RE: [Hornlist] Mozart 4
By all means start at the real solo. Many classical concertos for various instruments often have bits of 'warm up' or even doubled section parts before the formal thematic solo statements. The 4th Concerto of Mozart's has quite a bit of that stuff at the opening, but it would be a bit tedious to listen to on an audition. In performance, I typically leave that sort of stuff out, or just play a teeny bit, softly, to be sure of the tuning situation. Bob Dickow Lionel Hampton School of Music -- When one is asked to play the exposition of Mozart 4 in an audition situation, do you start with the first "real" solo phrase (D-Bb-Eb, etc) or the whole notes that begin what I think is actually the exposition (Bb-D-F, etc). Thanks! Steve ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart 4
Hi list, When one is asked to play the exposition of Mozart 4 in an audition situation, do you start with the first "real" solo phrase (D-Bb-Eb, etc) or the whole notes that begin what I think is actually the exposition (Bb-D-F, etc). Thanks! Steve ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart & Leutgeb
Hello all- I wanted to say thanks to all who responded to my inquiry. I have ordered Jasper Rees' book, and my library jot got 'Das Horn bei Mozart' in this morning. In response to Gary Green, I do realize how difficult from a musical-historical point of view it is to accurately understand people of a different land and different era. Maybe I didn't make it clear that this was for a *short* project just to get us used to searching scholarly journals/books and writing proper bibliographies. I wasn't hoping or needing more than about 1/2 to 1 page of information. I also realize that this then is a somewhat silly assignment, but it is what I have to do, and if I can learn a little about Leutgeb that is great. Again, thanks for your help, and when Jasper Rees' book gets in and I read it, I'm happy to share my thoughts about that here too. Take care, David Meichle Lawrence University _ Click for online loan, fast & no lender fee, approval today http://thirdpartyoffers.juno.com/TGL2111/fc/Ioyw6iifS4HFtyCAENNihDdrRH4EuwcDMTpBLsrPo7IrDci5TZAsEs/?count=1234567890 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart & Leutgeb
I'm going to put my musicologist's hat on for a moment. One of the problems music history professors have with student papers is that the students generally seem to have started at one end of their sheet music file and worked to the other end. That is, tunnel vision for interests, topics, research avenues, etc. It's perfectly fine as a hornist to write about Leutgeb, but your questions below suggest that you have not thought about scholarly work outside the horn world to much of an extent. You need to go to the music history part of your library, find the section on the classic era, and start looking among the works of those scholar-specialists. The horn literature will get you a lot of specific details about Leutgeb and particular musical works, but the more general scholarly works will give you a context for the relationship between the two men and between these two men and the larger circles (musical, social, courtly, etc.) in which they lived and worked. Just as an example of how a broader view can inform one's research, I call to mind Hans Pizka's fascinating series of emails to the hornlist a few years ago delineating a theory that one cannot truly and fully perform Mozart without speaking German since the rhythms and cadences of the musical material reflect the rhythms and cadences of the language. To pursue this idea for a music history paper, then, you have to leave the music section of the library and stroll over to the philology section. If you have not done so already, please plan to broaden your view of your topic to embrace a larger set of issues, which in turn will lead you to a larger set of resources. Best wishes in your research. Gary Greene Date: Tue, 6 May 2008 17:05:21 +From: [EMAIL PROTECTED]: [Hornlist] Mozart & LeutgebHello Listers - = I am currently doing a short research project for a music history class.=I've chosen to briefly investigate the relationship between Mozart and =Leutgeb. I am writing to ask if anyone out there know of any good source=s for information. I have "Horn", by Barry Tuckwell, and it has some in=fo. The preface to the K417 Urtext Edition also has some information. R=eally what I am looking for are any primary sources or accounts of prima=ry sources. My references must be from 'scholarly' places, so I've looke=d on JSTOR, RILM, Grove, WorldCat, Google Scholar, ebscohost and others =through my school library. I've found some good material and some junk a=nd a lot of irrelevant stuff. But does anyone out there have some quick=ideas for information ? Mr. Pizka, does your book "Das Horn Bei Mozart=" have information on Leutgeb ? If so how do I purchase a copy? I've not=been able to find it for sale anywhere, and our library can't get it th=rough inter-library-loan for at least a month. = Thanks, happy practicing, = David MeichleLawrence University _ Make Windows Vista more reliable and secure with Windows Vista Service Pack 1. http://www.windowsvista.com/SP1?WT.mc_id=hotmailvistasp1banner___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart & Leutgeb
At the risk of sounding my own horn, I can't resist jumping in on this one. As Kendall and one or two other listers know, I have recently published a book in the UK entitled I Found My Horn. I'm happy to explain precisely what else the book contains in greater detail to anyone who's interested, but I'd sum it up here as an account of my resuming the horn at the age of 40 after 22 years off. After a year I set myself the task of playing K447 to the assembled ranks of the British Horn Society. I wouldn't wish to make any claims for the book as an academic work, but along the way I have told the history of the instrument from the walls of Jericho to the Beatles. (I did recently come acoss a student at the Guildhall School of Music and Drama in London who said he was using the book as souce material for his written work, though whether he got marked down for it I don't know.) The longest passage of historical research in the book is on Leutgeb. I cannot deny that the known facts are relatively sketchy but by looking around in various dusty tomes in the British Library (which incidentally owns the autograph manuscript to the K447 score) and elsewhere, I was able to assemble everything that is documented about Mozart's horn player all in one place. So far as I know it's not been done before, and certainly not in English. It runs to about 4000 words. The book is available on Amazon.co.uk (and currently offered at a discount). It will be published by HarperCollins in the US in December (with the Leutgeb section slightly truncated) under the less provocative title of A Devil to Play. I hope this helps. Jasper Rees ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart & Leutgeb
David, there is not much info on this topic. We have the living dates of Leutgeb, the inserts of his name into the K.447, Mozarts own listing of his works with the remarks "Leitgebisches Quintett" (K407) & "Ein Waldhornkonzert fuer Leitgeb" (K495, some remarks in Mozart biographies (Jahn, perhaps) about Leutgebs activities in Paris, Milan & Frankfurt & Vienna. We know that Leopold Mozart lent him some money to open his Cheese business in Vienna. There is the inscription on K.417, the colored entries in K.495, the listing in the membership list of the Haydn Societaet in Vienna. There is the publication of the K.495 in Vienna obviously arranged by Leutgeb as competing edition to the "castrated" Andre first edition. All these info would not even fill a quarter page. What would be the purpose of such a research project ? My book is out of print since the late 1980ies. It should be in Pierpont Morgan Library in New York. Good luck, kindest greetings H.Pizka ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart & Leutgeb
Hello Listers - I am currently doing a short research project for a music history class. I've chosen to briefly investigate the relationship between Mozart and Leutgeb. I am writing to ask if anyone out there know of any good sources for information. I have "Horn", by Barry Tuckwell, and it has some info. The preface to the K417 Urtext Edition also has some information. Really what I am looking for are any primary sources or accounts of primary sources. My references must be from 'scholarly' places, so I've looked on JSTOR, RILM, Grove, WorldCat, Google Scholar, ebscohost and others through my school library. I've found some good material and some junk and a lot of irrelevant stuff. But does anyone out there have some quick ideas for information ? Mr. Pizka, does your book "Das Horn Bei Mozart" have information on Leutgeb ? If so how do I purchase a copy? I've not been able to find it for sale anywhere, and our library can't get it through inter-library-loan for at least a month. Thanks, happy practicing, David Meichle Lawrence University _ Click to create your dream holiday in Florida. http://thirdpartyoffers.juno.com/TGL2111/fc/Ioyw6iifFNHxnLR4QFcj9Z9KYvEBSD00UJnjaUppxsKFWRSxjFV7gQ/?count=1234567890 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Horn Concertos
My vote goes to Herman Baumann's recordings, the Mozart and Strauss,also. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Horn Concertos
I think we should accept that there are many great players. What we each prefer is largely a matter of personal taste. For me, I could listen to Radovan Vlatkovic all day. Adam Black> Date: Fri, 25 Apr 2008 00:39:02 -0400> From: [EMAIL PROTECTED]> To: horn@music.memphis.edu> Subject: [Hornlist] Mozart Horn Concertos> > Hello All (again)> > I have been listening to the Mozart Horn Concertos recently, as I will > be playing one of the movements (probably the second concerto, movement > III) in a June recital. I have now listened to three recordings of > these concertos, and I have an opinion-based question. I have heard a > Barry Tuckwell recording, the recording of Dale Clevenger under Janos > Rolla, and the recordings of Eric Ruske with the Scottish Chamber > Orchestra. Of those three, I like the recording with Barry Tuckwell the > least. In the second concert, third movement, it sounds like he was > pushing very hard to get the high B flat out, and I do not like his tone > quality very much. The second place recording is the Dale Clevenger > one. I think that his tone is wonderful in the second concerto, but the > first concerto (in D major) does not have the same rich smoothness. > Therefore, my favorite recording is the Eric Ruske recording. He is a > well-rounded player, and is able to put so much emotion into what he plays.> > And so, my question:> Who do you think is the best player of those three?> > --> Tim> ___> post: horn@music.memphis.edu> unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/adamblack65%40hotmail.com _ You dream job is up for grabs. Grab it. http://mycareer.com.au/?s_cid=596065 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Horn Concertos
Alan Civil's and Gerd Seifert's recordings are my two favorites. On Fri, Apr 25, 2008 at 2:36 AM, hans <[EMAIL PROTECTED]> wrote: > With the Mozart Concertos ? > > The best are Dennis Brain & Michael Hoeltzel ! > > > == > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:horn-bounces+hans [EMAIL PROTECTED] > On > Behalf Of Tim Kecherson > Sent: Friday, April 25, 2008 5:39 AM > To: Hornlist > Subject: [Hornlist] Mozart Horn Concertos > > Hello All (again) > > I have been listening to the Mozart Horn Concertos recently, > as I will be playing one of the movements (probably the > second concerto, movement > III) in a June recital. I have now listened to three > recordings of these concertos, and I have an opinion-based > question. I have heard a Barry Tuckwell recording, the > recording of Dale Clevenger under Janos Rolla, and the > recordings of Eric Ruske with the Scottish Chamber > Orchestra. Of those three, I like the recording with Barry > Tuckwell the least. In the second concert, third movement, > it sounds like he was pushing very hard to get the high B > flat out, and I do not like his tone quality very much. The > second place recording is the Dale Clevenger one. I think > that his tone is wonderful in the second concerto, but the > first concerto (in D major) does not have the same rich > smoothness. > Therefore, my favorite recording is the Eric Ruske > recording. He is a well-rounded player, and is able to put > so much emotion into what he plays. > > And so, my question: > Who do you think is the best player of those three? > > -- > Tim > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka. > de > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/parsifal560sec%40gmail.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Horn Concertos
With the Mozart Concertos ? The best are Dennis Brain & Michael Hoeltzel ! == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Tim Kecherson Sent: Friday, April 25, 2008 5:39 AM To: Hornlist Subject: [Hornlist] Mozart Horn Concertos Hello All (again) I have been listening to the Mozart Horn Concertos recently, as I will be playing one of the movements (probably the second concerto, movement III) in a June recital. I have now listened to three recordings of these concertos, and I have an opinion-based question. I have heard a Barry Tuckwell recording, the recording of Dale Clevenger under Janos Rolla, and the recordings of Eric Ruske with the Scottish Chamber Orchestra. Of those three, I like the recording with Barry Tuckwell the least. In the second concert, third movement, it sounds like he was pushing very hard to get the high B flat out, and I do not like his tone quality very much. The second place recording is the Dale Clevenger one. I think that his tone is wonderful in the second concerto, but the first concerto (in D major) does not have the same rich smoothness. Therefore, my favorite recording is the Eric Ruske recording. He is a well-rounded player, and is able to put so much emotion into what he plays. And so, my question: Who do you think is the best player of those three? -- Tim ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Horn Concertos
[quote] And so, my question: Who do you think is the best player of those three? [/quote] You have got to be kidding me. Tuckwell was principal horn of many orchestras and recorded the Mozart concerti on at least five occasions (let alone all his other recordings). Dale Clevenger has spent 42 years as principal horn of Chicago Symphony. Eric Ruske won a paying job with Cleveland at age 21. You should wish you played as well as any of them. Just on the off chance you are not a troll I'll tell you to go listen to the Brain recording and also the Lowell Greer recording. If your real question was which version is closest to Mozart era style then these two recordings will come much closer to answering your question. Also, go read the Charles Rosen book(s) on classical style, Casals & the Art of Interpretation, Bruno Walters On Music and Music Making, and Quantz Art of Flute Playing. Now go study the Neue Mozart-Ausgabe manuscripts or best of all Professor Pizka's book Das Horn bei Mozart. And no, there is no point to asking who is the best player. The Jack Attack! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Horn Concertos
Hello All (again) I have been listening to the Mozart Horn Concertos recently, as I will be playing one of the movements (probably the second concerto, movement III) in a June recital. I have now listened to three recordings of these concertos, and I have an opinion-based question. I have heard a Barry Tuckwell recording, the recording of Dale Clevenger under Janos Rolla, and the recordings of Eric Ruske with the Scottish Chamber Orchestra. Of those three, I like the recording with Barry Tuckwell the least. In the second concert, third movement, it sounds like he was pushing very hard to get the high B flat out, and I do not like his tone quality very much. The second place recording is the Dale Clevenger one. I think that his tone is wonderful in the second concerto, but the first concerto (in D major) does not have the same rich smoothness. Therefore, my favorite recording is the Eric Ruske recording. He is a well-rounded player, and is able to put so much emotion into what he plays. And so, my question: Who do you think is the best player of those three? -- Tim ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Horn Duets - transcribed for trumpet and horn, and using baritone clef
With notation programs when you want to change clefs you get a menu of all types of clefs to choose from. Obviously the person doing the notating chose the wrong one--not paying attention, it looks like. And obviously Pelican doesn't proofread their publications. Unfortunately, this is not uncommon. Eric James - Original Message From: Steve Freides <[EMAIL PROTECTED]> To: The Horn List Sent: Sunday, February 10, 2008 9:14:21 PM Subject: RE: [Hornlist] Mozart Horn Duets - transcribed for trumpet and horn, and using baritone clef I have no clue, which is why I asked, Dan. There is baritone clef in other parts of this addition as well, e.g., #3. If that's really a typo, I find it hard to imagine, as most music publishing software would make you go out of your way to use a baritone clef. -S- > -Original Message- > From: Dan Phillips [mailto:[EMAIL PROTECTED] > Sent: Sunday, February 10, 2008 8:51 PM > To: The Horn List > Subject: Re: [Hornlist] Mozart Horn Duets - transcribed for > trumpet and horn,and using baritone clef > > > On Feb 10, 2008, at 7:44 PM, Steve Freides wrote: > > The French Horn part switches to baritone clef at this point > > Did you REALLY think baritone clef is what was intended? ;-) > It's a misprint. It should be bass clef, and the parts are in octaves. > > Dan > > > Dan Phillips > Associate Professor > Rudi E. Scheidt School of Music > University of Memphis > [EMAIL PROTECTED] > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eric_d_james%40yahoo.com Never miss a thing. Make Yahoo your home page. http://www.yahoo.com/r/hs ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Horn Duets - transcribed for trumpet and horn, and using baritone clef
> -Original Message- > From: Jay Anderson [mailto:[EMAIL PROTECTED] > Sent: Sunday, February 10, 2008 9:55 PM > To: The Horn List > Subject: Re: [Hornlist] Mozart Horn Duets - transcribed for > trumpet and horn,and using baritone clef > > On Feb 10, 2008 7:14 PM, Steve Freides > <[EMAIL PROTECTED]> wrote: > > I have no clue, which is why I asked, Dan. There is > baritone clef in > > other parts of this addition as well, e.g., #3. If that's really a > > typo, I find it hard to imagine, as most music publishing software > > would make you go out of your way to use a baritone clef. > > Compare it with Mutopia's edition: > http://www.mutopiaproject.org/cgibin/make-table.cgi?collection =kv487&preview=1 OK, I get it - the clef is wrong, but the position of the notes on the staff is correct for bass clef. Next question - up a fourth or down a fifth from what's written? I _will_ get in touch w/ the publisher about this. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Horn Duets - transcribed for trumpet and horn, and using baritone clef
On Feb 10, 2008 7:14 PM, Steve Freides <[EMAIL PROTECTED]> wrote: > I have no clue, which is why I asked, Dan. There is baritone clef in other > parts of this addition as well, e.g., #3. If that's really a typo, I find > it hard to imagine, as most music publishing software would make you go out > of your way to use a baritone clef. Compare it with Mutopia's edition: http://www.mutopiaproject.org/cgibin/make-table.cgi?collection=kv487&preview=1 It lists Masters Music Editions as the source. They are are a reprint company from what I know so it's hard to say what the original edition was. In any case the notes are right. The clef is wrong. It is curious that the software, typesetter, and proof readers let this through. -Jay ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Horn Duets - transcribed for trumpet and horn, and using baritone clef
I have no clue, which is why I asked, Dan. There is baritone clef in other parts of this addition as well, e.g., #3. If that's really a typo, I find it hard to imagine, as most music publishing software would make you go out of your way to use a baritone clef. -S- > -Original Message- > From: Dan Phillips [mailto:[EMAIL PROTECTED] > Sent: Sunday, February 10, 2008 8:51 PM > To: The Horn List > Subject: Re: [Hornlist] Mozart Horn Duets - transcribed for > trumpet and horn,and using baritone clef > > > On Feb 10, 2008, at 7:44 PM, Steve Freides wrote: > > The French Horn part switches to baritone clef at this point > > Did you REALLY think baritone clef is what was intended? ;-) > It's a misprint. It should be bass clef, and the parts are in octaves. > > Dan > > > Dan Phillips > Associate Professor > Rudi E. Scheidt School of Music > University of Memphis > [EMAIL PROTECTED] > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Horn Duets - transcribed for trumpet and horn, and using baritone clef
On Feb 10, 2008, at 7:44 PM, Steve Freides wrote: The French Horn part switches to baritone clef at this point Did you REALLY think baritone clef is what was intended? ;-) It's a misprint. It should be bass clef, and the parts are in octaves. Dan Dan Phillips Associate Professor Rudi E. Scheidt School of Music University of Memphis [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Horn Duets - transcribed for trumpet and horn, and using baritone clef
OK, here's my situation: 1. I don't know the Mozart horn duets in their original form. I heard them once in a concert but I've never played them. 2. I bought a transcription, edited by C. J. Maxwell and published by Pelican Music, of these same duets, for trumpet and horn. Perfect for me and my son - he plays both instruments but is focusing on trumpet and trying to minimize his lip time on the horn at his trumpet teacher's suggestion. (My son is 15). 3. I read horn at concert pitch - I look at it, when it's in treble clef, as if it's in mezzo-soprano clef. Thus, written G to me is played as concert middle C (which is what it is, of course). That's the background, here's the question: At the end of the first duet, the trumpet part for the final phrase goes like this, almost all in eighth notes: G C C C G E E E C G (quarter) D (dotted-eighth) E (sixteenth) C (quarter). In concert pitch, that's a whole step lower of course, basically Bb major chord. The French Horn part switches to baritone clef at this point (for those who don't know, that's an F clef but on the middle line of the staff). The written pitches are E A A A E C C C A E (quarter) E (quarter) A I'm confused (no doubt that you are, too, dear reader, by this point) as to what I'm supposed to be doing with baritone clef here. I think my first note of this phrase, which is written on the second space of the staff and therefore an E in baritone clef, is supposed to sound as a concert A. If we do it that way, the parts become, at concert pitch and leaving out repeated tones F Bb F D Bb F C-D Bb A D A F D A AD that sounds right, but then the question is in which register I'm supposed to play this stuff. I assume written first note E is the second partial then up a major 3rd, usually fingered 3 alone on the F horn and the lowest concert A one can play. If you've followed to this point, am I anywhere near correct? I scanned in the page in question, which you may view here: http://www.kbnj.com/music/mozartduets.jpg On my web browser, it initially came up a bit hard to see, but if you zoom in on it, everything is there. Thanks in advance. I would have explained this more briefly but, frankly, I am unable. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Concerto #3
Ideally, I recommend that you listen to a few recordings and then get to work writing your own cadenza. It's good experience and will teach you a lot about Mozart's style in his concertos. The cadenza should be your own improvisation. Paul Mansur On Feb 1, 2008, at 10:14 PM, Tim Kecherson wrote: I am playing Mozart's 3rd Horn Concerto in June, and I am looking for a cadenza to play. Is the cadenza necessary? If so, where can I find one? Thank you very much. -- Timothy Kecherson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/ options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Concerto #3
--- "Richard V. West" <[EMAIL PROTECTED]> wrote: > Tim Kecherson wrote: > > I am playing Mozart's 3rd Horn Concerto in June, > and I am looking for a cadenza to play. Is the > cadenza necessary? If so, where can I find one? > Thank you very much. > > > > -- > > Timothy Kecherson > > > In the first movement, absolutely. It doesn't have > to be long. Listen to > as many recordings as possible to hear the various > ways in which a > cadenza can be built from the themes of the first > movement. A long time > ago, Christopher Leuba (I think) transcribed all the > cadenzas which up > to that time had been recorded (late 60s? early > 70s?) for the various > Mozart concerti. They were published in a magazine > like the > "Instrumentalist" but my memory is very hazy about > this (it's called the > attorney general syndrome). Perhaps someone on this > list can recall the > exact source. > > Richard in Seattle It was the _Instrumentalist_ in which the cadenzas were published, as I remember seeing it several times while looking for other information in the massive "Brass Anthology" my high school had. I have not the faintest idea as the the date, though early 70's sounds correct. I seem to recall cadenzas by Aubrey and Dennis Brain, Alan Civil, Barry Tuckwell, and Mr. Leuba, and perhaps Hermann Baumann and one or two others. Ben Never miss a thing. Make Yahoo your home page. http://www.yahoo.com/r/hs ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Concerto #3
I did not know that Chris Leuba did a similar work as I had done for the Mozart book I published 1980. Regarding Cadenzas: Dennis Brains cadenzas to the Mozart concertos are simple, not too long, have virtuoso content & are very effectful, while just in the right length. They are easy to memorize too. I think having them in the computer, so I might send them as pdf, if requested. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Richard V. West Sent: Saturday, February 02, 2008 5:10 AM To: The Horn List Subject: Re: [Hornlist] Mozart Concerto #3 Tim Kecherson wrote: > I am playing Mozart's 3rd Horn Concerto in June, and I am looking for a cadenza to play. Is the cadenza necessary? If so, where can I find one? Thank you very much. > > -- > Timothy Kecherson > In the first movement, absolutely. It doesn't have to be long. Listen to as many recordings as possible to hear the various ways in which a cadenza can be built from the themes of the first movement. A long time ago, Christopher Leuba (I think) transcribed all the cadenzas which up to that time had been recorded (late 60s? early 70s?) for the various Mozart concerti. They were published in a magazine like the "Instrumentalist" but my memory is very hazy about this (it's called the attorney general syndrome). Perhaps someone on this list can recall the exact source. Based on what you hear and what you can play, you can create your ownthat's the whole point of a cadenza when the composer hasn't written one out. Richard in Seattle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Concerto #3
Richard West notes: A long time ago, Christopher Leuba (I think) transcribed all the cadenzas which up to that time had been recorded (late 60s? early 70s?) for the various Mozart concerti. They were published in a magazine like the "Instrumentalist" but my memory is very hazy about this (it's called the attorney general syndrome). Perhaps someone on this list can recall the exact source. You might also give Chris a call at (206) 522-3957 and ask him about his transcriptions. David Lamb in Seattle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Concerto #3
Tim Kecherson wrote: I am playing Mozart's 3rd Horn Concerto in June, and I am looking for a cadenza to play. Is the cadenza necessary? If so, where can I find one? Thank you very much. -- Timothy Kecherson In the first movement, absolutely. It doesn't have to be long. Listen to as many recordings as possible to hear the various ways in which a cadenza can be built from the themes of the first movement. A long time ago, Christopher Leuba (I think) transcribed all the cadenzas which up to that time had been recorded (late 60s? early 70s?) for the various Mozart concerti. They were published in a magazine like the "Instrumentalist" but my memory is very hazy about this (it's called the attorney general syndrome). Perhaps someone on this list can recall the exact source. Based on what you hear and what you can play, you can create your ownthat's the whole point of a cadenza when the composer hasn't written one out. Richard in Seattle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Concerto #3
Write your own. Tim Kecherson <[EMAIL PROTECTED]> wrote: I am playing Mozart's 3rd Horn Concerto in June, and I am looking for a cadenza to play. Is the cadenza necessary? If so, where can I find one? Thank you very much. -- Timothy Kecherson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/brassyhorn%40yahoo.com Come check me out on MySpace at http://www.myspace.com/ericegle - Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Concerto #3
I am playing Mozart's 3rd Horn Concerto in June, and I am looking for a cadenza to play. Is the cadenza necessary? If so, where can I find one? Thank you very much. -- Timothy Kecherson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Quintet
Howard, The bassoonist was a colleague of mine when I was principal horn in the Israel Sinfonietta. He was principal bassoon. My best guess is that the YouTube link is of a performance at the 2005 Jerusalem International Chamber Music Festival. The personnel listed matches those in the performance on the September 10th 11 AM concert listing. http://www.jcmf.org.il/EN/program-old.asp Happy Holidays! John Schreckengost Chicago, IL ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Requeim
I have recounted the tale here before of the days (yes, it happened more than once) that I was booked to play a concert with a freelance orchestra. I repeat it to encourage the newbies. At the start of the rehearsal I asked for the horn parts of the two pieces I did not know. There were none. The conductor apoligised and said that that being so, I was only needed for the Mozart Requiem in the second half. "But" I told him, disguising my glee as best I could, "there are no horns in the Mozart Req". He then spoke those immortal words that I have cherished ever since - "Then you'd better go and see the treasurer". I took my money and went home having split not a single note all day. Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Requeim
I fall into a not-unheard-of-but-pretty-rare category of horn players who have played the Mozart Requeim. (Those who know the instrumentation well can guess the jist of this story, but I'll tell it anyway). As a college student I got a call to play the Mozart. I told my horn teacher about it. He said that there are no horn parts, but there must be other works on the concert using the horn. So I took the gig. When I got photocopies of the music in the mail, there was only the Requeim in the folder. I found the parts extremely difficult, very high, and unlike any classical horn parts I had ever seen. But, hey, it was a gig; and I was hungry. When I got to the first rehearsal and saw the original parts, I realized the mistake. The piece was written not for "horns in F" but for "Corni di bassetto en fa"--Basset Horns in F. I was playing clarinet parts. The contractor hadn't known the difference. I pointed it out to the conductor expecting to be sent home. But he shrugged his shoulders and said, "Too late to hire anybody now. Go ahead and play it". It was unbelievable fun!! Really inspiring to be a part of such a work. Especially knowing that I would never play it again. By the way, the other horn player's wife was in the audience. After the show, we asked her how it sounded, expecting her to say it was hideous. She said, "It sounded great! It didn't sound anything like Mozart, but it sounded great". Tim Thompson Timothy Thompson, D.M.A. Professor of Music University of Arkansas at Fayetteville ___ 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
This message from David Thompson (http://launch.groups.yahoo.com/group/horn/message/34240) states that "... we recently acquired the internet distribution of the Kalmus publications via kalmus.com" >= Original Message From "Michiel van der Linden" <[EMAIL PROTECTED]> = >I thought Kalmus was bought by Thompson because of this: http://www.kalmus.com/ >I now see there's also a site www.kalmus-music.com though... >Sorry, I jumped to conclusions > >2007/10/22, BVD Press <[EMAIL PROTECTED]>: >> > >> > >> >Kalmus /is/ Thompson Edition ;) >> > >> >> >> ?? >> >> Kalmus bought Thompson??? Thompson bought Kalmus??? >> -- >> Bryan Doughty >> BVD Press and Cimarron Music Press >> 79 Meetinghouse Lane >> Ledyard, CT 06339 >> [EMAIL PROTECTED] >> 860 536-2185 >> http://www.bvdpress.com/ >> http://www.cimarronmusic.com/ -- Jonell Lindholm Reisterstown, MD USA [EMAIL PROTECTED] ___ 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
Aren't there two Kalmuses (Kalmii?) - Edwin and the other one. Cheers, Lawrence ___ 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 thought Kalmus was bought by Thompson because of this: http://www.kalmus.com/ I now see there's also a site www.kalmus-music.com though... Sorry, I jumped to conclusions 2007/10/22, BVD Press <[EMAIL PROTECTED]>: > > > > > >Kalmus /is/ Thompson Edition ;) > > > > > ?? > > Kalmus bought Thompson??? Thompson bought Kalmus??? > -- > Bryan Doughty > BVD Press and Cimarron Music Press > 79 Meetinghouse Lane > Ledyard, CT 06339 > [EMAIL PROTECTED] > 860 536-2185 > http://www.bvdpress.com/ > http://www.cimarronmusic.com/ > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/mvdl%40evonet.be > ___ 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
Kalmus /is/ Thompson Edition ;) ?? Kalmus bought Thompson??? Thompson bought Kalmus??? -- Bryan Doughty BVD Press and Cimarron Music Press 79 Meetinghouse Lane Ledyard, CT 06339 [EMAIL PROTECTED] 860 536-2185 http://www.bvdpress.com/ http://www.cimarronmusic.com/ ___ 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
There are individual instrument parts (bass, violins, violas, oboes, horns, score, and solo horn) for concertos K412 and K417 at this site: < http://www.mutopiaproject.org/cgibin/make-table.cgi?Composer=MozartWA > -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of David Jewell Sent: Sunday, October 21, 2007 11:54 PM To: The Horn List Subject: Re: [Hornlist] Mozart full orchestra parts concert 1 d maj Hi folks - just for information's sake, all of the free score websites that I have utilized, such as the imslp.org; cpdl.org; and mutopiaproject.org; are scores only site. If I recall correctly, so is the Neue Mozart Ausgabe site, [which I can't seem to access right now]. This means that if you wanted to print individual parts you would have to input them into one of the music notation programs available, either keyboardally [?] or through scanning. Far easier and cheaper on the ink and time budget to simply rent or purchase them through ThompsonEdition, Schirmer, Kalmus, Breithkopf & Hartel, etc. Paxmaha Greg Campbell <[EMAIL PROTECTED]> wrote: [EMAIL PROTECTED] wrote: > The digitized facsimiles of the Neue Mozart-Ausgabe are freely available > online at http://dme.mozarteum.at/ Isn't that just the score?Hmmm. I didn't even think about that. The site won't load for me right now anyway, but I bet you're right.Anyhow, the parts are easily available for purchase, as I said at the end of my last email, and as others have said too. Greg __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/arsmiley%40comcast.net ___ 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
Some of the free sites do indeed have seperate parts available, although you have to thoroughly check the quality. You can be pleasantly surptised, but I remember spending *a lot* of time getting some Tchaikowsky parts cleaned up for a performance last year. In retrospect just buying the set would've been simpler. Unfortunenately the biggest and best organized site, www.imslp.org , was taken down by its (student) owner last weekend due to David vs. Goliath style legal tactics... Read the statement on the site and weep for the loss of a great resource for all musicians. Kalmus /is/ Thompson Edition ;) Also remember that although you can get the score of the New Mozart Edition for free, using it for public performance is not legal... 2007/10/22, David Jewell <[EMAIL PROTECTED]>: > Hi folks - just for information's sake, all of the free score websites that I > have utilized, such as the imslp.org; cpdl.org; and mutopiaproject.org; are > scores only site. If I recall correctly, so is the Neue Mozart Ausgabe site, > [which I can't seem to access right now]. This means that if you wanted to > print individual parts you would have to input them into one of the music > notation programs available, either keyboardally [?] or through scanning. > Far easier and cheaper on the ink and time budget to simply rent or purchase > them through ThompsonEdition, Schirmer, Kalmus, Breithkopf & Hartel, etc. ___ 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
Hi folks - just for information's sake, all of the free score websites that I have utilized, such as the imslp.org; cpdl.org; and mutopiaproject.org; are scores only site. If I recall correctly, so is the Neue Mozart Ausgabe site, [which I can't seem to access right now]. This means that if you wanted to print individual parts you would have to input them into one of the music notation programs available, either keyboardally [?] or through scanning. Far easier and cheaper on the ink and time budget to simply rent or purchase them through ThompsonEdition, Schirmer, Kalmus, Breithkopf & Hartel, etc. Paxmaha Greg Campbell <[EMAIL PROTECTED]> wrote: [EMAIL PROTECTED] wrote: > The digitized facsimiles of the Neue Mozart-Ausgabe are freely available > online at http://dme.mozarteum.at/ Isn't that just the score?Hmmm. I didn't even think about that. The site won't load for me right now anyway, but I bet you're right.Anyhow, the parts are easily available for purchase, as I said at the end of my last email, and as others have said too. Greg __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart full orchestra parts concert 1 d maj
[EMAIL PROTECTED] wrote: The digitized facsimiles of the Neue Mozart-Ausgabe are freely available online at http://dme.mozarteum.at/ Isn't that just the score? Hmmm. I didn't even think about that. The site won't load for me right now anyway, but I bet you're right. Anyhow, the parts are easily available for purchase, as I said at the end of my last email, and as others have said too. Greg ___ 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
Nah, they were better than us - no point in making excuses, but our guys did well to get as far as they did - yeah, next time maybe. Cheers, lawrence lawrenceyates.co.uk ___ 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
Springboks had your number, eh. Try this phrase, "Just wait till next time." I have found it very useful when discussing sports and a particular team I have a connection with. (Actually the one I use if "just wait till next year," but that wouldn't quite work in this situation.) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Sunday, October 21, 2007 4:16 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Mozart full orchestra parts concert 1 d maj You can get the score from the Mozart online something or other (I'll find the details if you really want them) but I don't think the parts were there. Cheers, Lawrence (proud of our lads in Paris last night and of the dignified way in which they conducted themselves) lawrenceyates.co.uk ___ 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/archive%40jab.org
Re: [Hornlist] Mozart full orchestra parts concert 1 d maj
In a message dated 21/10/2007 23:05:59 GMT Daylight Time, [EMAIL PROTECTED] writes: The digitized facsimiles of the Neue Mozart-Ausgabe are freely available online at http://dme.mozarteum.at/ Isn't that just the score? Cheers, Lawrence lawrenceyates.co.uk ___ 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
Ellen Manthe wrote: I believe that you can get them free of charge from one of the internet music services. I saw them once and should have downloaded them but didn't. Now I will think about this constantly until I again have time to search for them again. There are orchestra parts for most of the Mozart horn concerti, I believe. The digitized facsimiles of the Neue Mozart-Ausgabe are freely available online at http://dme.mozarteum.at/ It may be more satisfying to buy nicely printed parts. The NMA (like the ones online) is printed by Barenreiter. Other (older, less critical) editions can be obtained quite inexpensively from places like Kalmus (www.kalmus.com). Greg ___ 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
Try this: http://www.mutopiaproject.org/cgibin/make-table.cgi?Composer=MozartWA -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Ellen Manthe Sent: Sunday, October 21, 2007 5:05 PM To: The Horn List Cc: [EMAIL PROTECTED] Subject: Re: [Hornlist] Mozart full orchestra parts concert 1 d maj I believe that you can get them free of charge from one of the internet music services. I saw them once and should have downloaded them but didn't. Now I will think about this constantly until I again have time to search for them again. There are orchestra parts for most of the Mozart horn concerti, I believe. Ellen Manthe On 10/21/07 10:34 AM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: > 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 > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/ellenmanthe%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/arsmiley%40comcast.net ___ 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
You can get the score from the Mozart online something or other (I'll find the details if you really want them) but I don't think the parts were there. Cheers, Lawrence (proud of our lads in Paris last night and of the dignified way in which they conducted themselves) lawrenceyates.co.uk ___ 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 believe that you can get them free of charge from one of the internet music services. I saw them once and should have downloaded them but didn't. Now I will think about this constantly until I again have time to search for them again. There are orchestra parts for most of the Mozart horn concerti, I believe. Ellen Manthe On 10/21/07 10:34 AM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: > 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 > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/ellenmanthe%40earthlink.net ___ 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] 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 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Symphonies
#29 is my favorite of the Mozart symphonies. Actually, I've always preferred his piano concertos. Fred On 10/18/07, Graham Jarvis <[EMAIL PROTECTED]> wrote: > > Hi (again) > While I'm at it (I normally just lurk). > I was at a live concert a couple of weeks ago when the Swedish Chamber > orchestra (our local band!) played Mozart's "little" g-minor symphony (No 25 > - K183 I think). > I recall some discussion of this symphony on the list a while ago. The > performance was brilliant and when I looked at a score of the last movement > I was even more impressed by what I'd heard. > > The experience got me hungry for more - and I thought I'd just ask you > guys - what are your favourite Mozart symphonies. To play? To listen to? > > Regards > Graham Jarvis > > -- > Jag använder gratisversionen av SPAMfighter för privata användare. > 1697 spam har blivit blockerade hittills. > Betalande användare har inte detta meddelande i sin e-post. > Hämta gratis SPAMfighter här: http://www.spamfighter.com/lsv > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/fbaucom%40gmail.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Symphonies
Hi (again) While I'm at it (I normally just lurk). I was at a live concert a couple of weeks ago when the Swedish Chamber orchestra (our local band!) played Mozart's "little" g-minor symphony (No 25 - K183 I think). I recall some discussion of this symphony on the list a while ago. The performance was brilliant and when I looked at a score of the last movement I was even more impressed by what I'd heard. The experience got me hungry for more - and I thought I'd just ask you guys - what are your favourite Mozart symphonies. To play? To listen to? Regards Graham Jarvis -- Jag använder gratisversionen av SPAMfighter för privata användare. 1697 spam har blivit blockerade hittills. Betalande användare har inte detta meddelande i sin e-post. Hämta gratis SPAMfighter här: http://www.spamfighter.com/lsv ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart, horns, Franz Strauss
Hello Bill, what a coincidence. Flying back from Rome to Munich I sat besides the pianist, who plays in the Trio with your wife. We hat a very intense chat until we deboarded in Munich. They flew back to SFO. Franz Strausas´horn is in private property. I was in care of it during the restauration process. You can see it before & after on my homepage. I think there are some MIDI also, when I played it with Franz´ mouthpiece, a real knife. Cannot understand how he played all three acts of Meistersinger with it. Did you know, that I published nearly all his solo pieces & horn with orch. Franz ´mouthpieces are wth his grand grand nephew & in Garmisch (Strauss Archiv). His Horn was an Ottensteiner, very small bore, but beautiful small sound. The horn is from 1863 & (now) in perfect conditioin. The valves just needed cleaning. If you look in the Google under Franz Strauss, you might find my pages directly. Also, if you like an info file (pdf) about the coming Dennis Brain DVD, write back . I will send it as attachement. Kindest greetings Hans -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Tuesday, August 21, 2007 8:51 PM To: horn@music.memphis.edu Subject: [Hornlist] Mozart, horns, Franz Strauss Re Mozart: Symphony No. 29 K. 201 is fun to play and a masterpiece. I have played it on a Bb/f descant, A natural Horn, and a F/Bb/f Triple as well as the 2nd part on a double, but not 250-500 times. What it really needs is a great 2nd Horn player who can match tone and tuning and nail the high notes as well as the 1st Horn. Changing the subject, Hans P. I have a question for you since you are in Munich. Where is Franz Strauss's Horn and mouthpiece? What kind of horn did he use? Have you ever played it? It should be of some interest since he was one of the finest hornplayers who ever lived--"the Joachim of the Horn", as they say. Bill Klingelhoffer ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart, horns, Franz Strauss
Re Mozart: Symphony No. 29 K. 201 is fun to play and a masterpiece. I have played it on a Bb/f descant, A natural Horn, and a F/Bb/f Triple as well as the 2nd part on a double, but not 250-500 times. What it really needs is a great 2nd Horn player who can match tone and tuning and nail the high notes as well as the 1st Horn. Changing the subject, Hans P. I have a question for you since you are in Munich. Where is Franz Strauss's Horn and mouthpiece? What kind of horn did he use? Have you ever played it? It should be of some interest since he was one of the finest hornplayers who ever lived--"the Joachim of the Horn", as they say. Bill Klingelhoffer ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Sinfonia no.29 in A
Jonathan, I studied Strauss 2 when I was seventeen - well, I studied it with the first performer, my teacher Gootfried von Freiberg (we spent just just two weeks with it, means two or thre lessons) and I played it in public at age 18, no near 19. My first performance with orchestra was 1964. This performance has been recorded secretly by my father & I found the tape after his death so I produced it on CD, all played on single F Pumpenhorn. As I began my music studies at age 4 with violin, at age 9 adopting viola & horn too, exposed to orchestra playing & professional playing & solo, I think I did it mature. But I am not the "surveyors rod" of all things. With this performance Oct. 1964 I am within the list of the first ten soloists of this piece. May I include some interesting info for you as pdf file. It is a shameless advertising. Kindest greetings Hans ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Sinfonia no.29 in A
On 20/08/07, hans <[EMAIL PROTECTED]> wrote: > Jonathan, you are absolutely right. Today´s young & less > young players are much better prepared - technically - than > we were or are, but they miss the music all too often or > completely. Everything needs to be "set up", nothing from > the heart, nothing naturally (with few exceptions, by far > not enough exceptions !). > I suspect that has been true of young players throughout the ages, with rare exceptions. I think it is perhaps unfair to complain that young players lack a maturity which requires age and experience they have not yet had an opportunity to acquire. For instance, I learned Strauss 2 while I was at college. At least, I learned the notes. Quite frankly I couldn't make head or tail of it musically, particularly the first movement (though I lacked the maturity at the time to fully realise the fact). A couple of years ago, I was asked to participate in a performance of the Sonatina for Wind "Happy Workshop", which was another of Strauss's "Indian Summer" pieces. And as I listened to it and practiced my part, and as we rehearsed it I gradually felt I understood better what Strauss was on about. I listened to several other of his late works and gained insight from them as well. I suspect that years of playing and listening to much other music has also contributed. I don't think it is possible to understand Strauss without also having listened extensively to Mozart, Schumann, Wagner, Bruckner and Mahler, among others. Now, 25 years on from when I first learned the concerto, I think I could now manage a fairly musical performance of it. Of course, as an amateur player I'm not likely ever to be asked to perform it! But that doesn't bother me. It is enough to know that I have learned enough that I could give it a go, even though there is always more still to learn. Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Sinfonia no.29 in A
Jonathan, you are absolutely right. Today´s young & less young players are much better prepared - technically - than we were or are, but they miss the music all too often or completely. Everything needs to be "set up", nothing from the heart, nothing naturally (with few exceptions, by far not enough exceptions !). Well, I agree, the "Emperor Concerto" is a real challenge, but a good first horn must have a perfectr secure high c & be able to enter with it in an ideal way & hold it a few measures, nearly being able to guarantee these entrances. If he or she fails it one out of ten times, well, this must be regarded as accident not more. Watch some so called famous gurus of the baton, how they spoil the performances, how they make their accidents - and we bring them back to safe haven .. Shows how stupid & noble we are the same time. Regarding musicality in these delicate part of the musical panorama (Mozart & Haydn & around): I miss the feeling of joy, I miss the champagne feeling Mozart is so famous for, I miss the absolutism of Haydn, the lighness, the "light of the sun" with them, also Mozarts serenity & solemnity. Most pieces are executed in a most SELFISH way today and too many horn player avoid any kind of "musical risk", they even do not understand what is meant. If you hold a masterclass & tell the one particular young player "do not rush, keep more time for the sixteenths here, think playing it with a violin, think up-bow-wise", they first seem not to understand what we are telling them, but the next candidate playing the same piece & movement seems not having listened to the teaching we gave just the other candidate. Is their brain not able any more to concentrate ? Are they so much spoiled from the acoustical environment ? Do they have so much disorder in their brain ? If you tell them, (Strauss 1) take care that the first octave be a real clean octave, they do it once, but the next octave jump is the same disaster. Do not shift the triplets but play them musically results in an accordion-like strudel, as if we have not given any advise. But they can play fast things & double- & triple-tongue ... But if you tell them to make the upbeat for a typical Wagner motive with a separated sixteenth or eighth at the upbeat to express the musical sense, they do not understand, or they play a Mozart concerto (first mov.) like a long "wurst" (sausage) without any articulation, but have a collection of recordings at home .. That is our problem, a BIG PROBLEM, an illness WORLDWIDE. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jonathan West Sent: Sunday, August 19, 2007 9:13 PM To: The Horn List Subject: Re: [Hornlist] Mozart Sinfonia no.29 in A On 19/08/07, hans <[EMAIL PROTECTED]> wrote: > What is so difficult with this symphony ? I have received several > stories about it, that it is feared very much & horn players are just > happy when the horns are back in their case. Yes, off course, it is a > difficult piece, IF PLAYED ON THE REGULAR BIG HORNS. But this symphony > - I nicknamed it "THE UNAVOIDABLE" - is a standard for every > professional chamber orchestra, which required a very light sound from > the horns. Surely much the same can be said about the horn parts for most Mozart works? In fact, I wouldn't rate the 29th symphony as the most difficult of Mozart's orchestral works. It certainly has its challenges, and the held high Gs for horn in A have to be approached with delicacy. But there are other Mozart works I think are tougher for the horns, for instance the Piano Concerto No. 18 in B flat, which has a number of very exposed sustained high Gs for horn in B flat alto. > To day we have the right instruments to produce this very special > silvery sound: the single high-F horn. I accept that the single descant F horn can make it much easier to play such pieces with the lightness of touch that is necessary, but it seems to me that the musicality with which you approach the piece is more important than the instrument you use. Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Sinfonia no.29 in A
On 19/08/07, hans <[EMAIL PROTECTED]> wrote: > What is so difficult with this symphony ? I have received > several stories about it, that it is feared very much & horn > players are just happy when the horns are back in their > case. Yes, off course, it is a difficult piece, IF PLAYED ON > THE REGULAR BIG HORNS. But this symphony - I nicknamed it > "THE UNAVOIDABLE" - is a standard for every professional > chamber orchestra, which required a very light sound from > the horns. Surely much the same can be said about the horn parts for most Mozart works? In fact, I wouldn't rate the 29th symphony as the most difficult of Mozart's orchestral works. It certainly has its challenges, and the held high Gs for horn in A have to be approached with delicacy. But there are other Mozart works I think are tougher for the horns, for instance the Piano Concerto No. 18 in B flat, which has a number of very exposed sustained high Gs for horn in B flat alto. > To day we have the right instruments to produce > this very special silvery sound: the single high-F horn. I accept that the single descant F horn can make it much easier to play such pieces with the lightness of touch that is necessary, but it seems to me that the musicality with which you approach the piece is more important than the instrument you use. Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Sinfonia no.29 in A
What is so difficult with this symphony ? I have received several stories about it, that it is feared very much & horn players are just happy when the horns are back in their case. Yes, off course, it is a difficult piece, IF PLAYED ON THE REGULAR BIG HORNS. But this symphony - I nicknamed it "THE UNAVOIDABLE" - is a standard for every professional chamber orchestra, which required a very light sound from the horns. To day we have the right instruments to produce this very special silvery sound: the single high-F horn. But if you are not familiar with the F-horn fingerings & finger it one octave lower, you might go to hell playing this symphony. But if you are at home with the F-horn fingerchart - at home means, that you can play these things even fold blind - then there should not be any difficulty. I have played it between 250- & 500-times with various chamber orchestras ( gave up counting) & earned a lot of money with it. It was great fun allwaysd & the conductors very scared BEFORE the audience. Wonderful music, but after that mantimes it has become difficult to bear the "earworm" beginning from the first movement. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Divertimento K. 270 - instrumentation?
Lawrence, all lament that originals be like the autograph & discuss about fly droppings as the ultimate goal, why then arranging such as there is plenty of good music for the wind quintet. And what´s the difference finding a companion on the horn ? Is this so difficult ? The quintet version has just one horn. Isn´t the horn a very popular instrument ? And it does not matter if using a flute instead of an oboe. But a clarinet taking over the first horn part And how about the second bassoon ?? Well, get two more horns & forget about the clarinet. The extra horn could take over the second bassoon role easily, not so much different in the timbre. This would work much better than a quintet version and it would respect more the original, well, just one original instrument replaced by another (horn instead of 2nd bassoon). The oboe/flute thing said before, is not an issue. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Saturday, May 05, 2007 7:58 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] Mozart Divertimento K. 270 - instrumentation? In a message dated 05/05/2007 06:29:17 GMT Daylight Time, [EMAIL PROTECTED] writes: The quintet version is another stupidity by a musical idiot & disgusting arranger. I think this is a bit harsh. Whilst I would prefer to play and hear the original, arrangements such as this do at least allow those who can raise a wind quintet but not the original instrumentation the opportunity to play and enjoy pieces which would be otherwise denied them. Generally, I don't like arrangements, but I recognise them as a necessary evil. (Except, of course, those arrangements intended to be played for fun and not really meant as serious contributions to the world of serious music). Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Divertimento K. 270 - instrumentation?
In a message dated 05/05/2007 06:29:17 GMT Daylight Time, [EMAIL PROTECTED] writes: The quintet version is another stupidity by a musical idiot & disgusting arranger. I think this is a bit harsh. Whilst I would prefer to play and hear the original, arrangements such as this do at least allow those who can raise a wind quintet but not the original instrumentation the opportunity to play and enjoy pieces which would be otherwise denied them. Generally, I don't like arrangements, but I recognise them as a necessary evil. (Except, of course, those arrangements intended to be played for fun and not really meant as serious contributions to the world of serious music). Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Divertimento K. 270 - instrumentation?
The quintet version is another stupidity by a musical idiot & disgusting arranger. High with Mozart means, that he did not exceed the written 12th harmonic (g on top of the staff), when using the Bb-alto - and the horn line is mainly reduced to arpeggios & signals, as stopping or muting did not work well on a hand horn tuned to Bb-alto. As usual with these arrangements, the part will be for F-horn anyway (see the sample on the MMO Website = explains why no horn player is mentioned). The next arrangement will perhaps be for cooking-vessel with wooden spoon, recorder, tidgeridoo & MP3-player, who knows. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Steve Freides Sent: Friday, May 04, 2007 9:11 PM To: 'The Horn List' Subject: RE: [Hornlist] Mozart Divertimento K. 270 - instrumentation? Michiel van der Linden wrote: > If he's playing the original, prepare him for some delicate high > stuff. > The horns are in B flat alto, and with only 2 oboes and 2 bassoons you > haven't got much to hide behind... > Here's a nice fragment on original instruments (Amazon > sample) http://www.amazon.com/gp/music/wma-pop-up/B017MV001022/r ef=mu_sam_wma_00 1_022/103-9091812-5683030 > There's also a much slower sample from a recording on modern > instruments but I don't like that one as much ;) As I mentioned, he's playing the quintet version. Bb alto, eh? That's got to be pretty high! -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Divertimento K. 270 - instrumentation?
The recording of K. 270 with D. Brain is Anthony Baines's arrangement for WW quintet of the original sextet. In this version the horn part generally follows the original 2nd horn part and the clarinet plays much of the original 1st horn part. The flute and oboe are playing the oboe parts of the original. The WW quintet arrangement of Beethoven's Sextet, Op. 71. is scored much the same way. Cheers, Steve Steven Ovitsky Executive Director Santa Fe Chamber Music Festival ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Divertimento K. 270 - instrumentation?
Michiel van der Linden wrote: > If he's playing the original, prepare him for some delicate > high stuff. > The horns are in B flat alto, and with only 2 oboes and 2 > bassoons you haven't got much to hide behind... > Here's a nice fragment on original instruments (Amazon > sample) http://www.amazon.com/gp/music/wma-pop-up/B017MV001022/ref=mu_sam_wma_00 1_022/103-9091812-5683030 > There's also a much slower sample from a recording on modern > instruments but I don't like that one as much ;) As I mentioned, he's playing the quintet version. Bb alto, eh? That's got to be pretty high! -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Divertimento K. 270 - instrumentation?
> -Original Message- > From: Joe Scarpelli [mailto:[EMAIL PROTECTED] > Sent: Friday, May 04, 2007 3:20 PM > To: 'The Horn List' > Subject: RE: [Hornlist] Mozart Divertimento K. 270 - instrumentation? > > It is also included on the MMO - Woodwind QUINTETS vol. II > > http://www.music-scores.com/smpdata.php?select=instrument&style=classical&id =33050&more=French%20horn%20minus That's a bit of a strange listing. Click on the more info button, and you'll see the performers of the quintet listed (which suggests this is the quintet and not the sextet version), but it only lists 4 players - no horn! -S- > Regards, > Joe > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] edu] On Behalf Of Michiel van der Linden > Sent: Friday, May 04, 2007 3:06 PM > To: The Horn List > Subject: Re: [Hornlist] Mozart Divertimento K. 270 - instrumentation? > > If he's playing the original, prepare him for some delicate > high stuff. > The horns are in B flat alto, and with only 2 oboes and 2 > bassoons you haven't got much to hide behind... > Here's a nice fragment on original instruments (Amazon > sample) > http://www.amazon.com/gp/music/wma-pop-up/B017MV001022/ref =mu_sam_wma_00 > 1_022/103-9091812-5683030 > There's also a much slower sample from a recording on modern > instruments but I don't like that one as much ;) > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/joescarpelli%40 earthlink.net > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Divertimento K. 270 - instrumentation?
The recording with Dennis Brain might be mislabelled in the CD catalogue missing one person (2nd horn). Why to need a recording ? Mozarts stuff is very simple to read & moves in the horns with very clear chords, but one has to read in different transpositions. It would be a very good exercise for your son, Steve, to hand-transpose the whole piece - not much to write, just few pages. This has the double effect, that he will learn the piece by heart then. We did it for all kind of music, not the transposing - we could do that - , but to hand copy the parts to learn them & understand them. Why not today ? If no music paper available, return to Mozarts technique & write your own music paper. It works. BTW: replacing an oboe by a flute will not harm such a piece. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Divertimento K. 270 - instrumentation?
It is also included on the MMO - Woodwind QUINTETS vol. II http://www.music-scores.com/smpdata.php?select=instrument&style=classical&id =33050&more=French%20horn%20minus Regards, Joe -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Michiel van der Linden Sent: Friday, May 04, 2007 3:06 PM To: The Horn List Subject: Re: [Hornlist] Mozart Divertimento K. 270 - instrumentation? If he's playing the original, prepare him for some delicate high stuff. The horns are in B flat alto, and with only 2 oboes and 2 bassoons you haven't got much to hide behind... Here's a nice fragment on original instruments (Amazon sample) http://www.amazon.com/gp/music/wma-pop-up/B017MV001022/ref=mu_sam_wma_00 1_022/103-9091812-5683030 There's also a much slower sample from a recording on modern instruments but I don't like that one as much ;) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/joescarpelli%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Divertimento K. 270 - instrumentation?
If he's playing the original, prepare him for some delicate high stuff. The horns are in B flat alto, and with only 2 oboes and 2 bassoons you haven't got much to hide behind... Here's a nice fragment on original instruments (Amazon sample) http://www.amazon.com/gp/music/wma-pop-up/B017MV001022/ref=mu_sam_wma_001_022/103-9091812-5683030 There's also a much slower sample from a recording on modern instruments but I don't like that one as much ;) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Divertimento K. 270 - instrumentation?
> -Original Message- > From: Eric James [mailto:[EMAIL PROTECTED] > Sent: Friday, May 04, 2007 2:33 PM > To: The Horn List > Subject: Re: [Hornlist] Mozart Divertimento K. 270 - instrumentation? > > Mozart never wrote a quintet of the type you mention. > K.270 was composed for 2 oboes, 2 bassoons and 2 horns. What > your son is playing is someone's arrangement of Mozart's original. That's what I find puzzling. The recording I mentioned includes Dennis Brain, and I can't find a recording of the original instrumentation. -S- > Eric James > --- Steve Freides <[EMAIL PROTECTED]> wrote: > > > This page > > > > http://www.edto.net/mozart_wind_ensemble.htm > > > > says K. 270 is for 2 oboes, 2 bassoons, and 2 horns. > > > > This recording > > > > > http://www.cduniverse.com/productinfo.asp?pid=7255585&cart=533 299893&style=c > > lassical > > > > says the same thing, but then goes on to list the performers as one > > each flute, clarinet, oboe, basson, and french horn. > > > > If anyone knows a bit about this, please enlighten me. My son is > > playing the first movement, with the quintet instrumentation shown > > immediately above, not the sextet, next week and I'd just > like to know > > a little more about the piece, especially as regards the > > instrumentation. In particular, if anyone is aware of > > > > Thanks in advance. > > > > -S- > > > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at > > > http://music2.memphis.edu/mailman/options/horn/eric_d_james%40 yahoo.com > > > > > > > __ > __ > Now that's room service! Choose from over 150,000 hotels in > 45,000 destinations on Yahoo! Travel to find your fit. > http://farechase.yahoo.com/promo-generic-14795097 > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Divertimento K. 270 - instrumentation?
Mozart never wrote a quintet of the type you mention. K.270 was composed for 2 oboes, 2 bassoons and 2 horns. What your son is playing is someone's arrangement of Mozart's original. Eric James --- Steve Freides <[EMAIL PROTECTED]> wrote: > This page > > http://www.edto.net/mozart_wind_ensemble.htm > > says K. 270 is for 2 oboes, 2 bassoons, and 2 horns. > > This recording > > http://www.cduniverse.com/productinfo.asp?pid=7255585&cart=533299893&style=c > lassical > > says the same thing, but then goes on to list the > performers as one each > flute, clarinet, oboe, basson, and french horn. > > If anyone knows a bit about this, please enlighten > me. My son is playing > the first movement, with the quintet instrumentation > shown immediately > above, not the sextet, next week and I'd just like > to know a little more > about the piece, especially as regards the > instrumentation. In particular, > if anyone is aware of > > Thanks in advance. > > -S- > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/eric_d_james%40yahoo.com > Now that's room service! Choose from over 150,000 hotels in 45,000 destinations on Yahoo! Travel to find your fit. http://farechase.yahoo.com/promo-generic-14795097 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Divertimento K. 270 - instrumentation?
This page http://www.edto.net/mozart_wind_ensemble.htm says K. 270 is for 2 oboes, 2 bassoons, and 2 horns. This recording http://www.cduniverse.com/productinfo.asp?pid=7255585&cart=533299893&style=c lassical says the same thing, but then goes on to list the performers as one each flute, clarinet, oboe, basson, and french horn. If anyone knows a bit about this, please enlighten me. My son is playing the first movement, with the quintet instrumentation shown immediately above, not the sextet, next week and I'd just like to know a little more about the piece, especially as regards the instrumentation. In particular, if anyone is aware of Thanks in advance. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart 1st is the 4th?
You are partly correct. But, simply put, it is user submitted. Any user(there are several that are not open for editing). Its true that if the information isn't accurate someone more knowledgeable will change it, but I wouldn't be so quick to call 10 year olds scholars. You are right though, his information would be useful there. - Wikipedia is an encyclopedia based on contributions from knowledgeable scholars. Your post to this site contains the valuable information Wikipedia is compiling. You might consider offering your post, and others like it, for inclusion. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 3 May 2007 10:53 PM Subject: RE: [Hornlist] Mozart 1st is the 4th? This is mere nonsense. Yes, these two movements of horn concertos in D were written later than the other three concertos. Wikipedia is not "the 100% truth". All hornconcertos , complete or fragments, were written between 1781 (Rondo in E-flat) and 1786 (K.495). The E-flat Rondo came first (1781, dated by Mozart 21 Marzo 1781). It was for Leutgeb not as Bill Tyler repeats again after the millions of wrong spellers : Leitgeb. His name was LEUTGEB, whichj was pronounced as "Leitgeb" in our local dialect, because of Mozarts own wrong spelling in his own hand written catalogue (concert for "Leitgeb") or in his K.447 concerto (last movement, two entries as "Leitgeb"). But his name was "L E U T G E B" and not "Ignatz" or "Ignaz", but "J O S E P H". Ignatz was a nickname, a very popular nickname then. The first Allegro in D-major has been composed & full instrumentated in 1782. How about this assumption, Mozart had made some compromises due to "Leitgebs fading abilities on the horn" ? Yes, the required hand horn technique, special in the 2nd theme, is a bit less ideal than in K.447, K.417 & K.495. It is similar to the technique required in the Rondo K.371. Why do these scholars assume, that Joseph Leutgebs abilities had faded then ? Is not K.495 more demanding than the earlier pieces ? And what is the difference at all ? Written "a" above the staff or written "c" above the staff, does it matter much on the natural horn ? No, it does not. And Leutgeb was a high grade professional player. These scholars base their assumptions on mere amateur experiences with the horn, where most think higher notes requiring more power, which is wrong absolutely. It may count for the music by Wagner, R.Strauss or Mahler but never for Mozart, where everything is played light & without pressure. The same scholars once assumed that the duets could never been intended as horn duets due to the stratospheric writings for the first horn. So they attributed them to "English Horns". They merely could not believe, that hand horn players or horn players in general could play as high up to the written g, one octave higher than the g sitting on the first line. But they could do it well & they can do it well now again. They had overseen that at the one left lower cormer of the autograph, Mozart had written the series of natural notes possible on the horn Do you know a better evidence ? And the dating of the D-major fragments is not from the 2nd Allegro written much later than the first Allegro. And the 2nd Allegro is very easy anyway. So, Leutgeb was still on his peak time when the first Allegro was written. He was just 50 then. And he survived Mozart for more than 19 years. The order of the concerts 3, 2, 4 , as numbered by Andre op.86, op.105, op.106. The D-major fragments are being put together much later even the first movement been written ? 1782 & the second allegro been written much later. And it is not said at all, that the first D-major fragment was for Leutgeb, as there were many excellent players in Vienna that time. The 2nd Allegro in D-major was intended for Leutgeb, off course, as Mozart used it to make some fun with Leutgeb. Here the ailing factor may have played a role, but not for the first Allegro. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Hollin Sent: Friday, May 04, 2007 2:51 AM To: horn@music.memphis.edu Subject: [Hornlist] Mozart 1st is the 4th? Anyone care to comment on this? I always found the 1st Concerto to be demanding in many ways, and it seems to me the hand-stopping technique required is greater in the 1st mvt. of K.412 than in some of the others.. Recent scholarship dates the horn concerti in the order 2, 3, 4, 1, with no. 1 (K. 412) being the last composed. This piece is less demanding than the others, and this is believed to reflect the decline of Leitgeb's prowe
Re: [Hornlist] Mozart 1st is the 4th?
Wikipedia is an encyclopedia based on contributions from knowledgeable scholars. Your post to this site contains the valuable information Wikipedia is compiling. You might consider offering your post, and others like it, for inclusion. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 3 May 2007 10:53 PM Subject: RE: [Hornlist] Mozart 1st is the 4th? This is mere nonsense. Yes, these two movements of horn concertos in D were written later than the other three concertos. Wikipedia is not "the 100% truth". All hornconcertos , complete or fragments, were written between 1781 (Rondo in E-flat) and 1786 (K.495). The E-flat Rondo came first (1781, dated by Mozart 21 Marzo 1781). It was for Leutgeb not as Bill Tyler repeats again after the millions of wrong spellers : Leitgeb. His name was LEUTGEB, whichj was pronounced as "Leitgeb" in our local dialect, because of Mozarts own wrong spelling in his own hand written catalogue (concert for "Leitgeb") or in his K.447 concerto (last movement, two entries as "Leitgeb"). But his name was "L E U T G E B" and not "Ignatz" or "Ignaz", but "J O S E P H". Ignatz was a nickname, a very popular nickname then. The first Allegro in D-major has been composed & full instrumentated in 1782. How about this assumption, Mozart had made some compromises due to "Leitgebs fading abilities on the horn" ? Yes, the required hand horn technique, special in the 2nd theme, is a bit less ideal than in K.447, K.417 & K.495. It is similar to the technique required in the Rondo K.371. Why do these scholars assume, that Joseph Leutgebs abilities had faded then ? Is not K.495 more demanding than the earlier pieces ? And what is the difference at all ? Written "a" above the staff or written "c" above the staff, does it matter much on the natural horn ? No, it does not. And Leutgeb was a high grade professional player. These scholars base their assumptions on mere amateur experiences with the horn, where most think higher notes requiring more power, which is wrong absolutely. It may count for the music by Wagner, R.Strauss or Mahler but never for Mozart, where everything is played light & without pressure. The same scholars once assumed that the duets could never been intended as horn duets due to the stratospheric writings for the first horn. So they attributed them to "English Horns". They merely could not believe, that hand horn players or horn players in general could play as high up to the written g, one octave higher than the g sitting on the first line. But they could do it well & they can do it well now again. They had overseen that at the one left lower cormer of the autograph, Mozart had written the series of natural notes possible on the horn Do you know a better evidence ? And the dating of the D-major fragments is not from the 2nd Allegro written much later than the first Allegro. And the 2nd Allegro is very easy anyway. So, Leutgeb was still on his peak time when the first Allegro was written. He was just 50 then. And he survived Mozart for more than 19 years. The order of the concerts 3, 2, 4 , as numbered by Andre op.86, op.105, op.106. The D-major fragments are being put together much later even the first movement been written ? 1782 & the second allegro been written much later. And it is not said at all, that the first D-major fragment was for Leutgeb, as there were many excellent players in Vienna that time. The 2nd Allegro in D-major was intended for Leutgeb, off course, as Mozart used it to make some fun with Leutgeb. Here the ailing factor may have played a role, but not for the first Allegro. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Hollin Sent: Friday, May 04, 2007 2:51 AM To: horn@music.memphis.edu Subject: [Hornlist] Mozart 1st is the 4th? Anyone care to comment on this? I always found the 1st Concerto to be demanding in many ways, and it seems to me the hand-stopping technique required is greater in the 1st mvt. of K.412 than in some of the others.. Recent scholarship dates the horn concerti in the order 2, 3, 4, 1, with no. 1 (K. 412) being the last composed. This piece is less demanding than the others, and this is believed to reflect the decline of Leitgeb's prowess either with age or with his music being increasingly relegated to a sideline. - Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de __
RE: [Hornlist] Mozart 1st is the 4th?
While the first Allegro is quite fully instrumentated, the second (6/8) Allegro is instrumentated just in 43 measures, the rest just left as a sketch with solo line & bass line. It is not instrumentated by Suessmayr, but (may-be) rewritten in the Petersburg ???autograph?? (Suessmayrs hand writings, as his was very similar to Mozarts hand writings). The autograph (Mozarts writings) of both movements is in Cracow/Poland & I have it here in facsimila (Das Horn bei Mozart - my book of 1980). The "Lamentatio Jeremiae" is an addition by Suessmayr, to be seen in the Petersburg manuscript. The Breitkopf Edition, published under the care of Henri Kling, had the Petersburg manuscript seen as autograph (it was not in Petersburg then), and taken it as a complete score, while the Cracow autograpg was seen as an abandoned sketch then. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Richard V. West Sent: Friday, May 04, 2007 8:05 AM To: The Horn List Subject: Re: [Hornlist] Mozart 1st is the 4th? Hasn't the second movement of the D major concerto always been considered as being later than the first movement? It has been alleged that Suessmayer "completed" this movement based on the incomplete score left by Mozart, at the behest of Constanze. In fact, didn't he actually augment Mozart's version by interpolating the "Lamentations of Jeremiah?" Some have seen this as a posthumous tribute by Suessmayer to his teacher. Also the orchestration of the two movements differs in that only one movement includes bassoons. Richard in Seattle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart 1st is the 4th?
Hasn't the second movement of the D major concerto always been considered as being later than the first movement? It has been alleged that Suessmayer "completed" this movement based on the incomplete score left by Mozart, at the behest of Constanze. In fact, didn't he actually augment Mozart's version by interpolating the "Lamentations of Jeremiah?" Some have seen this as a posthumous tribute by Suessmayer to his teacher. Also the orchestration of the two movements differs in that only one movement includes bassoons. Richard in Seattle hans wrote: This is mere nonsense. Yes, these two movements of horn concertos in D were written later than the other three concertos. Wikipedia is not "the 100% truth". All hornconcertos , complete or fragments, were written between 1781 (Rondo in E-flat) and 1786 (K.495). The E-flat Rondo came first (1781, dated by Mozart 21 Marzo 1781). It was for Leutgeb not as Bill Tyler repeats again after the millions of wrong spellers : Leitgeb. His name was LEUTGEB, whichj was pronounced as "Leitgeb" in our local dialect, because of Mozarts own wrong spelling in his own hand written catalogue (concert for "Leitgeb") or in his K.447 concerto (last movement, two entries as "Leitgeb"). But his name was "L E U T G E B" and not "Ignatz" or "Ignaz", but "J O S E P H". Ignatz was a nickname, a very popular nickname then. The first Allegro in D-major has been composed & full instrumentated in 1782. How about this assumption, Mozart had made some compromises due to "Leitgebs fading abilities on the horn" ? Yes, the required hand horn technique, special in the 2nd theme, is a bit less ideal than in K.447, K.417 & K.495. It is similar to the technique required in the Rondo K.371. Why do these scholars assume, that Joseph Leutgebs abilities had faded then ? Is not K.495 more demanding than the earlier pieces ? And what is the difference at all ? Written "a" above the staff or written "c" above the staff, does it matter much on the natural horn ? No, it does not. And Leutgeb was a high grade professional player. These scholars base their assumptions on mere amateur experiences with the horn, where most think higher notes requiring more power, which is wrong absolutely. It may count for the music by Wagner, R.Strauss or Mahler but never for Mozart, where everything is played light & without pressure. The same scholars once assumed that the duets could never been intended as horn duets due to the stratospheric writings for the first horn. So they attributed them to "English Horns". They merely could not believe, that hand horn players or horn players in general could play as high up to the written g, one octave higher than the g sitting on the first line. But they could do it well & they can do it well now again. They had overseen that at the one left lower cormer of the autograph, Mozart had written the series of natural notes possible on the horn Do you know a better evidence ? And the dating of the D-major fragments is not from the 2nd Allegro written much later than the first Allegro. And the 2nd Allegro is very easy anyway. So, Leutgeb was still on his peak time when the first Allegro was written. He was just 50 then. And he survived Mozart for more than 19 years. The order of the concerts 3, 2, 4 , as numbered by Andre op.86, op.105, op.106. The D-major fragments are being put together much later even the first movement been written ? 1782 & the second allegro been written much later. And it is not said at all, that the first D-major fragment was for Leutgeb, as there were many excellent players in Vienna that time. The 2nd Allegro in D-major was intended for Leutgeb, off course, as Mozart used it to make some fun with Leutgeb. Here the ailing factor may have played a role, but not for the first Allegro. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Hollin Sent: Friday, May 04, 2007 2:51 AM To: horn@music.memphis.edu Subject: [Hornlist] Mozart 1st is the 4th? Anyone care to comment on this? I always found the 1st Concerto to be demanding in many ways, and it seems to me the hand-stopping technique required is greater in the 1st mvt. of K.412 than in some of the others.. Recent scholarship dates the horn concerti in the order 2, 3, 4, 1, with no. 1 (K. 412) being the last composed. This piece is less demanding than the others, and this is believed to reflect the decline of Leitgeb's prowess either with age or with his music being increasingly relegated to a sideline. - Ahhh...imagining that irresistible "new car" smell? Check outnew ca
RE: [Hornlist] Mozart 1st is the 4th?
This is mere nonsense. Yes, these two movements of horn concertos in D were written later than the other three concertos. Wikipedia is not "the 100% truth". All hornconcertos , complete or fragments, were written between 1781 (Rondo in E-flat) and 1786 (K.495). The E-flat Rondo came first (1781, dated by Mozart 21 Marzo 1781). It was for Leutgeb not as Bill Tyler repeats again after the millions of wrong spellers : Leitgeb. His name was LEUTGEB, whichj was pronounced as "Leitgeb" in our local dialect, because of Mozarts own wrong spelling in his own hand written catalogue (concert for "Leitgeb") or in his K.447 concerto (last movement, two entries as "Leitgeb"). But his name was "L E U T G E B" and not "Ignatz" or "Ignaz", but "J O S E P H". Ignatz was a nickname, a very popular nickname then. The first Allegro in D-major has been composed & full instrumentated in 1782. How about this assumption, Mozart had made some compromises due to "Leitgebs fading abilities on the horn" ? Yes, the required hand horn technique, special in the 2nd theme, is a bit less ideal than in K.447, K.417 & K.495. It is similar to the technique required in the Rondo K.371. Why do these scholars assume, that Joseph Leutgebs abilities had faded then ? Is not K.495 more demanding than the earlier pieces ? And what is the difference at all ? Written "a" above the staff or written "c" above the staff, does it matter much on the natural horn ? No, it does not. And Leutgeb was a high grade professional player. These scholars base their assumptions on mere amateur experiences with the horn, where most think higher notes requiring more power, which is wrong absolutely. It may count for the music by Wagner, R.Strauss or Mahler but never for Mozart, where everything is played light & without pressure. The same scholars once assumed that the duets could never been intended as horn duets due to the stratospheric writings for the first horn. So they attributed them to "English Horns". They merely could not believe, that hand horn players or horn players in general could play as high up to the written g, one octave higher than the g sitting on the first line. But they could do it well & they can do it well now again. They had overseen that at the one left lower cormer of the autograph, Mozart had written the series of natural notes possible on the horn Do you know a better evidence ? And the dating of the D-major fragments is not from the 2nd Allegro written much later than the first Allegro. And the 2nd Allegro is very easy anyway. So, Leutgeb was still on his peak time when the first Allegro was written. He was just 50 then. And he survived Mozart for more than 19 years. The order of the concerts 3, 2, 4 , as numbered by Andre op.86, op.105, op.106. The D-major fragments are being put together much later even the first movement been written ? 1782 & the second allegro been written much later. And it is not said at all, that the first D-major fragment was for Leutgeb, as there were many excellent players in Vienna that time. The 2nd Allegro in D-major was intended for Leutgeb, off course, as Mozart used it to make some fun with Leutgeb. Here the ailing factor may have played a role, but not for the first Allegro. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Hollin Sent: Friday, May 04, 2007 2:51 AM To: horn@music.memphis.edu Subject: [Hornlist] Mozart 1st is the 4th? Anyone care to comment on this? I always found the 1st Concerto to be demanding in many ways, and it seems to me the hand-stopping technique required is greater in the 1st mvt. of K.412 than in some of the others.. Recent scholarship dates the horn concerti in the order 2, 3, 4, 1, with no. 1 (K. 412) being the last composed. This piece is less demanding than the others, and this is believed to reflect the decline of Leitgeb's prowess either with age or with his music being increasingly relegated to a sideline. - Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart 1st is the 4th?
There are some good liner notes with Michael Thompson's recording of the complete works for horn and orchestra by Mozart. If I remember correctly, the "adjustment" that Mozart made in Leitgeb's declining abilities was in the range of the "1st" concerto, not in the hand technique. Bill Bill Hollin <[EMAIL PROTECTED]> wrote: Anyone care to comment on this? I always found the 1st Concerto to be demanding in many ways, and it seems to me the hand-stopping technique required is greater in the 1st mvt. of K.412 than in some of the others.. Recent scholarship dates the horn concerti in the order 2, 3, 4, 1, with no. 1 (K. 412) being the last composed. This piece is less demanding than the others, and this is believed to reflect the decline of Leitgeb's prowess either with age or with his music being increasingly relegated to a sideline. - Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/tower_music%40yahoo.com - It's here! Your new message! Get new email alerts with the free Yahoo! Toolbar. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart 1st is the 4th?
Anyone care to comment on this? I always found the 1st Concerto to be demanding in many ways, and it seems to me the hand-stopping technique required is greater in the 1st mvt. of K.412 than in some of the others.. Recent scholarship dates the horn concerti in the order 2, 3, 4, 1, with no. 1 (K. 412) being the last composed. This piece is less demanding than the others, and this is believed to reflect the decline of Leitgeb's prowess either with age or with his music being increasingly relegated to a sideline. - Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart solopart
You're absolutely right, Hans. Not having learned transpositions when I was young, I find transposition slow going. Rather than writing transpositions in the original music, which doesn't work well anyway, I write down the transposed notes on fresh staff paper. Usually, before I am finished, I have learned it, and I can read the original. Perhaps my mind figures that it's easier to learn it than to do all that work. Using a computer works almost as well, but you have to write directly in the key of F--you do the transposing. Herb Foster --- hans <[EMAIL PROTECTED]> wrote: > Hello Steve, you know what we did back in the 1950ies ? We > had no other copy machine than hand & a pen & music paper. > So we copied the pieces by hand including the piano part & > necessary transpositions. We also transposed full piano > parts. Work began very slow but grow to a full page per hour > or more than one full page (piano plus solo). The quality of > writing music grow better from day to day. And: we gained a > lot from writing a piece by hand. We got it into our brain & > it is still stored there. So in total, we saved a lot of > time as we combined the necessary with the practical. We got > a real picture of the piece before we even began to play the > first note of it. Quite a forgotten method, seen as > oldfashioned & obsolete. Dont laugh, folks, it works much > much better than all modern methods. > ... Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail beta. http://new.mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart solopart
Because it hammers things into ones brain, so it stays there for lifetime. Never heard about this method ? Retyping or rewriting one thing means to read it carefully, very carefully & proofread it again. It is much better than to repeat one mistake again & again, special if there is no (controlling) teacher. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jay Anderson Sent: Saturday, January 20, 2007 10:26 PM To: The Horn List Subject: Re: [Hornlist] Mozart solopart On 1/20/07, hans <[EMAIL PROTECTED]> wrote: > If sneeze in on the way, he would stop drawing the lines. He did write > his music paper by himself when the right format was not available or > he ran out on money. Yes, many people do the music publishing on the > desktop, so do I. But why then some musicians do ask for a transposed > part if the task is so simple ? May-be they do not use any good music > writing program. But the student version for Finale comes quite free & > allows transposing. That´s all. Why repeat work if someone has already done it? -Jay ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart solopart
> -Original Message- > From: hans [mailto:[EMAIL PROTECTED] > Sent: Saturday, January 20, 2007 4:41 PM > To: 'The Horn List' > Subject: RE: [Hornlist] Mozart solopart > > Thank you, Steve, for your kind answer, but I must say it > frankly, I would not "teach every student", but just those > who deserve it & those of whom I think it would make sense. Yes, I do understand, Hans. > Did you ever consider retyping the solo part & just changing > the key, the transposed part would be ready. And, in all > honesty, would it not be better for a young player (your son > included) to acquire the transposition skill for the basic E, > Eb & D first, before beginning to work on the Mozart Concerto > ??? Sorry, I did not yell at you, off course, but at the many > "naseweiss" on this list. You might call my approach to the > horn oldfashion, but it works much better as all these new > methods together (I repeat: results can be heard in every audition !) My son needed these for earlier _today_. The skill of transposing will not be learned that quickly. As to retyping the solo part and changing the key, retyping it in a different key is no harder for me. Since I was reading horn at concert pitch from the Schirmer piano score, I just entered it into the computer as horn in F - couldn't be simpler, really, as I read both parts at concert pitch, just reading horn in F in mezzo-soprano clef, a practice with which I am very familiar by now. If I was reading the Eb part, again typing it in as F horn really wouldn't be much more effort. My son had a good day today, and the teacher for whom he played also mentioned that he should be playing the Mozart concerti directly from scores in their original key, so that part of my son's musical education will begin in earnest starting tomorrow. > Have a nice day. Thank you, Hans. I actually had a very nice day, got to hear some very good horn playing and wonderfully musical instruction, followed by a pleasant dinner out with my family and some old friends. Before we headed into the city, I listened to the Vienna Horns II CD samples online and ordered the disc for myself. I'm looking forward to hearing that. Best wishes for your upcoming retirement - I'm sure you will continue playing and I look forward to our paths crossing in the future. -S- > Kindest > > Hans > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart solopart
> -Original Message- > From: Jay Anderson [mailto:[EMAIL PROTECTED] > Sent: Saturday, January 20, 2007 4:26 PM > To: The Horn List > Subject: Re: [Hornlist] Mozart solopart > > On 1/20/07, hans <[EMAIL PROTECTED]> wrote: > > If sneeze in on the way, he would stop drawing the lines. > He did write > > his music paper by himself when the right format was not > available or > > he ran out on money. Yes, many people do the music > publishing on the > > desktop, so do I. But why then some musicians do ask for a > transposed > > part if the task is so simple ? May-be they do not use any > good music > > writing program. But the student version for Finale comes > quite free & > > allows transposing. That´s all. > > Why repeat work if someone has already done it? One might repeat work because there is something to be learned from doing so. -S- > > -Jay > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart solopart
Thank you, Steve, for your kind answer, but I must say it frankly, I would not "teach every student", but just those who deserve it & those of whom I think it would make sense. Did you ever consider retyping the solo part & just changing the key, the transposed part would be ready. And, in all honesty, would it not be better for a young player (your son included) to acquire the transposition skill for the basic E, Eb & D first, before beginning to work on the Mozart Concerto ??? Sorry, I did not yell at you, off course, but at the many "naseweiss" on this list. You might call my approach to the horn oldfashion, but it works much better as all these new methods together (I repeat: results can be heard in every audition !) Have a nice day. Kindest Hans ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart solopart
On 1/20/07, hans <[EMAIL PROTECTED]> wrote: If sneeze in on the way, he would stop drawing the lines. He did write his music paper by himself when the right format was not available or he ran out on money. Yes, many people do the music publishing on the desktop, so do I. But why then some musicians do ask for a transposed part if the task is so simple ? May-be they do not use any good music writing program. But the student version for Finale comes quite free & allows transposing. That´s all. Why repeat work if someone has already done it? -Jay ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart solopart
If sneeze in on the way, he would stop drawing the lines. He
did write his music paper by himself when the right format
was not available or he ran out on money. Yes, many people
do the music publishing on the desktop, so do I. But why
then some musicians do ask for a transposed part if the task
is so simple ? May-be they do not use any good music writing
program. But the student version for Finale comes quite free
& allows transposing. That´s all.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of David Goldberg
Sent: Saturday, January 20, 2007 8:54 PM
To: The Horn List
Subject: Re: [Hornlist] Mozart solopart
hans wrote:
> There is just one difficulty, where to find the right
music paper ???
> Mozart himself had a solution. He used a five-fold pencil
& made the
> music paper by himself when the right one was not at hand.
>
I hope that Hans will forgive those of us who use Desktop
publishing software to make music paper, any configuration
you want. But Mozart was a genius - if I adopt his
five-fold pencil method, then I can compose like Mozart.
But what would happen if he should sneeze? All five lines
will go wrong.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
___
post: horn@music.memphis.edu
unsubscribe or set options at
http://music2.memphis.edu/mailman/options/horn/hans%40pizka.
de
___
post: horn@music.memphis.edu
unsubscribe or set options at
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart solopart
Hans, I have no interest in sniping at you. You have earned the right to your opinions. I have been granted the right to raise my child, the horn player, as I see fit and that is what I am doing. I am, if I may be so immodest, an interesting person with regard to "old school" musicians and music teachers like yourself. When I was a student in the conservatory, I was quite the favorite of all of the older and "old school" faculty, teachers who, like you, felt it was in the best interest of their students to be tough. I measured up to their expectations in every way. At the same time, I often found myself disappointed with teachers who were _not_ tough on me. But that was me, and not every student is like me - I consider that realization very important in my life as a musician and a music educator. I have never been a stellar performer at anything nor do I hold out any hope of becoming one, but I have also never put myself in the position of training performers on their instruments at the conservatory level. There is a time and a place for everything, my dear Hans, and now is not the time for my son to improve his playing of horn music written in Eb. (My own skills in this area are - again, please forgive my immodesty but I cannot be dishonest, either - beyond reproach.) I'm not quite sure who you are yelling at or why, but my own opinion is that, while the "school of hard knocks" works for some, including me, it does not work for all, and while I respect your playing abilities and your teaching abilities, I do not believe your approach (dare I say your personality?) will always serve the best interests of every student. -S- > -Original Message- > From: hans [mailto:[EMAIL PROTECTED] > Sent: Saturday, January 20, 2007 2:10 PM > To: 'The Horn List' > Subject: [Hornlist] Mozart solopart > > Hello Steve, you know what we did back in the 1950ies ? We > had no other copy machine than hand & a pen & music paper. > So we copied the pieces by hand including the piano part & > necessary transpositions. We also transposed full piano > parts. Work began very slow but grow to a full page per hour > or more than one full page (piano plus solo). The quality of > writing music grow better from day to day. And: we gained a > lot from writing a piece by hand. We got it into our brain & > it is still stored there. So in total, we saved a lot of time > as we combined the necessary with the practical. We got a > real picture of the piece before we even began to play the > first note of it. Quite a forgotten method, seen as > oldfashioned & obsolete. Dont laugh, folks, it works much > much better than all modern methods. > > There is just one difficulty, where to find the right music > paper ??? Mozart himself had a solution. He used a five-fold > pencil & made the music paper by himself when the right one > was not at hand. > > Most of us are used to get all for sale, all over the > internet. How long do we have the internet, really working, > ten to 15 years. How slow was it then & how expensive ? Now > all is very cheap, so we use it. Dont we miss something by > this abuse ? Yes, we do. We are becoming more & more lazy > regarding using our own brain capacities to solve problems. > I receive a lot of request to provide students with certain > articles as they are writing a thesis or similar. I point > them to libraries & literature I had used, but not to > articles they just change here & there & "sell" them as their > own creations to their (often very stupid & > uninformed) professors, who often lack a great deal of basic > informations. Would you believe it, there is a full time > Hochschule professor for horn, who never ever worked in an > orchestra. He got his job to teach future professionals. But > I might ask in all modesty, how he could prepare the young > future colleagues for their job ?? Never exposed to the task > of playing in the orchestra ? Etcetcetc. The results can be > heard during the auditions. A never ending story. > > And I wonder about the advice coming from half amateurs, > about very very special tasks they never have been exposed > too or tasks they know just from hear-say. Very funny. Would > any of you give advice to a rope-dancer ? Surely not. But why > not, as you do the same in basic: just walking forward & > back. You dont like the comparison, but I like it as it is > exactly the same what several of you do when giving advice > how to solve a task you never experienced yourself. > > Load your guns & shoot at me. I have nothing to lose - 70 > days more until retirement, ending 40 years in a world class > orchestra with playing Richard Wagners lo
Re: [Hornlist] Mozart solopart
hans wrote:
There is just one difficulty, where to find the right music
paper ??? Mozart himself had a solution. He used a five-fold
pencil & made the music paper by himself when the right one
was not at hand.
I hope that Hans will forgive those of us who use Desktop publishing
software to make music paper, any configuration you want. But Mozart
was a genius - if I adopt his five-fold pencil method, then I can
compose like Mozart. But what would happen if he should sneeze? All
five lines will go wrong.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
___
post: horn@music.memphis.edu
unsubscribe or set options at
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart solopart
Superb arguments, Lawrence. I have no idea how to describe the present situation better than you did in very few words. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Saturday, January 20, 2007 8:19 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Mozart solopart In a message dated 20/01/2007 19:11:27 GMT Standard Time, [EMAIL PROTECTED] writes: "Wehad no other copy machine than hand & a pen & music paper. So we copied the pieces by hand" In a box somewhere upstairs I still have my hand-written copies of the Mozart concertos, copies I made by listening to the record I had. There are also stacks of horn parts to my favourite orchestral pieces copied out in a very scrawly spidery hand from scores borrowed from my local library. Things are different now - the young horn section of one of our bands (four players) all played the third horn part because that was the top one on the pile on the stand and no-one told them to play a different one. I'm sure that if we'd have put snare drum part on the stand they would have played that. Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart solopart
Since we have good programs as Finale or Sibelius, it is much better to write things nicely on the PC or MAC, but hasty sketches go much faster on music paper - but not readable for other eyes. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Gross Sent: Saturday, January 20, 2007 8:38 PM To: 'The Horn List' Subject: RE: [Hornlist] Mozart solopart Hans, do you still write out parts by hand? I'm curious because my handwriting has really deteriorated over the past ten years as I've done some much more at a computer key board. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart solopart
Hans, do you still write out parts by hand? I'm curious because my handwriting has really deteriorated over the past ten years as I've done some much more at a computer key board. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of hans Sent: Saturday, January 20, 2007 1:10 PM To: 'The Horn List' Subject: [Hornlist] Mozart solopart Hello Steve, you know what we did back in the 1950ies ? We had no other copy machine than hand & a pen & music paper. So we copied the pieces by hand including the piano part & necessary transpositions. We also transposed full piano parts. Work began very slow but grow to a full page per hour or more than one full page (piano plus solo). The quality of writing music grow better from day to day. And: we gained a lot from writing a piece by hand. We got it into our brain & it is still stored there. So in total, we saved a lot of time as we combined the necessary with the practical. We got a real picture of the piece before we even began to play the first note of it. Quite a forgotten method, seen as oldfashioned & obsolete. Dont laugh, folks, it works much much better than all modern methods. There is just one difficulty, where to find the right music paper ??? Mozart himself had a solution. He used a five-fold pencil & made the music paper by himself when the right one was not at hand. Most of us are used to get all for sale, all over the internet. How long do we have the internet, really working, ten to 15 years. How slow was it then & how expensive ? Now all is very cheap, so we use it. Dont we miss something by this abuse ? Yes, we do. We are becoming more & more lazy regarding using our own brain capacities to solve problems. I receive a lot of request to provide students with certain articles as they are writing a thesis or similar. I point them to libraries & literature I had used, but not to articles they just change here & there & "sell" them as their own creations to their (often very stupid & uninformed) professors, who often lack a great deal of basic informations. Would you believe it, there is a full time Hochschule professor for horn, who never ever worked in an orchestra. He got his job to teach future professionals. But I might ask in all modesty, how he could prepare the young future colleagues for their job ?? Never exposed to the task of playing in the orchestra ? Etcetcetc. The results can be heard during the auditions. A never ending story. And I wonder about the advice coming from half amateurs, about very very special tasks they never have been exposed too or tasks they know just from hear-say. Very funny. Would any of you give advice to a rope-dancer ? Surely not. But why not, as you do the same in basic: just walking forward & back. You dont like the comparison, but I like it as it is exactly the same what several of you do when giving advice how to solve a task you never experienced yourself. Load your guns & shoot at me. I have nothing to lose - 70 days more until retirement, ending 40 years in a world class orchestra with playing Richard Wagners long 3 act opera Parsifal on first chair - after total 50 years as first horn (professional) - , having experienced all highs & lows of the professional life & found a solution all the time, having seen the whole world except very very few "white places on the map", except Africa. But the fighter character still remains, believe me, it is one of the necessary requisites for a first horn. And, remember, having learned from Siegfried, I bathed in the dragons blood and there was no lime-tree leaf on my back to create a weak point in my panzer for Hagen´s spear -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Steve Freides Sent: Saturday, January 20, 2007 6:33 AM To: 'The Horn List' Subject: RE: [Hornlist] Place to buy Mozart Concerti horn parts online The horn part for Concerto #2 is in Eb, no doubt the original, but my son is used to the transcriptions in F. How can one change the key? -S- > -Original Message- > From: Jay Anderson [mailto:[EMAIL PROTECTED] > Sent: Friday, January 19, 2007 11:14 PM > To: The Horn List > Subject: Re: [Hornlist] Place to buy Mozart Concerti horn parts online > > Which one? Mutopia [www.mutopiaproject.org] has useable horn parts for > #'s 2 and 3 for free. The neat part about the site is if you want to > change something (transposition, articulation, wrong note) you can do > it yourself. (Note: I typeset Horn concerto No.2 so complain to me for > any mistakes). > > -Jay > > On 1/19/07, Steve Freides <[EMAIL PROTECTED]> wrote: > > We need, if we can, to purchase online t
Re: [Hornlist] Mozart solopart
In a message dated 20/01/2007 19:11:27 GMT Standard Time, [EMAIL PROTECTED] writes: "Wehad no other copy machine than hand & a pen & music paper. So we copied the pieces by hand" In a box somewhere upstairs I still have my hand-written copies of the Mozart concertos, copies I made by listening to the record I had. There are also stacks of horn parts to my favourite orchestral pieces copied out in a very scrawly spidery hand from scores borrowed from my local library. Things are different now - the young horn section of one of our bands (four players) all played the third horn part because that was the top one on the pile on the stand and no-one told them to play a different one. I'm sure that if we'd have put snare drum part on the stand they would have played that. Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart solopart
Hello Steve, you know what we did back in the 1950ies ? We had no other copy machine than hand & a pen & music paper. So we copied the pieces by hand including the piano part & necessary transpositions. We also transposed full piano parts. Work began very slow but grow to a full page per hour or more than one full page (piano plus solo). The quality of writing music grow better from day to day. And: we gained a lot from writing a piece by hand. We got it into our brain & it is still stored there. So in total, we saved a lot of time as we combined the necessary with the practical. We got a real picture of the piece before we even began to play the first note of it. Quite a forgotten method, seen as oldfashioned & obsolete. Dont laugh, folks, it works much much better than all modern methods. There is just one difficulty, where to find the right music paper ??? Mozart himself had a solution. He used a five-fold pencil & made the music paper by himself when the right one was not at hand. Most of us are used to get all for sale, all over the internet. How long do we have the internet, really working, ten to 15 years. How slow was it then & how expensive ? Now all is very cheap, so we use it. Dont we miss something by this abuse ? Yes, we do. We are becoming more & more lazy regarding using our own brain capacities to solve problems. I receive a lot of request to provide students with certain articles as they are writing a thesis or similar. I point them to libraries & literature I had used, but not to articles they just change here & there & "sell" them as their own creations to their (often very stupid & uninformed) professors, who often lack a great deal of basic informations. Would you believe it, there is a full time Hochschule professor for horn, who never ever worked in an orchestra. He got his job to teach future professionals. But I might ask in all modesty, how he could prepare the young future colleagues for their job ?? Never exposed to the task of playing in the orchestra ? Etcetcetc. The results can be heard during the auditions. A never ending story. And I wonder about the advice coming from half amateurs, about very very special tasks they never have been exposed too or tasks they know just from hear-say. Very funny. Would any of you give advice to a rope-dancer ? Surely not. But why not, as you do the same in basic: just walking forward & back. You dont like the comparison, but I like it as it is exactly the same what several of you do when giving advice how to solve a task you never experienced yourself. Load your guns & shoot at me. I have nothing to lose - 70 days more until retirement, ending 40 years in a world class orchestra with playing Richard Wagners long 3 act opera Parsifal on first chair - after total 50 years as first horn (professional) - , having experienced all highs & lows of the professional life & found a solution all the time, having seen the whole world except very very few "white places on the map", except Africa. But the fighter character still remains, believe me, it is one of the necessary requisites for a first horn. And, remember, having learned from Siegfried, I bathed in the dragons blood and there was no lime-tree leaf on my back to create a weak point in my panzer for Hagen´s spear -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Steve Freides Sent: Saturday, January 20, 2007 6:33 AM To: 'The Horn List' Subject: RE: [Hornlist] Place to buy Mozart Concerti horn parts online The horn part for Concerto #2 is in Eb, no doubt the original, but my son is used to the transcriptions in F. How can one change the key? -S- > -Original Message- > From: Jay Anderson [mailto:[EMAIL PROTECTED] > Sent: Friday, January 19, 2007 11:14 PM > To: The Horn List > Subject: Re: [Hornlist] Place to buy Mozart Concerti horn parts online > > Which one? Mutopia [www.mutopiaproject.org] has useable horn parts for > #'s 2 and 3 for free. The neat part about the site is if you want to > change something (transposition, articulation, wrong note) you can do > it yourself. (Note: I typeset Horn concerto No.2 so complain to me for > any mistakes). > > -Jay > > On 1/19/07, Steve Freides <[EMAIL PROTECTED]> wrote: > > We need, if we can, to purchase online the horn parts to the Mozart > > Concerti > > - we have the piano reduction but the horn part is at concert pitch. > > Anyplace that anyone knows of that sells a print-out-able copy? > > > > Thanks in advance. > > > > -S- > > > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at > > > http://music2.memphis.edu/mailman/options/horn/horndude77%40 gmail.com > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.me
Re: [Hornlist] Mozart Catalog Available Online
Oh a most zenophobic one, it blocks access to all newspaper pages outside the US. What is really amazing about this is they've issued me a web enabled Blackberry. If I copy the url from those blocked sites into my BB, I can pull them up just fine. I've having a little fun with this. The guys who set up the blocking software probably loooked for the easiest way to make it work. To keep us dirty old men from visiting Page 3 of "The Sun" they just blocked all foreign newspapers. > Obviously a vile, subversive website. When I attempted to visit it a > second a go I got the dreaded "Site Blocked" messsage. > > What branch of the government do you work for? I just visited the site > from my computer at the office and had no trouble pulling up the full > score of K. 417. I then forwarded the link to the head of music > cataloging in case he doesn't know about it. > > Howard Sanner > [EMAIL PROTECTED] > > ___ > 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/archive%40jab.org
Re: [Hornlist] Mozart Catalog Available Online
Obviously a vile, subversive website. When I attempted to visit it a second a go I got the dreaded "Site Blocked" messsage. What branch of the government do you work for? I just visited the site from my computer at the office and had no trouble pulling up the full score of K. 417. I then forwarded the link to the head of music cataloging in case he doesn't know about it. Howard Sanner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Catalog Available Online
[EMAIL PROTECTED] schreef: http://dme.mozarteum.at/mambo/index.php Obviously a vile, subversive website. When I attempted to visit it a second a go I got the dreaded "Site Blocked" messsage. Bill, I don't know who your ISP is, but you should change it asap. This is the official site of the Mozarteum (Music) University of Salzburg, and the home of the official, free and legal online edition of the New Mozart Edition (you know: the big, beautiful but expensive burgundy books published by Baerenreiter?) It seems somebody isn't too happy with the "free" bit. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Catalog Available Online
In a message dated 21/12/2006 15:53:33 GMT Standard Time, [EMAIL PROTECTED] writes: "Obviously a vile, subversive website. When I attempted to visit it a second a go I got the dreaded "Site Blocked" messsage." I belivwe that there has been a suggestion that Mozart was in possession of weapons of mass distruction and can therefore well understand the need to block access to this site (which, incidentally, was working okay for me about five minutes ago). All the best, Lawrence ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart Catalog Available Online
> http://dme.mozarteum.at/mambo/index.php Obviously a vile, subversive website. When I attempted to visit it a second a go I got the dreaded "Site Blocked" messsage. IN THE EVENT THAT ACCESS TO THIS WEB SITE IS REQUIRED IN THE PERFORMANCE OF OFFICIAL GOVERNMENT BUSINESS, PLEASE COMPLETE THE WEB ACCESS REQUEST FORM. WEB ACCESS REQUEST FORM DOIM BLOCKING/FILTERING SOFTWARE HAS DETECTED, AND RECORDED YOUR ATTEMPT TO ACCESS AN UNAUTHORIZED INTERNET WEB SITE IN VIOLATION OF THE JOINT ETHICS REGULATION (DOD 5500.7-R, SEC.2-301A) AND FORT SAM HOUSTON POLICY STATEMENT NUMBER 31, DEALING WITH THE USE OF GOVERNMENT COMMUNICATION SYSTEMS AND RESOURCES FOR OFFICIAL USE AND AUTHORIZED PURPOSES ONLY. THESE PROVISIONS APPLY TO ALL FORT SAM HOUSTON PERSONNEL. DO NOT ATTEMPT TO ACCESS THIS SITE OR OTHER SITES CONTAINING SIMILAR CONTENT IN THE FUTURE. REPEATED ATTEMPTS TO ACCESS UNAUTHORIZED WEB SITES WILL RESULT IN NOTIFYING YOUR COMMANDER AND DIRECTOR OF SUCH ACTIONS ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Catalog Available Online
Many apologies for the double-post, but just in case you had not yet seen this... (from the Associated Press) "Mozart maniacs, enthusiasts, students, and scholars can now access the immortal composer's entire catalog through a free online database, launched December 11, which contains more than 8,000 pages of critical commentary published since 1954. Ulrich Leisinger, head of research at the International Mozart Foundation in Salzburg, Austria, said site users can search for a specific work using key words and a scroll-down menu. They also have the option of printing out individual movements " http://dme.mozarteum.at/mambo/index.php ABC News also has an article at http://abcnews.go.com/Technology/wireStory?id=2722671 Margaret Margaret F. Dikel Horn / Librarian / Webmaster JCC Symphony Orchestra 11218 Ashley Drive Rockville MD 20852 301-881-0122 [EMAIL PROTECTED] www.jccso.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart concerti
Dear All I totally agree with Dr. Matlick, I could not have put it better myself. I have come to love the Mozart's as I have got older and now really enjoy playing them in concerts. The understanding Mozart has for the instrument is I think incredible. Listen to Alan Civil playing them and you will hear simplicity in its finest form! Take care Happy Easter Simon Locke -- I am using the free version of SPAMfighter for private users. It has removed 3 spam emails to date. Paying users do not have this message in their emails. Try www.SPAMfighter.com for free now! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart
Yes, you are right, but by qualifying compositions or composers one should not see them like comparing the quality of cheese. The same happen during "horn" competitions when the jury listen to the candidates like using their "personal preference filter". High quality will remain high quality even it does not match my personal style, interpretation, tone color, etc. We should remain objective. It is much better to say "I do not understand the greatness of Mozart(e.g.)" than to say "I dislike Mozart". Is it so hard to admit, that one is not yet mature enough for something. Getting married (or hiring a person for the orchestra) is another story. Here quality & preferences & needs have to match, - but often dont anyway. We were lucky yesterday to fill two vacancies in our hornsection by hiring a deputy first horn, who saved a lot of our performances during the past months, and by hiring the first female horn player in our sections history, a young Turkish lady, former student of Mahir Cakar & Marieluise Neunecker, with an incredible beautiful horn tone, to fill the vacant third horn position. The (alternating) Solo position is still vacant. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Gross Sent: Wednesday, April 12, 2006 9:48 PM To: 'The Horn List' Subject: RE: [Hornlist] Mozart To like or not like Mozart, or other composers, doesn't this quotation seem appropriate? De gustibus non est disputandum. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart
To like or not like Mozart, or other composers, doesn't this quotation seem appropriate? De gustibus non est disputandum. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart
Hans: To reenforce your comments, many years ago a wise person (I cannot remember whom) said that Mozart is too simple for children but much too difficult for adults. At 12:00 PM 4/10/2006, you wrote: date: Mon, 10 Apr 2006 09:19:39 +0200 from: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> subject: Re: [Hornlist] Not Really a Mozart Fan Message: 14 You will come back to Mozart perhaps if you are more matured to enjoy the greatness achieved through simplicity & cleaness. And if Mozart is done earnestly, it strucks by the power. But it might be much different for younger people, who like more the big splash & big bang. But it is also possible to enjoy both ways of music, as I do. Not just the classical, but also the sensational Wagneresque - Straussian & Mahleresque & more. I also needed years to know & understand & enjoy Mozart as I do today. Greetings from Shanghai Hans Pizka ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart vs. Bach as greatest
YES, IT's BACH Richard Burdick Steve wrote: Mozart is arguably the greatest composer to ever have walked the face of this Earth. For a musician not to like Mozart means only that the musician doesn't understand Mozart. Well, I agree with the second sentence completely but I think J.S. Bach is arguably the greatest composer ever. He broke the fertile ground and grew the first crops! Those seeded everything that has come since. KB ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart
But the Emperor was dead wrong! By the way, it is my son's and my favorite line from the movie. Regards, Joe -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of debbie wenger Sent: Monday, April 10, 2006 11:05 PM To: horn@music.memphis.edu Subject: RE: [Hornlist] Mozart Has no one said it yet? TOO MANY NOTES! Sorry, flame me, or worse, ignore me, I am not original, but I had to say it. Anonymous!! >From: "Steve Freides" <[EMAIL PROTECTED]> >Reply-To: The Horn List >To: "'The Horn List'" >Subject: RE: [Hornlist] Mozart >Date: Mon, 10 Apr 2006 22:06:30 -0400 > >I wrote: > > > Mozart is arguably the greatest composer to ever have walked > > the face of this Earth. For a musician not to like Mozart > > means only that the musician doesn't understand Mozart. > >to which Kendall Betts said: > > > Well, I agree with the second sentence completely but I think > > J.S. Bach is arguably the greatest composer ever. He broke > > the fertile ground and grew the first crops! Those seeded > > everything that has come since. > >and Linda Sherman opined: > > > I think it's possible to admire a composition (or its > > performance) on technical and esthetic merits, yet not connect > > emotionally with the results. I think that's the response some > > people, including myself, have to many of Mozart's works. > >I reply: > >If asked to answer the provberial question, "If stranded on a desert island >with recordings of only one composer (or even with just a single >recording), >who/what would it be?" I would choose Bach, and not Mozart. My >relationship >with Mozart is something along the lines Linda described, by which I mean >that if I have a choice of listening, I will choose Bach (the 1955 Glenn >Gould 'Goldberg Variations' if I get only one recording), but if I am the >performer, I prefer Mozart - if that makes any sense. I find Bach rather >academic to perform while I find Mozart demands much more of me as an >artist >and is therefore much more rewarding to perform. > >And to Wendell Rider, I say, "but you didn't mention Don Giovanni!" > >-S- > >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music2.memphis.edu/mailman/options/horn/vtagirl%40hotmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/joescarpelli%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
