My favourite Mozart cadenzas would have to be Michael Holtzel's, both
on his
old recording and the ones that are printed in Herr Pizka's book.
They are
virtuosic, musical and tasteful.
(I believe that Radovan Vlatkovic's cadenzas are based on Holtzel's as
well.)
All the best,
Chris Gongos
Toronto Symphony Orchestra
I agree with Chris that Michael Hoeltzel has a special touch with
cadenzas, and in fact with musicality in general (Radovan Vlatkovic,
Daniel Katzen, and James Summerville are among many who agree). Besides
his recording and the transcription in Hans Pizka's excellent "Mozart &
the Horn," there is a decades-old cassette of Hoeltzel's brilliant IHS
convention lecture on putting together your own. Not content with
having the suddenly lone horn do nothing better than repeat the
movement's opening phrase, Hoeltzel recommended plundering the
energetic orchestral accompaniment for motivic material, and he
launched his own cadenzas with verve.
In general, Hoeltzel recommends that hornists compose their own
cadenzas. Since last spring I've been slowly translating his "Hohe
Schule des Horns" (to be issued as "Mastery of the French Horn"). As
you can see if you scan the table of contents below, Hoeltzel includes
many subjects that have been given little space in previous methods.
For example, he devotes an entire chapter (18 pages long in the
original) to the the subject of cadenzas.
Preface
Advanced Daily Technical Exercises
Warm-up, Scales, and Arpeggio Exercises
Legato Exercises throughout the Entire Range
Legato and Portamento in the Repertoire
The Art of Practicing
Methods of Effective Practice
Example of Detailed Practice on the Solfeggio in E flat, K. 393
The Path to an Individual Tone
The Effect of Breath, Hand Position, and Manner of Holding the Horn on
Sound Color
Centering the Tone (Intonation Exercises)
Tuning
Vibrato
Musical Phrasing
Different Types of Articulation
Phrasing
Ornamentation
Which Horn for Which Music?
Intonation, Sound Color, and Combination Possibilities on the B flat-F
Double Horn
The B flat-High F Descant Horn
Articulation on the B flat-High F Descant
Fingering Chart for the High F horn
Horn and Horn Playing Over the Centuries (a Short Manual of Style)
Baroque Style
Viennese Classical Style
The Horn in the Romantic Era
An Excursion: the Wagner Tuba
From Richard Strauss through Modern Music
The Cadenza in the Solo Literature
A Personal Cadenza — Which Rules to Follow
Sample Cadenzas with their Introductory Accompaniments
Competitions, Juries, Auditions, and Solo Performances
The Psychological Preparation
Horn Playing as a Profession
Managing Your Own Career
Literature About the Horn
Hoeltzel will be giving several master classes in the US midwest this
month under the auspices of Nancy Jordan Fako, so some list members may
have the chance to attend. If you do, make a point to ask him about his
approach to cadenzas. Then prepare to be amazed.
Bill Melton
Hauset (B) / Sinfonie Orchester Aachen (D)
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