We had a new production of Mozart´s "Il Seraglio" last season. Daniel
Harding conducted. There was a fixed setting in the orchestra, means, we
were not allowed to switch service. Well, my colleague did the job. But
we have got a new conductor since, Harry Bicket, of whom I reported the
review he re
- Original Message -
From: "Chris Tedesco" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Friday, April 23, 2004 11:43 AM
Subject: Re: [horn] Geyer wraps
> There really is no comparison between these horns in my opinion..
>
> Yamaha.Holton
>
>
> Chris
You are still missing basic technique, dear Michael. And I did not say
"you masturbate with the music". Read it again. I said "music is not
like masturbating". You should try to understand. And the mouthpiece
thing: I did not recommenbd to get different mouthpieces for different
tasks - as other wr
Stage fright & stage fright are not always the same. A certain stress is
necessary to produce a live performance. But most reason for stage
fright is as I described. The book is absolutely interesting for those
who do not suffer that much of stage fright but it helps - as you said -
to understand i
May I suggest (if it hasn't been already) "Mental Toughness Training
for Sports." I believe it is by a fellow named Loehr, or something like
that. For some reason, its simplicity is extremely helpful when we have
those moments of stupidity when under extreme stress, such as when one
is performin
In a message dated 4/23/04 12:00:45 PM Central Daylight Time,
[EMAIL PROTECTED] writes:
> RE: [Hornlist] Low Register (Otto Nicolai Horn duets)
Professor Pizka,
I never said I was going to buy another mouthpiece or "masturbate with
the music." Wow thats INSANE.
I don't see an
Hello Michael,
I think I heard somewhere that Richard Solis of the Cleveland Orchestra had such
problems, as well...at least while performing as Principal.
Your book title is intriguingin what way do you relate stage fright to the
unconscious? Sounds like you believe that stage fright ma
Dear Hans,
Thank you for your interesting comments about stage fright. Horowitz had stage
fright for 35 years then resumed playing. Arnold Jacobs told me of a performer in
the New York Philharmonic that had played wonderfully for 25 years then all of a
sudden couldn't play. Hundreds of gre
Mike G suggested this book:
Stage Fright in Music Performance
and Its Relationship to the Unconscious
**
Though I have occasionally suffered from
a little stage fright, I have never been so
badly affected that it made me unconscious.
Nevertheless, if you have this problem, then
this
What is the problem here ? Buying a mouthpiece here, buying a mouthpiece
there, just because a colleague recommended that ? INSANE ! Learning the
technique to cover the horns whole range with ONE SINGLE mouthpiece,
with a real horn mouthpiece.
And the range must be acquired by the right practise n
Searching in my archive I found some surplus copies of old horn methods,
which I will auction here on the list.
They are:
Joseph Mohr ( 1823-91), high exponent of the hand horn technique:
Methode de premier & de second Cor, published by Leduc 1869, original
publication, soft cover, format 11,6 x
What exactly is the range of the piece?
if its mainly in the padel ranges, it would be a breeze if you bought the
paxman 35 mouthpiece. and perhaps you could find a suitable rim that is
closest to your current mouthpiece rim diameter so as not to affect your
current emboucher. of course this wou
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