It will be listed under my dad's ID which is [EMAIL PROTECTED]
Ashley
On Thu, 16 Jan 2003 19:26:26 -0500 "Gregory L. Campbell"
<[EMAIL PROTECTED]> writes:
> Please let me know your eBay user ID so I can keep a look out for
> this
> item!!
>
> Thanks,
> Greg
>
> - Original Message -
>
I found it on a website through a google search. I don't remember what
site it was, but I do remember that it was all in German.
Ashley
On Thu, 16 Jan 2003 20:09:59 -0800 (PST) Chris Tedesco
<[EMAIL PROTECTED]> writes:
> Where did you get the DVD?
>
>
> Chris
> --- [EMAIL PROTECTED] wrote:
>
Message text written by The Horn List
>(don't recall, but I bet it
> was one of our brethren in Albion) wrote back that Nigel Black, Laurence
> Davies, Laurence Rogers and Peter Blake were the most excellent
soloists.<
Dear All
Just for the record, Nigel Black and Laurence Davies are the two prin
Message text written by Paul Mansur
>I think it is quite common. I once played it in a performance in which
the
conductor used an assistant on each horn part in order to have six horns
play
this in unison to make a Grande Finale!<
Dear All
Sir John Barbirolli always used six horns for the Eroi
What are the symptoms before getting lip injury? How do I know when to
stop playing before getting my lips injured?
___
Horn mailing list
[EMAIL PROTECTED]
http://music.memphis.edu/mailman/listinfo/horn
In a message dated 1/17/2003 7:56:51 AM Pacific Standard Time,
[EMAIL PROTECTED] writes:
> What are the symptoms before getting lip injury? How do I know when to
> stop playing before getting my lips injured?
>
Hello person who sent this email,
I've found Ms. Lewis' website helpful.
www.embo
The following is an except from a book review in the Economist. It may be of interest
to those on this list. The entire book review can be read at
http://www.economist.com/books/displayStory.cfm?story_id=1522583
Who Needs Classical Music? Cultural Choice and Musical Values
By Julian Johnson
In a message dated 1/17/03 12:00:36 PM Central Standard Time,
[EMAIL PROTECTED] writes:
> For some really great horn instruction including coaching in
> orchestral excerpts by leading professional hornists, check out KBHC at
> http://www.iaxs.net/~cormont/KBHC/
>
_
Loren wrote:
> For some really great horn instruction including coaching in
> orchestral excerpts by leading professional hornists, check out KBHC at
> http://www.iaxs.net/~cormont/KBHC/
>
Thanks for the plug, Loren, but our web address has changed. Please take a
look at: < www.horncamp.org
Hi folks,
I am trying to find information for use in some program notes for the
Richard Strauss Andante. I think it was written for his parent's 50th
wedding anniversary, but that would make for some real short notes.
Anybody have something more they can share with me?
Thanks in advance...
Davi
Howard wrote:
> I sometimes wonder how touring virtuosos can stand to play
> the same program four nights a week for an entire season,
> much less make the music sound fresh most of those times.
It's not "touring virtuosos" necessarily, but one piece of advice given by a veteran
of Cats and seve
Geez, Jon, give me a minute!
We use all four horns at that spot unless the conductor asks otherwise. I
don't recall anyone asking. We also double or triple the third horn tune in
the slow movement. Ormandy always used 6 horns for Eroica and had a lot of
inserts. We did it once with Tennsted
I'm looking for program notes for the Beethoven E-flat major Quintet for
Piano and Winds. I've found plenty of stuff for the Mozart, but nothing for
the Beethoven. Please help me. Thanks!
Jeremy
Oh, if anyone can think of other works that would work well on a program
which include both of thes
Years ago there was a fine horn player in the bay area named David McCracken
who had great potential. Whatever happened to him? I believe it was his
brother, originally a bassonist who started the McCracken french horns,
though I could be totally off on this. I also noticed there is a Deborah
McC
In this coming performance we will be using only three horns with no
assistant. So, we will play each part as written. The passage I was
questioning, is in the last movement, measure number 383. It is an oft
quoted passage in the horn excerpt books (about 8.5 minutes into most
recordings of that
Sometime ago, David decided to adjust his career goal from 'fine horn
player' to 'mediocre horn player', so changed his name to Fred and moved to
Sacramento where he has since thrived in poor community orchestras. Don't
bother looking for him in Sac; he entered the "hornist protection program"
an
C. Smith asked about Summer music camps for an orchestral
experience. It's always good to find out as much as you can about
summer camps before you choose, because they all have different
strengths and weaknesses. Some students show up and are
unhappy with their experience at camp which is a gr
There are many ways one can injure the lip from car accidents to martial
arts to just plain over abuse. I have unfortunately encountered all
three. However, as your question clearly pertains to the later, I will
attempt to expound. It is very difficult to permanently damage a lip
from one or two
Jon Woodard wrote:
On the other hand, when asking about Beethoven
> Symphony
> No. 3 and whether is was commonplace to have all three horns play a
> certain line together, only one digester(?) responded. The Beethoven
> 3rd
> is one of the most commonly performed pieces in the repertory of
> almo
Eldon wrote of Beethoven's Third Symphony: " My favorite recording of this
is the Vienna
Philarhomonic(sic) with Karl Bohm, director. The horn sound is to die for."
Let me add that the Böhm/Vienna rendition of the Bruckner 4, on London, is
astonishingly profound. To this day I can recall my firs
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