boston University, College of Fine Arts, 855 Commonwealth Avenue - Boston 23 OCTOBER MASTER at MANNES SCHOOL OF MUSIC h. 10:00 - 12:00 Prof. David Finlayson / Chris Gulhaugen Address: Mannes College of Music, 150 West 85th Street, Manhattan, New York Tel.: David Finlayson cell. 917 699 7495, fax 646 349 2593, tel. School Chris Gulhaugen 212 580 0210 ext 4839 http://www.lucabenucci.it/ -- Daniel Canarutto ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Rauch Pipes
Are there any Rauch Model 1 owners out there who have some insight as to the differences between Rauch's standard model 1 pipe and his model G pipe with regard to the effects on playing and sound, and also technical knowledge? Thank you! Aleks Ozolins I don't know if my Rauch is Model 1 or what, but it has a tiny "G" on the pipe. Once I tried a different Rauch with a narrower pipe, and in my opinion it was not as good (just first impression). Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Intelligent joke? I don't think so...
All right, Valerie. You know, I've been on this list for 8 years, I've seen every thread coming up several times (like waves on a seashore) and rarely read anything really new. But I'll post if I have any non-triviality to say. All the best wishes, Daniel No big deal, Daniel. I think the whole episode was actually pretty funny, but then I often see humor where others don't. It was a mini clash of cultures fueled by language barriers & misunderstandings. Happens all the time. We get over it and move on! And no penance necessary . . . please, Daniel, keep on posting! And, BTW, I don't know if I can call what I wrote an "intelligent joke." It was pretty dumb. Hugs from across the pond, Valerie (who loves classical music & prefers life to death under just about any circumstance!) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: New York Phil Opening Night, R rated review
Daniel, how do you do it? You are quite the long jumper to go from "There's nothing more boring than a string orchestra. Give me BRASS or give me death!" all the way to "Allright, then you don't like classical music." Sorry, I can't see where the leap is. And, just because I'm not psychic, I could not understand that it was an intelligent joke. However, I do apologize for distressing all of you. I think this was the first time in several years. I'll punish myself by not posting for some time. All the best wishes, Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] To Rob Schmidtke and Jeremy Cucco (was: New York Phil etc.)
Wait, wait. First, let me inform you that I keep a photo of F.D.Roosvelt on my desktop. Second, I know perfectly well that there are many Americans who are great, fine artists (I actually know personally one of them, a lovely person). But I can't endure this fashion (coming from the US, right?) of the big brass sound covering averything, which was so highly praised in recent posts, no one objecting. Unfortunately, there are aspects of the American culture which tend to cover all the rest, maybe because they've undergone a Darwinian selection based on commercial value. This makes some people bitter about it. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: New York Phil Opening Night, R rated review
What an ignorant, arrogant, comment to make. Perhaps Valerie was being funny. Humor I'm sure is so far beneath your deep and complex culture. Absolutely amazing Ignorance. There are times when the brass sound should not be as dominant... "Perhaps Valerie was being funny". Perhaps. It did not seem to me. To me, she seemed ignorant and arrogant. But we already know how things go on this list: Americans can say anything, their own way, the others have better keep their tongues still. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: New York Phil Opening Night, R rated review
There's nothing more boring than a string orchestra. Give me BRASS or give me death! Valerie Allright, then you don't like classical music. So what? It's the same for millions of youngsters all over the world. It's present time's superficiality, spreading in all aspects of life and culture. Some people, on this side of the Atlantic, are trying to continue a deep and complex culture, but that's increasingly difficult because of the brass noise coming from the other side. -- Daniel Canarutto mathematical physicist & dedicated amateur hornist http://www.dma.unifi.it/~canarutto/ (professional home page) http://www.corno.it (Il Club del Corno) http://www.amadeusorchestra.org (orchestra Amadeus - Firenze) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] New York Phil Opening Night, R rated review, D minor Dvorak
Is there "too loud" playing by the brass section in this symphony? NO. They absolutely destroyed and dominated this piece. This kind of statement puzzles me. I find it quite objectionable. But I may have misunderstood the American way of expressing certain feelings. Please, what does "R rated review" mean? Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] web page for Sicily's workshop
Hi all. I set up a page with a short account and several photos of the mini-symposium held in Sicily. You can find the link on the homepage of http://www.corno.it Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] What the heck?
Jeremy, you are right and I apologize for my statement, which was to "fundamentalist". There was this flood of movie music quotations which, I must admit, impressed me somewhat negatively, as if there was a disproportionate enthusiasm for this genre. Daniel Jeremy Cucco wrote: Well...that's only mildly insulting. After all, isn't movie music a viable genre of classical music? Many colleges are teaching movie music as a new era in classical music (I've heard some refer to John Williams as "Neo-Romantic"). Some might even argue that the Firebird and Rite of Spring were early versions of movie music. Didn't Aaron Copland and Dmitri Shostakovich write a good amount of movie music too? Perhaps I would suggest that those who do not accept this as a viable form of classical music have their heads buried in the sand and are part of the reason for the steady decline of ticket sales for symphonies world wide. After all, how many times can an orchestra play Haydn 94 before it's no longer a surprise to the audience? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] What the heck?
Am I the only one experiencing this unpleasant phenomenon? Peter Hirsch You aren't. (You forgot Conn series numbers.) Many were not on the list the last time an old thread was discussed. We must also realize that many on the list are more interested in movie music than in classical literature. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] masterclass of Luca Benucci in the US (double post)
Dear American friends, you may be interested in the masterclasses Luca Benucci will give in the United States in October: October 16, 2007: Roosvelt University, Chicago October 18, 2007: Curtis Institute, Philadelphia October 19, 2007: Boston University (these dates and places were communicated to me by telephone; I hope I reported everything correctly). Luca Benucci, principal horn of the Orchestra del Maggio in Florence, is a pupil of Dale Clevenger and Arnold Jacobs. His website is at the URL: http://www.lucabenucci.it/ -- Daniel Canarutto mathematical physicist & dedicated amateur hornist http://www.dma.unifi.it/~canarutto/ (professional home page) http://www.corno.it (Il Club del Corno) http://www.amadeusorchestra.org (orchestra Amadeus - Firenze) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Dennis Brain anniversary
We - means Luca Benucci, Dale Clevenger & myself - just dedicated the mini-symposium of three days we held in Sicily, we dedicated it to the memory of D.B. It is not a shame to tell you, that we both - Dale & me - came to tears when we told the listeners about our feelings when we got the terrible notice of the accident. Dale was 17 then, I was not yet 15 1/2. I remember that I just had played my first Mozart 4 with the orchestra I played as a professional then. It was four days after, when I heard the terrible news. Dennis Brains Mozart concertos was our only horn record we owned, Dale & me. Hello Hans, we spent three really pleasant days in Sicily. Despite some organization problems the meeting was successful, very interesting and useful in an informal and relaxed athmosphere. There were masterclasses and various ensemble playing in the evenings. In the last one we heard a nice quartet Benucci-Clevenger-Becker-Pizka (Konstantin Becker is the principal horn at the Teatro La Fenice in Venice). I recorded that but have still to check how the recording came out; possibly I'll put it on a web page I'm going to set up, with an account of the meeting and several pictures. There was also a lot of fish-eating and wine-drinking... I almost forgot to say that Hans presented his new composition for solo horn (and of course, you can bet that we heard the Long Call played by him). Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Making music in "Fly-over/Red State" America
I've heard that Salt Lake City has more cultural events per capita than any other city in the USA. Can anyone verify or elaborate on that? Valerie It's all that salt in the lake, which makes people sharper. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] horn/music related novels?
Natalie Adams wrote: Does anyone know of any horn or music related novels? If not novels, then must read books? (Other than the obvious Farkas and Brain biographies, and the Art of French Horn Playing). I'm just looking for some summer reading. Thanks- During holidays you could also read something that is not related. I suggest "War and Peace". Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] P for high range
Paull Navarro wrote: I strongly agree with Daniel's teacher's approach about the necessity of starting with building a good foundation in your performing skills. This was a basic tenet of Arnold Jacobs teaching. Paul, my teacher was a student of Arnold Jacobs and Dale Clevenger. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: P for high range
Wendell, thank you for your long answer. If I was lucky in my learning, as you said, that was just because of the teacher I found. His strict and competent control of what I was doing lead me in the right direction. Of course I do have a physical feeling of what I'm doing inside my oral cavity, but I find it to subtle to explain in words (if I had to). It is true that at a certain stage I became able to make lip trills, without having done a specific study. That was after many lessons on long tones, smooth slurs and the like, in which my teacher was never satisfied and insisted on (apparently) simple exercises, which he wanted me to play exactly as he did. I'm also, since several years, a student of the Alexander Technique (unfortunately, I'm not able to explain that way of thinking in a few words; I'll try in the next future, but now I'm going to bed). Alexander used the term "end gaining" for denoting the attitude of attempting shortcuts in order to attain a specific goal, and demonstrated how that attitude eventually determines our bad habits. What is the proper method? Based on my experience: having a competent teacher, whom you try to imitate and who sets your next goals and exerts a strict control on what you are doing. That's the only way I have to be sure I'm not "on the same boat", as you said. Wendell, if I could ever have lessons with you I'd pay the highest attention, and I'm sure I'd learn a lot. I'm less convinced about the effectiveness of reading books (for the purpose of learning to play); you're right, though, that I'm a little lazy about that. And please, don't think I'm one of those know-it-all; I was just expressing my doubts... Best regards, Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] P for high range
I'm answering to Valerie and Wendell. Please note that I'm not pretending to be a top level player; but my teacher IS, and I'm mixing his thoughts with some of my experience. Daniel, please specifically define "cute means." And please share any "cute means" you've had personal experience with. By "cute means" (please note that English is not my mother language) I mean something like "shortcuts", or "tricks". The idea against tricks is that everything should be developed by a proper method, in a proper order, based on the experience of high level players and teachers. The "foundations", or I might say the "basis", is the quality of sound and the quality articulation in the lower and central range. Working properly on that, everything else comes as a consequence by steady study. That is my experience at least, agreeing with my teacher's approach (he would say: "you can't build a house starting from the roof"). I've been told that my sound is generally of good quality; it is decent up to D3, I can lip trill without having ever studied it; and that's how I got there. No tricks. In fact, whenever I tried various tricks I always got out of the right way. Now I'm learning. I'm not saying that different methods can't be effective. But, Valerie, I think that, in general, the philosophy "If it works it's correct" can be deceptive. What does it means "It works"? Up to which point does it work? How do you know that you are not in a dead end, and that what you got is just the maximum you can get by those means? Wendell, I'm sure you know what you're saying, please intend my observations as warnings to someone who could misunderstand. And I like your pictures, we have a similar feeling for natural places. Best regards, Daniel -- Daniel Canarutto mathematical physicist & dedicated amateur hornist http://www.dma.unifi.it/~canarutto/ (professional home page) http://www.corno.it (Il Club del Corno) http://www.amadeusorchestra.org (orchestra Amadeus - Firenze) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Using "P" for high notes
Larry, there may be many players out there who think they developped a high range by some cute means, but perhaps their tone is not that gorgeous after all (this may be not your case). However, I can tell you that several top level players insist on constructing your range from the foundations (like a building). There must be a reason. Best regards, Daniel Hans, Valerie has solved her high range "problem" by going outside of horn pedagogy to find a solution that works well for her, and for others, too. Furthermore, your advice as others advise, to improve the high range by practicing the low range, is not very effective. Too bad horn pedagogy regarding embouchure development has been poor through several decades of teaching, and that our best horn teachers are still discovering ways to explain embouchure formation is just further justification of my point. Yet, we all stand indebted to you for your generous contributions to the hornlist, and many of us are grateful. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] horn workshop in Sicily (double post)
Hello everybody. The First International Horn Workshop of Italy will take place from 16 to 18 August 2007 at S. Agata di Militello (Sicily), with the partecipation of soloists HANS PIZKA, DALE CLEVENGER and LUCA BENUCCI. THE MASTERCLASS, given by the three soloists, will be free of charge for 30 pupils. Time schedule: 9-13 and 15-17 hr. THE CONCERTS will be given in the late afternoon (after 17 hr.) and in the evening. The precise programs will be given as soon as possible. --- You can find essential informations in English at the URL: http://www.italianbrassweek.com/italianbrassweekenglish/Horn%20workshop.html while the official page is at http://www.sinfoniadestate.com The latter is only in Italian, but I can provide translation help. -- Daniel Canarutto mathematical physicist & dedicated amateur hornist http://www.dma.unifi.it/~canarutto/ (professional home page) http://www.corno.it (Il Club del Corno) http://www.amadeusorchestra.org (orchestra Amadeus - Firenze) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: mouthpiece kit
My english is very bad, sorry, what is this "mouthpiece kiss". Thanks, Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: freaky double trumpet player
People, people, come on...he's miming to a recording. Gary Of course: how could he play with his EARS? You do need some AIR!! Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Wisdom teeth extraction and recovery
This may have been discussed at some previous time, but here it is again... It has been discussed a huge number of times. I'm sure that, if you go to the archives, you'll find all kind of advise. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Highest note
I would like to know what's the highest note recorded by a horn player? I don't know for sure, but it should be written in the Guiness book of records. I read that in the London Horn Sound CD there is an A3 played by Philip Eastop. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Haendel
I'm sorry Hans, I lost the address for the Julius Caesar recording, and could not find it by browsing your website (not easiest to browse...) Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Expressive intonation
Steve Burian wrote: The ending pitch level would have been more of a distraction, I suspect, than to have fudged along the way. I'm sorry, my English is not good enough that I can clearly understand this sentence; would you mind to explain? Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Ring stage in Florence
The new edition of the Ring in Florence will be staged by a Catalan group named "Fura dels baus" ( http://www.lafura.com/ ). I don't know exactly what to expect, but I am pessimistic. I don't like provocations and strange ideas in traditional operas. Has any lister seen some of their works? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] getting edgy
There is an old saying: if you cannot hear the solo, you are too loud. In a similar sense, but NHR. I often teach to a large classroom (about 200) of youngsters who do not understand keeping their mouths shut. But they complain if they can't hear. I have to shout just in order to be heard. Or I get amplification, so that they can chatter even louder... But, you know, they are (mainly) Italians. I imagine that in the anglo-saxon and protestant worlds students are more disciplinated. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Update: Modern works for Natural horn
I was honored to receive a recording from Lowell of his "Live at Yale" compact disc. The work is scored for Trompes de Chasse, Organ and Tenor, and is entitled Requiem du Chasseur. He wrote it in memory of Helen Kotas Hirsch. I too I was honored to receive that CD, and alllowed to put two movements of the work on the website http://www.corno.it/ . Go to the MP3 section. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] list language trivia
Thank you, Dan, but that is not really an issue. The posts are written in English; so, if a person suscribes to the list, probably he/she has no great problems with the much simpler, standard language of web interfaces. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] In response to Horn Trash......
At 2:56 -0400 30-04-2007, [EMAIL PROTECTED] wrote: ...trying to figure out how you can ass kiss your way into your next gig... At least! It was time for the list to tackle real world problems... Ideas? Suggestions? Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Practice Room Acoustics
There are nevertheless a great number of people who are practicing in the hotel room because they are going to an audition, and would rather warm up in the privacy of the room rather than together with the competition. And there are amteurs who are travelling for work and want to stay in shape... Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Franz Strauss op.8 - Universal Ed.
In this edition there are some instances of otherwise identical phrases marked with slightly different articulations. For example: the first and second bar of the final "animato", or bars 4 and 8 of the same section. My question is: are these differences explicitely required by the composer, or should they be considered as printing mistakes? Thanks, Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Looking for other Pizka horns
Would it make sense silver plating a Rauch horn (unlaquered)? Daniel Makes it look more beautiful, you care more about avoiding dents, sound gets a bit more brilliant - at least for me. -- What does silver plating or gold plating do to your horn ? Alon ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Web links for Conn Horn info
Steve, the "8D series" is one of the oldest and most venerable threads in this list, so I guess you can find a lot of information from the archives. Personally, I've never seen an 8D (except in photographs) or heard one played live, so I must admit that my horn education lacks some fundamentals. Daniel Could anyone point me to links with a good history of the Conn 8D? I've done my Google homework but am looking for, e.g., what years were made where, what the various "series" of 8D's are, etc., all in one place if such a place exists, to bookmark for future reference. I am not in the market for an 8D or even another horn right now, just looking to educate myself. We had the opportunity to hear a professional play an 8D close up for the first time and I now understand why people find them so desirable. I suspect an 8D will be in my son's future at some point, which is why I figure I should start learning now. (He's happily playing a Yamaha 666 right now.) Thanks in advance. Steve "who plays an Alex Bb single now" Freides ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Bernhard Heiden
Jerry Houston wrote: Indeed. And we can't enjoy the great variety in life, and celebrate diversity, if we insist that it doesn't exist. You are so right, Jerry. The point is not to amalgamate everything, but to respect diversity and being able to appreciate different traditions and cultures, mantaining one's own. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Happy Birthday Hans Pizka
Kendall Betts wrote: May you have another 100 Long Calls, Hans! You know, there was once a Pope, to whom someone wished "100 of these days" for his birthday. The Pope answered: "Set no limit to the Divine Providence!" Happy birthday, Hans. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] YouTube again
Joe Scarpelli wrote: ...She slaps 2 boxes with all the sony markings on the counter and says "this one is 1,000 pesos and this one is 2,000 pesos" I asked "What's the difference" Her reply, "This one is a copy", of course pointing to the 1,000 peso controller. And which one did you buy? Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] scales
May I add that the scales are not all the same, the corresponding intervals are actually slightly different. For example, C-E is not exactly the same interval as F-A. This aspect gives each scale its own character. (This may be not true for an electronic instrument). Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Math and Bach
Emory Waters wrote: The best discussion of this topic remains Douglas Hofstadter's "Goedel, Escher, Bach," although I will say that Hofstadter's discussion of the relationship between Goedel and Escher, or Escher and Bach, seems more convincing than his discussion of the relationship between Goedel and Bach. Nevertheless, a fascinating and beautifully written book. Hard to believe it's already over a quarter-century old... Yes, but the real meaning of the book lies in a far deeper level then was previously discussed here. It actually discusses the possible material nature of intelligence and creativity IN PRICIPLE, and it makes ckear that if true Artificial Intelligence is possible at all, it is a much more complicate matter than even today's most advanced computer programs. -- Daniel Canarutto ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] NHR but Music Related - The Mathematical
Hans wrote: Aren´t those mathematical relations evident in many masterworks, not only by J.S.Bach ? Like Mozart, Haydn, even R.Wagner ? The mini groups of 4, 8, 16 measures, the relations in harmonies, so one can anticipate a lot while playing a piece even for the first time ? And the things with the computer programs ? Well, they might imitate as they know tendencies by analysis of the original works. This might work with J.S.Bach until "creation" (or fantasy) is necessary. A PC program would never work for Mozart, Haydn or Wagner. The programs are fine for simple imitations even technically complicated, but not for creations. Ooops, they might work for Mahler, as a lot of his works sound like an encyclopedy - but are fun to play. Hello friends, I'm on a skiing week now--not so much snow this year :( --so I may be late in answering. The main point I disagreed with was the idea that mathemathics is something "mechanical" or "authomatical". Progress in mathematics is a product of higly creative minds. Then, of course, certain algorythms can be devised, which do a phantastic job on specific tasks. Mathemathical study of Bach's music could give a lot of interesting insight, but never (in my opinion) reduce it to an algorythm of any kind. All the best, Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR but Music Related - The Mathematical Percision ofBach
The description 'mathematical' implies that if one knows, and applies the rule, the outcome will always be duplicated. Thus, if you know Bach, you can duplicate Bach, a feat yet to be accomplished. I am a mathemathician, and disagree completely. -- Daniel Canarutto mathematical physicist & dedicated amateur hornist http://www.dma.unifi.it/~canarutto/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Soprano on the horn
Hello friends, indeed I understood NOTHING of this thread; but please don't care to explain, unless it's really horn related. Daniel In a message dated 2/8/2007 1:13:46 PM Eastern Standard Time, [EMAIL PROTECTED] writes: Fred B commented on what Tony S said on TV: That must have been the A&E version - the original HBO version was: "You = $^!&*%# lie like I $^!&*%# play the $^!&*%# french horn." To avoid offending readers on the hornlist, you should write: "You =$^!&*%# lie like I $^!&*%# play the $^!&*%# *** horn." Really, Fred, you ought to know better by now. Gotta go, Cabbage Where I grew up, 2 hours south of Tony S. and Co., in Exit 2, NJ, it was referred to as the "$^!&*%# French $^!&". Many of my friends had last names ending in vowels and hated others with similar names from "Da nort" which included the cities of Noork and Nyark whereas they had loyalty to their ethnic colleagues from Flufdia and Landic Cidy. At All State, fights would break out over what was better: Geyer or Kruspe wraps. This was only between the parents. Most of my friends had Conns and Holtons with the serial numbers filed off. KB ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/daniel.canarutto%40unifi.it ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] purchasing online from Alexander
Some time ago I inquired about purchasing online from Alexander. As far as I can remember, nobody knew that their shop has a separate website: https://ssl.kundenserver.de/shop.musik-alexander.de/ Unfortunately, this site is only in German (eventually I could place my order, after several failed attempts). However the good news is that you do get email answers if you write not to their generic address, but to specific persons listed at Alexander's. I wrote to Herr Stephan Kahl, who answered immediately: they hope to set up an English version soon. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re:Transposing
As for learning to transpose, it is an easy process. And the more one uses one's brain, the better. Today's students seem to fear that using the brain to much will consume it (a typical engeneering student's question: why study curvilinear coordinates, aren't Cartesian coordinates enough for everything?) Yes, I know, it's called laziness. Not the best way to success. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Place to buy Mozart Concerti horn parts online
The bad thing about Lilypond is that it is not an intuitive program, but it does reward the effort required to learn it with very quick production of beautifully printed parts. May I add: Lilypond is not a WYSIWYG (what you see is what you get) program. You have to enter the data according to a certain code, than the program will compile it and produce a beautiful pdf. Once you have learned, it's not more time-consuming than Finale. For those who are familiar with scientific or technical writing, Lilypond corrspond to TeX or LaTeX, while Finale and similar programs correspond to MS Word or similar editors. In mathematics and phisics TeX is the standard typesetting system, nearly everybody uses it; all scientific books and articles are written in TeX. It has gained this status because this "lower level" program allows much better control on what you get (at the price of having to learn what is more or less a programming language). And it's free, like Lilypond. If anybody is curious, I can send you a sample of Lilypond output. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] lip trills and machine trills
However Stefan Dohr, at a masterclass, suggested to play the E-F trill in the first movement of K.495 (measure 86) as a lip trill with fingering 12 on the F-horn. I'm not sure why one should do that, as 0-2 "machine trill" on the Bb-horn is much easier. Daniel With these trills (1/2 step e-f) works best as "machine trill on the Bb-horn, but NOT as lip trill) and the other (1/1 step f-g) works as lip trill on the open Bb-horn. In E it makes lip trills on 2nd valve (F-horn) for c-d (bnat-c#) and d-e (c#-d#) plus the machine trill e-f (d#-e = 2-0 on the F-side) respectively in Eb it makes 1 valve lip trills c-d (bb-c) and d-e open (c-d), while e-f (d-eb) remains a machine trill with 2nd valve on the F-side. In D transposition it would work lip trill on 12 for c-d (a-bnat) & on 2nd valve for d-e (bnat-c#) while e-f (c#-d) would remain a machine trill using 2nd valve. Alternated fingering would not be of any good help for an half step lip trill. It is not within the normal compass of the harmonics to provide any opportunity for a half step lip trill except at high bnat & high c3. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] low horn solo
Many of Schubert's Lieder are technically easy, but wonderful and
inspiring music. The first volume of the Peters Edition has the three
great cycles plus many of the best known Lieder.
Daniel
Sandra Clark wrote:
... we don't get many A level composers from which to choose!
We sort of do though, but we have to snitch. As I like to mention
here from time to time - thanks, Sandra, for the excuse - there is a
large repertoire of great music by composers of the First Table that
hornists can play, but which was not composed for us. There are
already available to us lots of arrangements of classical pieces,
but why wait for someone to publish an arrangement?
The Mozart bass-baritone aria collection is just one of many usable
vocal books. Aside from solo opportunities like these, there are
violin duet books, and my favorite, trio sonatas, where the horn can
often play the 2nd melody line, and sometimes also the 1st, making
some of these pieces into concertos for two horns and bass (bass
could be piano and/or bassoon or cello - or a low horn!). These
kinds of pieces connect us to Vivaldi, Telemann, Stamitz, Handel,
Pezel, Quantz, Tartini, Loeillet, various Bachs, ...
All you have to do is transpose to C.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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