[Hornlist] Siegfried Idyll 2nd horn long note
OK, thats solved what about the long pedel g in the birds? LT ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Siegfried Idyll 2nd horn long note
HI Carlberg, It can be played too slowly. At the right tempo, it can be played on one breath. Carl [EMAIL PROTECTED] wrote: At 4:06 AM -0800 11/19/06, Carl Bangs wrote: One more thing, It helps to have a sympathetic conductor who is listening to you, and knows what you can do. Why is that, Carl? That part can't be taken faster. We just played the piece and there's places to breathe, coinciding with the entry of other instruments. That Eb can't be played too softly or why bother playing it? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Siegfried Idyll 2nd horn long note
At 4:06 AM -0800 11/19/06, Carl Bangs wrote: One more thing, It helps to have a sympathetic conductor who is listening to you, and knows what you can do. Why is that, Carl? That part can't be taken faster. We just played the piece and there's places to breathe, coinciding with the entry of other instruments. That Eb can't be played too softly or why bother playing it? -- Carlberg Jones Skype - carlbergbmug Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Siegfried Idyll 2nd horn long note
One more thing, It helps to have a sympathetic conductor who is listening to you, and knows what you can do. This is a good time to rant about incompetent conductors, but we already know all about that. Carl Carl Bangs wrote: I have done it, and I believe it was Aaron Paul playing second when I was conducting the Berkeley Chamber Orchestra who was also was successful. Actually, it's not that hard. It's not like you have to change notes, or something. I use self-hypnosis in that situation, and the real problems is remembering to stop. Carl Bangs [EMAIL PROTECTED] wrote: Last night we played the Siegfried Idyll. My second horn didn't manage to play the extrememely long low note at the end in one take. Does anybody? One of my colleagues told me that he had seen a BBC orchestra play this piece and the note was shared between the two horns. Is this the usual way of coping with this, does one develop a set of gills, or take breaths as my second did. Cheers, Lawrence ___ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Siegfried Long Call
Hello friends, I invite all of you to visit my spezial page about the Viennese Horn at www.pizka.de/WrHrPlay5.htm You will find the special links there, after scrolling down the page, to see the Video of the Long Call, played on the single F Pumpenhorn (Viennese), from a live recording at the AGM Studio at Schloss Kranzbach Castle near Garmisch. The recording was taken after a one hour TV interview, using a brand new Pumpenhorn, no warm-up, just played. The videos are pizfried.mov (2 MB) or siegmail.mov (800 kb - smaller picture, but same audio). I look forward to your comments. Cheers Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Siegfried Call Tempo
Here is the right address to listen the several ways of interpretation of this solo (Long Call): www.pizka.de/LongCall1.htm www.pizka.de/LongCall2.htm www.pizka.de/LongCall3.htm www.pizka.de/LongCall4.htm Every page contains several recordings including video clips. Have fun, but don't forget, all these calls are the result of years of preparation. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of jlmthompson Sent: Wednesday, July 21, 2004 4:21 AM To: [EMAIL PROTECTED] Subject: [Hornlist] Siegfried Call Tempo What are the ranges of 'Moderato' tempos acceptable for Siegfried's Call? Thanks, Jim ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans%40pizka.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Siegfried Call Tempo
In a message dated 7/20/2004 10:21:55 PM Central Standard Time, [EMAIL PROTECTED] writes: What are the ranges of 'Moderato' tempos acceptable for Siegfried's Call? Thanks, Jim Hi Jim, Go to _www.pizka.de_ (http://www.pizka.de) . Prof. Hans Pizka has made several recordings of the long call available to us. But be warned . once you start to wander through this site it will be difficult to stop. Also, check out the music, horns, history, etc., etc., etc. Have fun! Regards, Jerry in Kansas City ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Siegfried Call Tempo
What are the ranges of 'Moderato' tempos acceptable for Siegfried's Call? Thanks, Jim ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Siegfried and Long Call at the Met
The Met's 2004 final Ring Cycle performance of Siegfried will be tomorrow ( Thursday May 6 at 6pm) . Joe Anderer's "long call" is fantastic. His service as Co-Principal this season has garnered much positive press and acclaim. He is truly a gifted musician with chops of steel on top of his obvious musical talents, he is simply a great guy. It has been a joy and challenge to play Assistant Principal on this production of Siegfried, particularly with the Met's Resalka ( third horn) being on the agenda tonight, followed by Siegfried tomorrow. With Joe teaching at NYU and Julie Landsman teaching at Juilliard, young hornists considering musical education in NYC have two great Met hornists as possible professors. There is a distinct advantage to having an Opera Orchestra horn player as an instructor. The development of a lyrical style is enhanced, as is technique and stamina. Julie and Joe work wonders with their horn students. It was my good fortune to study with Julie for the DMA and MM degrees at Juilliard, and I find myself thinking of her advice almost daily, particularly about Carmine Caruso. If you're in the NYC area, try and grab a ticket to the final Siegfriend tomorrow. You will be delighted by Wagner's music and Joe's long call My best, John John David Smith, DMA Horn [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Siegfried
Well, hurry up get your plane ticket. There are still some few tickets available for Siegfried coming Tuesday Feb.2nd & Feb.7th (next Saturday) at Bayerische Staatsoper in Munich, Zubin Mehta will conduct. You could hear my no.154 & no.155 Long Call then. 2nd act rehearsal with singers & decoration today was perfect. Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Siegfried - horn trios (mixed)
As there were several inquiries recently, I may point you to my web site as below, to search for trios for horn, violin, piano: there are some nice pieces by Jean Nisle (late 18th cent.), Duvernoy & Max Bruch (transcription). I have also some other trios. New pieces might be found at the horn & harp section: Bochsa, Rebay A nice trio oboe, horn & piano by Rebay. Most titles have Midi samples. Regarding Siegfried: again newe calls: Buenos Aires 1962, Bayreuth 2002 (), Pizka in Munich Nov.3rd, 2002 (my worst Long Call). Enjoy. Greetings from -17 centigrades Munich Hans -- Prof.Hans Pizka email: [EMAIL PROTECTED] tel.: +49 89 903 9548 - www.pizka.de (horn site) with connections to www.pizka.de/Pizka-music.html (publications) - www.pizka.de/PizClasHr.htm (instruments, mouthpieces) www.pizka.de/PizWrHorn.htm (Viennese Horns) - www.pizka.de/mpiece.htm (mouthpieces) www.pizka.de/Pizka-travel.htm (pictures, stories, experiences from my travel) - open soon mail is virus checked ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Siegfried
"Prof.Hans Pizka" wrote: > > It will be my no.4 LIVE call on CD. Quite exciting indeed. If ever any horn player >will get the honor (it is an honor to play LONG CALL - in public) to do that many as >I have done (Nov.7th is my no.147) including this coming no.4 CD. You remind me of Kirsten Flagstad, who in her diaries kept meticulous track of how many times she had sung each role. (That is not a criticism. I'm sure you know by now how much I admire Flagstad's singing and musicianship, and I hope you also realize I admire your playing, too.) Howard Sanner [EMAIL PROTECTED] ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Siegfried
Hopefully my new Siegfried Pages (the opera divided into acts & scenes, plus the newly designed Sigfrid page (LONG CALL) will work on my site. All pictures are up. If something does not work fully, visit again tomorrow night & it will be repaired then. Quite interesting. Also, I received a call from our maestro (Zubin Mehta) just an hour ago, that we will definitely record Siegfried LIVE from the performance after tomorrow using new technology (audio-DVD - but later also available on CD). It will be my no.4 LIVE call on CD. Quite exciting indeed. If ever any horn player will get the honor (it is an honor to play LONG CALL - in public) to do that many as I have done (Nov.7th is my no.147) including this coming no.4 CD. Just an advance information. Greetings from Munich Hans -- Prof.Hans Pizka email: [EMAIL PROTECTED] tel.: +49 89 903 9548 - www.pizka.de (horn site) with connections to www.pizka.de/Pizka-music.html (publications) - www.pizka.de/PizClasHr.htm (instruments, mouthpieces) www.pizka.de/PizWrHorn.htm (Viennese Horns) - www.pizka.de/mpiece.htm (mouthpieces) www.pizka.de/Pizka-travel.htm (pictures, stories, experiences from my travel) - open soon mail is virus checked ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Siegfried part three
I might add something to act two first, as I had the chance to follow it just last night. After Siegfried had killed the dragon Fafner resembled by the "widow Bolte" (grandma) balloon, and as Fafner retransformed to his original appearance, bound to a stretcher bed, carried in by a white dressed nurse, Alberich as a mad house surgeon in the back, also sitting in the bed, dressed with the green coat of a surgeon including the accessoires, also attracted by fency sexy clothet super pritty prostitute Waldvoeglein (forest birdy), Alberich & Mime starting the dispute about Fafners treasure. When Siegfried returns from the cave with all the treasures, he becomes dressed like Elvis - I also have to add here that his earlier jacket was a designer jacket by Karl Kani ! - and acts like one of the Marx brothers - indeed, there is some similarity between Stig Anderssen & the harpist of the Marx brothers - . Mime put a red with dotted clown cap on Siegfrieds head to make him look really thumb, while other parts of the treasure are unpacked like Christmas or Easter gifts. But Siegfried kills him with the sword. So he has to discard the two murdered figures Mime & Fafner by dragging them across the stage to a hole in the bottom (side entrance to the cave ?) one after the other & throw them into the ground. Now Act 3: It opens with Wotan suffering a nightmare. Then Erda, his former love, appears wearing a leopard jacket, smoking a cigarette & sitting down on a couch. They discuss the past on the couch, but she leaves him alone afte a short while. Lonely Wotan suffers more when Waldvoeglein stomps over him on the couch & Siegfried (his grandson) enters & starts discussing with him about the access to the fore surrounded rock where Bruennhilde is bound to by Wotan. Siegfried finally cuts in half Wotans powerless spear by using his "renewed" powersword Notung. Then he crosses the fire barrier. Here the producer uses the superb effect of real fire, when a fire guard dressed by an asbestos suite is set in flames & walking across the stage. An excellent optical pictural effect. But does this compensate for all the things happen before ? The scene has changed to a highway including the median strip. Background forest fire red orange. Some relicts from Stonhenge. At the left side of the Autobahn (seen from the audience), there is a black Alfa Romeo roadster stuck head over in the ground. A black pre WW1 uniform clothed longhaired figure with long boots lying behind the car. Later this figure stands up & collapses again & I saw that he wore a mask like the Emperor in the "Imperium slashes back". Then I understood, the mask was the bridle of "Grane" , Bruenhilde´s horse, while Bruennhilde lying in the foreground, hit after the car accident (but what has Wotan to do with this accident ? We will know it after the new Walkuere in May perhaps.). Siegfried becomes extremely horrified, when he realizes "Das ist kein Mann !" (That is no man !), as he grew up in a no-man-environment. May I say here, that is a typical mono-sex-problem of many producers, seing the world from their particular sex orientation only (politely expressed !). But finally Bruennhilde & Siegfried get together. He sings that "he has finally learned about fear !" Can imagine that: very strong woman & man´s first experience after a total masculine education & ebvironment . (not more to say). Now we can wait for the new interpretation of Walkuere in May & the Goetterdaemmerung in February. Tomorrow we have public dress rehearsal with the National Theatre filled up until the last seat, myself playing the Long Call for the 145th time (was perfect last night), hopefully as good as in the rehearsal. Premiere is scheduled for Sunday, radio life transmission for Thursday Nov.7th, another two performances to follow on Nov.13th & 17th. -- Prof.Hans Pizka email: [EMAIL PROTECTED] tel.: +49 89 903 9548 http://www.pizka.de (horn site) with connections to http://www.pizka.de/Pizka-music.htm (publications) - open soon http://www.pizka.de/Pizka-horn.htm (instruments, mouthpieces) - open soon http://www.pizka.de/Pizka-travel.htm (pictures, stories, experiences from my travel) - open soon mail is virus checked ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Siegfried more, third act on Tuesday.
I suppose that the people who hold the purse strings are allowing this travesty to occur in a vain attempt to attract new audience. The amazing thing is that one or two people actually think they are generating great art! Hans is right - this is a kind of pornography. What a shame. - Richard Hans Pizka wrote: > ...It is really ashaming, the > scandal predictable. But the wonderful music ? Yes, the music > will suffer, our musical effort will suffer. > > These beasts are driving the audiences out of the theatres. ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Siegfried et al
My favorite Ring staging was the version from Bayreuth with staging production by Phillipe Chereau (sp?). The Rheinmaidens at the opening of Rhinegold are portrayed as 'prostitutes,' I guess, working around a big hydroelectric dam. It gets better after that. Wotan is a 19th Century industrialist in top hat and black overcoat. The dragon is a wonderful wooden contraption ported out on stage by a band of powdered-wig bearing supers. But I really liked it! This is the version broadcast by National Public Television back in the 80s with some rebroadcasts; I think it may be available on video. As I recall from an interview with Chereau on the radio, he felt that having a Frenchman do a German opera at Bayreuth was a bit of a stretch, and he said at the time that he didn't want to do it again. Of course Chereau's work is delightfully controversial. I saw the premiere of his production of Pelleas et Mellisande at the Chatelet in Paris in 1992. The production staging colors and costumes were entirely black or white. The audience booed the costume designers unmercifully. But I also remember an incredible special effect: At the exit of Pelleas and Mellisande from a grotto, and emerging into the sunshine (light being a constant symbolic thread in the opera) they used some kind of incredibly blinding light, like a searchlight or magnesium torch or something, pointed out into the audience. Wild. One could not bear to look at the light! There was a designer whose name I have forgotten who did a production of Rigoletto in San Francisco (I was playing in the pit..actually backstage) in which Rigoletto is done up in a motorcycle jacket. A la Henry V? But I digress. Bob Dickow University of Idaho - Original Message - From: "Ralph Mazza" <[EMAIL PROTECTED]> > I expect the pendulum to swing back one day, but lately there seems to be no > end to theatrical clap-trap. (Crap-trap?) > I have seen Henry V (while still a boy in Henry IV) with a motorcycle and > black leather "biker" jacket smoking weed. [Oh, yeah, now I get it, he's > ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Siegfried et al
I expect the pendulum to swing back one day, but lately there seems to be no end to theatrical clap-trap. (Crap-trap?) I have seen Henry V (while still a boy in Henry IV) with a motorcycle and black leather "biker" jacket smoking weed. [Oh, yeah, now I get it, he's an irresponsible, undisciplined youth.] I have seen Richard III as a World War II era Nazi. [Oh, yeah, now I get it, he's a really, really bad guy.] I have seen the Caucasian Chalk Circle with the actors sloshing around in four inches of water covering the stage - by design! [I didn't get that, at all.] And just this afternoon I saw a production of Medea, with Fiona Shaw and almost everyone else in sneakers and ratty looking clothes. [So what if she and Jason were part of the royal household of Corinth?] How can anyone imagine that stories like Medea and Siegfried, myths and legends, full of mystery, magic and fantastic events, can be told in amid sneakers, Jack Daniels and toilets? I would have thought the world had in it enough ugliness to discourage artists from creating more, to no purpose. Ralph Mazza Hitch up the hand-basket, it's time to go. ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Siegfried more, third act on Tuesday.
Bill Gross wrote: > > Before Lawrence steps in, it has been explained to me that any educated man > (or woman) knows all you have to say is "The Times." Moreover--and putting my descriptive cataloger's hat on for a moment--I believe the actual title is just "The Times." It definitely isn't "The London Times." Howard Sanner [EMAIL PROTECTED] ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Siegfried more, third act on Tuesday.
Before Lawrence steps in, it has been explained to me that any educated man (or woman) knows all you have to say is "The Times." - Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]> Sent: Sunday, October 27, 2002 2:30 PM Subject: Re: [Hornlist] Siegfried more, third act on Tuesday. > Howard- > > Here is a link from Sept. 30 I found on the Opera L list (it worked for me > today): > > "An op ed opinion column in today's Times of London hits out against "arrogant > and foolishly destructive productions of opera..." > > Check it out at www.timesonline.co.uk/printFriendly/0,,1-3504-430794,00.html > > It that does not work go to The Times site at www.thetimes.co.uk and use the > site search facility to seek stories on opera. > > Print a few copies and send them to some of the culprits. Then stick your > head out of the window and shout: "I'm fed up with self indulgent opera > directors and I won't take this desecration any more! > > Terry Quinn" > > In a message dated 10/27/02 12:19:23 AM, [EMAIL PROTECTED] writes: > > << Charles Osborne recently wrote an article on just this topic, > the stage directors, et al., who think they must be on an equal > footing with the composer instead of the re-creative artists they > are, like everyone else involved with the production. An > opera-loving friend recently emailed it to me. Unfortunately, I > no longer have it around to forward. > >> > > ___ > Horn mailing list > [EMAIL PROTECTED] > http://music.memphis.edu/mailman/listinfo/horn ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Siegfried more, third act on Tuesday.
[EMAIL PROTECTED] wrote: > > Howard- > > Here is a link from Sept. 30 I found on the Opera L list (it worked for me > today): > > "An op ed opinion column in today's Times of London hits out against "arrogant > and foolishly destructive productions of opera..." > > Check it out at www.timesonline.co.uk/printFriendly/0,,1-3504-430794,00.html Yes, this is the one! I couldn't agree with him more. Howard Sanner [EMAIL PROTECTED] ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Siegfried more, third act on Tuesday.
Howard- Here is a link from Sept. 30 I found on the Opera L list (it worked for me today): "An op ed opinion column in today's Times of London hits out against "arrogant and foolishly destructive productions of opera..." Check it out at www.timesonline.co.uk/printFriendly/0,,1-3504-430794,00.html It that does not work go to The Times site at www.thetimes.co.uk and use the site search facility to seek stories on opera. Print a few copies and send them to some of the culprits. Then stick your head out of the window and shout: "I'm fed up with self indulgent opera directors and I won't take this desecration any more! Terry Quinn" In a message dated 10/27/02 12:19:23 AM, [EMAIL PROTECTED] writes: << Charles Osborne recently wrote an article on just this topic, the stage directors, et al., who think they must be on an equal footing with the composer instead of the re-creative artists they are, like everyone else involved with the production. An opera-loving friend recently emailed it to me. Unfortunately, I no longer have it around to forward. >> ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Siegfried more, third act on Tuesday.
"Prof.Hans Pizka" wrote: > > no woine. no beer, no brandy, no drugs - I am not drunk, but all on Siegfried looks >like LSD poisoned. Charles Osborne recently wrote an article on just this topic, the stage directors, et al., who think they must be on an equal footing with the composer instead of the re-creative artists they are, like everyone else involved with the production. An opera-loving friend recently emailed it to me. Unfortunately, I no longer have it around to forward. I agree. Completely shameful. When the Deutsche Oper did the Ring here in D.C., it was set in a sewer. I saved my money and "set" at home! Ugh! Howard Sanner [EMAIL PROTECTED] ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Siegfried more, third act on Tuesday.
Leaonard, Larry, John, Leigh, Cabbage & others, no woine. no beer, no brandy, no drugs - I am not drunk, but all on Siegfried looks like LSD poisoned. It is really ashaming, the scandal predictable. But the wonderful music ? Yes, the music will suffer, our musical effort will suffer. These beasts are driving the audiences out of the theatres. Why do they produce Wagnerian operas, if the dont like them. Yes, it is not everybody´s taste - Wagner, but most people, even people without experience of classical or dramatical or operatic music are captured by it and moved. I tell you, I have played the LONG CALL in many, many productions of Siegfried, but have never seen so many people with earphones & mikes & piano scores running around on stage. For an opera with a mini cast: Mime, Wotan, Alberich, Siegfried & Bruennhilde -- and the Waldvoegelein (she is very pritty, superslim, and a superb & precise voice). Forgot Fafgner & Erda. Yeah, Erda is the fat lady besides the fat guy on the toilet counting his money. Money is short today, but it is very short for the arts. But our (british) director allows everything if the producer is also British. And the cultural minister closes his eyes. If we need something new for the orchestra, like new chairs for our dressing rooms, - NO MONEY, for years. Again, I am not drunk. Most people know, that I do not drink. -- Prof.Hans Pizka email: [EMAIL PROTECTED] tel.: +49 89 903 9548 http://www.pizka.de (horn site) http://www.pizka-music.com (publications) - open soon http://www.pizka-horn.com (instruments, mouthpieces) - open soon http://www.pizka-travel.com (pictures, stories, experiences from my travel) - open soon mail is virus checked ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
