MAY 2021

JOURNAL OF THE
• l’Association internationale du cor • Internationale Horngesellschaft
La società internazionale del Corno • •
Sociedad Internacional de Trompas • International Horn Society
hornsociety.org 99
The world-class horn section
of a world-class orchestra selects
the finest handcrafted custom horn.

Chicago Symphony
Orchestra
Horn Section
Susanna Drake,
Dale Clevenger,
David Griffin,
Oto Carrillo,
Daniel Gingrich,
and James Smelser
with their
PHOTO © TODD ROSENBERG PHOTOGRAPHY Lewis Horns

●

Maker of the finest handcrafted

custom horns since 1977

930 Pitner Avenue

Evanston, Illinois 60202 U.S.A.
773-348-1112 telephone
773-966-2735 fax
[email protected] e-mail
www.swlewis.net
 Journal of the International Horn Society

Volume LI, No. 3, May 2021

James Boldin, Editor

ISSN 0046-7928

©2021 by The International Horn Society. All rights reserved.

Printed by Impact Printing and Graphics

Dallas, Texas USA

Layout and Design by Arrow Print and Copy

Sylvania, Ohio USA

The International Horn Society recommends that HORN be recognized as the correct English label for our instrument.
[From the Minutes of the First IHS General Meeting, June 15, 1971, Tallahassee, Florida, USA]

On the Cover:
Decomposed, by Abigail Snyder, acrylic, 2020.
Cover design by Shanette Washington

hornsociety.org 1
 The International Horn Society
Officers 2020-2021 IHS Advisory Council
President Andrew Bain, Los Angeles Philharmonic
Andrew Pelletier Benoît de Barsony, Orchestre de Paris
College of Musical Arts Annie Bosler, California State University, Northridge, Los Angeles freelance musician
Bowling Green State University Randy Gardner, Cincinnati Conservatory, retired
1058 Moore Musical Arts Center Patrick Hughes, University of Texas-Austin
Bowling Green, Ohio 43403 USA Kristina Mascher-Turner, Virtuoso Horn Duo, Luxembourg
[email protected] Susan McCullough, Principal, The Denver Brass, Colorado
Leslie Norton, Nashville Symphony, Vanderbilt University
Vice President Andrew Pelletier, Bowling Green State University, Ohio
Kristina Mascher-Turner Jeffrey Snedeker, Central Washington State University
35, rue Emmanuel Hiel J. Bernardo Silva, Orquestra Sinfónica do Porto Casa da Música, University of Aveiro,
1030 Brussels Portugal
Belgium Michelle Stebleton, Florida State University
[email protected] Amy Thakurdas, Director, Oxford Horn Choir, United Kingdom
Radegundis Tavares, Federal University of Rio Grande do Norte, Natal, Brazil
Secretary-Treasurer Lydia Van Dreel, University of Oregon
Annie Bosler
2024 Broadview Drive IHS Project/Program Coordinators
Glendale, CA 91208 USA Randall Faust – Composition Contest
Lin Foulk – Thesis Lending Library
Phone: 213-200-0144
Tawnee Lynn Lillo – IHS 53 Symposium Exhibits
[email protected] Patrick Hughes – Awards and Performance Contests
Executive Director Nancy Joy – International Symposium
Julia Burtscher Peter Luff – Scholarship Program
PO Box 5486 Gina Gillie – Online Music Sales
Toledo, OH 43613 USA Brent Shires – Regional Workshops
[email protected] Past Presidents IHS Service Medal
IHS Membership Coordinator Paul Anderson* William Scharnberg 2011 Robert Marsh*
Elaine Braun Nancy Cochran Jeffrey Snedeker 2012 Nancy Jordan Fako
Randall Faust 2013 Marilyn Bone Kloss
305 Raywood Ct., Virginia Thompson*
2014 Douglas Campbell
Nashville, TN 37211-6000 USA Douglas Hill Barry Tuckwell* 2015 Virginia Thompson*
[email protected] Mason Jones* Frøydis Ree Wekre 2016 Kristin Thelander
Website Manager Frank Lloyd James Winter* 2017 William Scharnberg
Dan Phillips Jeff Nelsen 2018 Heidi Vogel
[email protected] Johnny Pherigo 2019 Elaine Braun and Nancy Joy
2020 Jeffrey Snedeker
Honorary Members Douglas Hill, USA Philip Myers, USA
Paul Anderson, USA* Herbert Holtz, USA* Marie-Luise Neunecker, Germany
Jerome Ashby, USA* Michael Höltzel, Germany* Robert Paxman, UK*
Georges Barboteu, France* Anton Horner, USA* Erich Penzel, Germany
John Barrows, USA* Wendell Hoss, USA* Hans Pizka, Austria
Hermann Baumann, Germany Marvin Howe, USA* Vicente Zarzo Pitarch, Spain
Myron Bloom, USA* Fritz Huth, Germany* Valeriy Polekh, Russia*
Daniel Bourgue, France Antonio Iervolino, Argentina* Max Pottag, USA*
Bernhard Bruechle, Germany* Ifor James, UK* Verne Reynolds, USA*
Vitaliy Buyanovskiy, Russia* Kurt Janetzky, Germany* William C. Robinson, USA*
Domenico Ceccarossi, Italy* Mason Jones, USA* Willie Ruff, USA
James Chambers, USA* Charles Kavalovski, USA Lorenzo Sansone, USA*
Kaoru Chiba, Japan* Ab Koster, Holland Gunther Schuller, USA*
Alan Civil, England* A. David Krehbiel, USA Norman Schweikert, USA*
John Clark, USA Julie Landsman, USA Lowell E. Shaw, USA
Dale Clevenger, USA Ib Lanzky-Otto, Sweden* Arkady Shilkloper, Russia
Peter Damm, Germany Wilhelm Lanzky-Otto, Sweden* Paul Staicu, Romania
James Decker, USA* Walter Lawson, USA* James Stagliano, USA*
Vincent DeRosa, USA Edmond Leloir, Switzerland* Louis Stout, USA*
Nancy Jordan Fako, USA Christopher Leuba, USA* Lucien Thévet, France*
Philip F. Farkas, USA* Frank Lloyd, UK Barry Tuckwell, Australia*
Randall Faust, USA Kazimierz Machala, Poland Willem A. Valkenier, USA*
Holger Fransman, Finland* Paul Mansur, USA* Tom Varner, USA
Michel Garcin-Marrou, France Hector McDonald, Australia Radovan Vlatković, Croatia
Carl Geyer, USA* Harold Meek, USA* Frøydis Ree Wekre, Norway
Lowell Greer, USA K. Ethel Merker, USA* Gail Williams, USA
Anthony Halstead, UK Ingbert Michelsen, Denmark* James Winter, USA*
Michael Hatfield, USA* Richard Moore, USA* Adriaan Van Woudenberg, Netherlands
Max Hess, USA* Reginald Morley-Pegge, UK* *Deceased

2 The Horn Call - May 2021

 IHS Regional Coordinators (*) and Area Representatives
Argentina Luis Ariel Martino Italy Angelo Bonaccorso
Asia/Oceania Sindy Wan* Japan Mami Abe
Australia Ysolt Clark Kenya Sandra Daniel
Austria Angelo Nuzzo Latin America Fernando Chiappero*
Belgium Jeroen Billiet Malaysia Chee Ghee Sim
Bolivia Dario Lisperguer Soto Mexico Keith Eitzen
Brazil Lucca Zambonini Netherlands Jack Munnecom
Canada Canadian Horn Society (Wendy Limbertie) Panama Joel Arias
Colombia Jorge Mejia Poland Tadeusz Tomaszewski
Costa Rica Juan Carlos Porras Castro Portugal Ricardo Matosinhos
South Africa Erik Albertyn
Croatia Bruno Grosic
Spain Javier Bonet
Czech Republic Zdeněk Divoký Thailand Daren Robbins
Denmark Frederik Rostrup United Kingdom British Horn Society (Amy Thakurdas)
Europe Łukasz Łacny* USA Jennifer Sholtis
Finland Jukka Harju USA and Canada Elaine Braun, Coordinator*
France Hervé Joulain Venezuela Joel Arias
Germany Christoph Ess
Honduras David Abraham Andino Fuentes Countries/states not listed are “open.”
Iceland Joseph Ognibene To become a country representative, contact Kristina Mascher-Turner –
Ireland Jonathan Luxton [email protected].
Israel Aviram Freiberg To represent a US state, contact Jennifer Sholtis – [email protected].

USA Regional Teams Follow the IHS on Social Media

Northeast Team Midnorth Team
CT Jaime Thorne IA Joshua Johnson
DC Tobi Cisin https://www.facebook.com/Internation-
IL Kelly Langenberg
DE OPEN al-Horn-Society-45360062965
IN Gene Berger
MA Angela DiBartolomeo MI Kurt Civilette
MD Justin Drew MN Greg Beckwith
ME Margie Landis
NH Angela DiBartolomeo ND Deanna Carpenter https://www.instagram.com/hornsocietyIHS/
NJ Erin Paul NE Jacqueline Mattingly
NY Alan Orloff OH Tiffany Damicone
OH Tiffany Damicone SD Gary Reeves
PA Rebecca Dodson Webster WI Andrew Moran https://twitter.com/hornsocietyIHS
RI Cathryn Cummings WV Jonas Thoms
VA OPEN
VT OPEN
WV Jonas Thoms Midsouth Team https://www.youtube.com/channel/
AL Brenda Luchsinger UCFqyMb5MbzN17grF2HEIb_g
Southeast Team
AL Brenda Luchsinger AR OPEN
DC Tobi Cisin KS Jeb Wallace
KY David Elliot The Horn Call (ISSN 0046-7928) is published tri-annually in Octo-
FL Benjamin Lieser
GA Jean Martin-Williams LA OPEN ber, February, and May. Subscription to the journal is included
KY David Elliot MO Lisa Casey with an IHS membership. An annual IHS individual membership
LA OPEN MS Matthew Haislip is $50 (US), student membership $32, library membership $80,
MD Justin Drew NE Jacqueline Mattingly family membership $75, three-year membership $141, and life
MS Matthew Haislip OK Eldon Matlick membership $1000. Horn clubs of eight or more may become
NC Travis Bennett TN Jeremy Hansen “club members” at a rate of $35 per member per year. Electronic
SC Tonya Propst TXn Candace Neal
TN Jeremy Hansen memberships (no paper journal) are $30 (annual), $25 (student),
TXs Caroline Steiger $90 (three-year), and $950 (life). Forward payment (US check,
VA OPEN
WV Jonas Thoms international money order in US funds, or by Visa/Mastercard)
Northwest Team with a permanent address to the IHS Membership Coordinator
Southwest Team
AK OPEN AZ OPEN ([email protected]): Elaine Braun, 305 Ray-
CAn Daniel Wood CAn Daniel Wood wood Ct., Nashville TN 37211-6000 (USA). See the IHS website
CAs Doug Hall CAs Doug Hall for a change-of-address form or contact Elaine Braun or Julia
CO OPEN HI OPEN Burtscher with the information.
ID Jason Johnston ©2021 The International Horn Society. All rights reserved.
MT Zachary Cooper NM Michelle Rimoli
NV Jonathan Snyder NV Jonathan Snyder Nothing in this publication may be duplicated or reprinted with-
OR Lydia Van Dreel TXn Candace Neal out advance written permission from the Editor. Statements or
UT Daniel Omer TXs Caroline Steiger opinions expressed on these pages are not necessarily those of
WA Mike Simpson UT Daniel Omer the IHS or The Horn Call staff.
WY OPEN

hornsociety.org 3
 The Horn Call

CONTENTS Volume LI, No. 3 May 2021

Volume LI, N
The International Horn Society.................................................................................................................... 2
The Horn Call Staff and From the Editor – James Boldin.............................................................................. 5
President’s Message – Andrew Pelletier....................................................................................................... 7
IHS News and Reports, Brenda Luchsinger, Editor...................................................................................... 18
Correspondence ....................................................................................................................................... 23

Articles
The International Horn Society
Obituaries: Jan Bach and Fredrick Bergstone........................................................................................ 26
The Horn Call Staff and From the E
Robert Watt Remembers, Part 2 by Mary Ritch................................................................................... 28
Teaching a Tone-Deaf Horn Player: A Personal Experience by Burke Anderson................................... 36

President’s Message – Andrew Pe

For Horn Alone by Douglas Hill..............................................................................................................40
Together through Music: A Conversation with Thomas Jöstlein by Layne Anspach.............................44
Louis Savart, the Singing Horn Player, Part 1 by Tom Reicher............................................................... 49
IHS News and Reports, Brenda Luc
My Horn by David Arella....................................................................................................................... 53
Kay Gardner’s The Elusive White Roebuck by Katey J. Halbert ............................................................ 55
Correspondence
The Arrival of the Horn in Colombia by Luis Fernando López Muñoz................................................... 57
Managing the Extreme Range of the Horn by Catherine Roche-Wallace..............................................60

Columns

Articles
Technique Tips, James Naigus, Column Editor: Creating a Digital Recital:
The Technical Side........................................................................................................................... 62
Creative Hornist, Drew Phillips, Column Editor: Creating a Digital Recital:
Obituaries: Michael Hatfield and H
The Creative Side............................................................................................................................. 64
Music, Health, and Science, Amy Thakurdas, Column Editor:
Vincent DeRosa: A Life in Music by
Being Disabled but Still Able by Jessica Miller................................................................................. 66
Cor Values, Ellie Jenkins, Column Editor: A Profile of Gebr. Alexander................................................. 68
Teacher Talk, Lauren Hunt, Guest Column Editor: A Pedagogical
2020 IHS Honorees: Honorary Mem
Interview with Ted Thayer, Part 1.................................................................................................... 71

John Cox; Service Medal of Honor:

Horn Tunes, Drew Phillips, Column Editor: Groove for Solo Horn ........................................................84

A Horn for Dennis Brain’s 86100th Bir

Reviews
Recording Reviews, Lydia Van Dreel, Editor..........................................................................................
Book and Music Reviews, Heidi Lucas, Editor........................................................................................ 90
Mindfulness for Musicians94by Joha
Media Reviews, Matthew Haislip, Editor...............................................................................................

IHS Business
Effective Online Music Lessons by
Donors..................................................................................................................................................... 8
A Horn of Many Colors: The Horn i
2020 Composition Contest Results, by Randall E. Faust........................................................................ 80

Index of Advertisers.................................................................................................................................... 96
Horn Playing Tips by William Schar
4 The Horn Call - May 2021
The Horn Call From the Editor
Editor
James Boldin James Boldin
School of Visual and Performing Arts

B
University of Louisiana Monroe
700 University Avenue Dear Friends:
Monroe, LA 71209 USA y the time you read this, more than a year will have passed since the
[email protected] COVID-19 pandemic shut down or severely curtailed live performing
Assistant Editor and Website Editor arts events. We all eagerly await the day when we can fully resume those
Marilyn Bone Kloss activities which bring joy and enrichment to our lives and those around us.
1 Concord Greene Unit 8
Concord MA 01742-3170 USA The loss of life, employment, and simple face-to-face interaction with our
978-369-0011 students, colleagues, family, and friends these past several months is heart-
[email protected] breaking. Amidst it all, there have been some bright moments. Horn players have
Proofreaders remained highly active, creating virtual performances, clinics, and other educa-
Allison DeMeulle
Joseph Johnson tional and artistic material. The resilience and compassion of the entire musical
community has been heartening to see.
Website Manager (hornsociety.org)
Dan Phillips Looking towards the summer, I want to draw your attention to two special
[email protected] events: IHS 53, August 9-14, and a commemorative book dedicated to the first
Contributing Editors fifty years of the IHS. Both promise to be amazing offerings. As with previous
News Editor symposia, IHS 53 will include an astounding array of featured and collaborat-
Brenda Luchsinger ing artists, masterclasses, clinics, presentations, and exhibits. Exceptionally low
Department of Music
Alabama State University registration fees for members, combined with interactive, live-streamed, and
[email protected] pre-recorded formats, should allow for increased participation. Visit ihs53.com
[email protected]
for registration and more information.
Book and Music Reviews The 50th Anniversary book will include organizational highlights from the
Heidi Lucas
Department of Music beginning to the present, with descriptions of programs, workshops and sym-
Indiana University of Pennsylvania posia, publications, awards and competitions, the people who have shaped the
Cogswell Hall, Room 103 society, and much more. Keep an eye on hornsociety.org for more information
422 South 11th Street
Indiana, PA 15705-1071 USA about the release of this one-of-a-kind volume, and check out the ad in this
[email protected] issue. Last but not least, I hope you’ll take the opportunity to read the vari-
Recording Reviews ety of content in this issue, including obituaries for and memories of Jan Bach
Lydia Van Dreel (1937-2020) and Fredrick Bergstone (1935-2021); Part 2 of Mary Ritch’s interview
School of Music and Dance with Robert Watt; an article on unaccompanied repertoire by Douglas Hill; a
1225 University of Oregon
Eugene, OR 97403-1225 USA conversation with Thomas Jöstlein by Layne Anspach; and several other inter-
[email protected] esting and informative articles!
Online Media Reviews Be well,
Matthew Haislip
Department of Music
Mississippi State University
[email protected]
Column Editors
The Creative Hornist & Technique Tips
James Naigus
[email protected]
Drew Phillips
[email protected]
Horn Tunes
Drew Phillips
Cor Values
Ellie Jenkins
[email protected]
Music, Health, and Science
Amy Thakurdas
[email protected]
Advertising Agent
Paul Austin
PO Box 6371
Grand Rapids MI 49516-6371 USA
[email protected] www.hornsociety.org
hornsociety.org 5
 Join leading horn players
worldwide who have discovered
the difference wood makes.

“It is an excellent aid to performing stopped

horn by its ease of production, and by
allowing the performer to achieve more
flexibility and variety in colors and dynamics.
That it also works well on descants is
invaluable.
~ Paul Navarro

“WOW!! You’ve done it again! EVEN,

colorful, dynamic, scale….pure tone…
wow!”
~Gail Williams

“Plays exceptionally—
Thanks so much—
I know you are going to sell a lot of these.”
~Robert Ward
CONTACT KEVIN WARREN ・ WWW.WOODSTOPMUTES.COM

Guidelines for Contributors

The Horn Call is published tri-annually, with mailings as close as possible to October 1, February 1, and May 1. Submission
deadlines for articles and News items are the first day of the month, two months prior to the issue (August 1, December 1, and
March 1). Inquiries and materials intended for The Horn Call should be directed to the editor or appropriate contributing editor
(see the list of editors on page 5).
The style manuals used by The Horn Call are The Chicago Manual of Style, fourteenth edition, and A Manual for Writers of
Term Papers, Theses, and Dissertations, sixth edition, by Kate Turabian. Refer to these texts or recent issues of The Horn Call for
guidelines regarding usage, style, and formatting. The author’s name, email address (or home/business address), photograph,
and a brief biography should be included with all submissions. Authors are hereby advised that there may be editorial spelling/
style/grammatical changes to articles in order to maintain the journal’s format and professional integrity. In general, submis-
sions should be approximately 1500 to 4000 words in length. Longer articles may be considered, but with the understanding that
they may be edited for length and content, with the option to publish additional material from the original submission at
hornsociety.org/publications/horn-call/extras.
The Horn Call is currently created with Adobe InDesign, Photoshop, Illustrator, Reader 9, and Acrobat. Prospective articles
and accompanying materials (images, musical examples, etc.) should be submitted electronically to [email protected]. For
large files and/or a large number of files, a link to a file-sharing service such as Dropbox, Google Drive, etc., can be included.
Footnotes (endnotes) should be numbered consecutively (no Roman numerals) and placed at the end of the text. Musical
examples should be attached as pdf, jpg, or tiff files, or embedded in a Word document. For images, 300 dpi is the minimum
resolution necessary for clear reproductions in The Horn Call. A Horn Call article template is available online.
The octave designation system used in The Horn Call is the one preferred by The New Harvard Dictionary of Music, edited by
Don Randel (1986):

6 The Horn Call - May 2021

 President’s Message
Andrew Pelletier

Hello, my dear horn friends and family!

A
s always, I hope that you are all stay- mittee over the years, and express how
ing safe and healthy as we continue much I will miss them. The Advisory
our struggles against COVID-19. Council will be electing new officers to the
This time of the year is always exciting for Executive Committee, so look for a report
me, even this year: Spring is in the air, the on those elections on the IHS website, the
school year is winding down...but there is Horn and More Newsletter, and the October
also one major reason – the upcoming IHS Horn Call.
Annual Symposium! As I mentioned in the In closing, this message marks the end
February Horn Call, IHS53 will be online of my first three-year term as your Pres-
August 9-14, and we’re looking forward ident, which has been some of the most
to presenting a Symposium with a wide rewarding work I have done. It has been
variety of offerings, both of pre-record- my great honor to serve the Society, to
ed materials and on our live-streaming help grow it, and, hopefully, to improve it. I
days of August 9, 11, and 13. Without a can’t thank you all enough for the trust that
doubt, though, the most important part of you have placed in me, as well as the tre-
IHS53 will be YOU! I want to invite every mendous support I’ve enjoyed, and, if giv-
member of the Society to be involved in en the opportunity, I would be honored to
the Symposium, with maximum interaction and activity. continue to help the IHS in any way that I am able.
We’ve structured the registration cost for the Symposium Wishing you all of the very best!
to be as low as possible, to remove as many barriers as we
can for everyone to be a part of this year’s event. You’ll not
want to miss this!
The work of the IHS also carries on, behind the scenes,
and I would like to highlight a few items. We’ve elected
our first Student Advisory Council, a body of high school
and university students who have monthly meetings with
the Executive Committee, to give their input and advice.
It’s been a dream of mine since becoming President to
give our student members a greater sense of ownership
and a greater voice in the Society, and I am so incredibly
happy to see this initiative take off! The members of the
Student Advisory Council are Lauren Antoniolli, Emma
Brown, Allison Combs, John Degnan, Yui Ginther,
Kierstan Gustafson, Mary Haddix, Inman Hebert, and
Sarah Ismail.
I’m also proud to announce that, after a full search
process, the IHS Advisory Council has appointed a new
Symposium Exhibits Coordinator for IHS53, Tawnee Lynn
Lillo. We’re all looking forward to working with Tawnee
and the expertise she brings to this vital position for the IHS.
This year also marks the end of the second term of our
Vice-President, Kristina Mascher-Turner, and Secretary/
Treasurer, Annie Bosler. I cannot begin to describe how
wonderful it has been to work with such excellent, ener-get-
ic, passionate, articulate, organized, funny, warm, caring,
artistic, and patient colleagues in the Executive Committee!
This list of qualities is just a start, and I could go on and
on singing their praises. I want to thank them from the
bottom of my heart for their work on the Executive Com-

hornsociety.org 7
 Recent IHS Donors
Hampel ($25-49)
Elaine Braun Susan McCullough
Michael H. Dixon Daniel Partridge
Patrick Hughes Radegundis Tavares
Frederic Jourdin
Amy J. Larkey-Emelianoff
Lydia Van Dreel
David Wakefield
faustmusic.com
Your source for the music of
Punto ($50-99) Randall E. Faust
Sara Altmann Dan Phillips
Benoit de Barsony J. Bernardo Silva
James Boldin
Methods and Etudes
Leitgeb ($100-249)
Annie Bosler Phillip Paeltz Solo Horn
Michael Herzlin Gail Rittenhouse
Kristina Mascher-Turner Horn and Piano
Charlotte Roberts & William C. Robinson
in memory of William C. Robinson
Michael D. Royer Horn and Organ
Davis Anthony Scott in honor of Vince DeRosa
Chamber Music with Horn
Duvernoy ($250-499)
Clint & Marcia Baker Michelle Rimoli
Randy Gardner William VerMeulen
Horn and Wind Ensemble
Daniel and Sarah Hrdy
CD’s
Dauprat ($500-999)
Randall & Sharon Faust Andrew Pelletier
Harriet & Bill Fierman

Gallay ($1000+)
Runa M. Hawkins Penelope Seacord
Marilyn Bone Kloss Robert Sheets
Jeffrey S. Jepsen in honor and memory of those
friends, colleagues, teachers, and inspirations we
have lost in the last year

CLASSIFIED AD
Biography: "Philip Farkas and His Horn"
by Nancy Jordan Fako
$30 hard cover, $25 soft,
contact [email protected]

8 The Horn Call - May 2021

hornsociety.org 9
 H Ö R N E R
H O R N S

www.ricco-kuehn.de
Triple horn W 393X [email protected]

Featuring over 60 original compositions by Kerry Turner along with works

by Ricardo Matosinhos, Hervé Joulain, Steven Schaughency, and more

Phoenix Music Publications

www.phoenixmusicpublications.com

10 The Horn Call - May 2021

hornsociety.org 11
12 The Horn Call - May 2021
hornsociety.org 13
14 The Horn Call - May 2021
hornsociety.org 15
16 The Horn Call - May 2021
hornsociety.org 17
 IHS News and Reports
Brenda Luchsinger, Editor
From the Office IHS Major Commission Initiative

S
pring is springing, which means our symposium is The IHS Advisory Council has created a fund for com-
right around the corner! IHS 53, all online this year, missioning substantial works by renowned composers. Send
will be held August 9-14, 2021. We will also be hold- contributions in any amount to Executive Director Julia
ing our Advisory Council (AC) Annual meeting, as well as Burtscher.
our General Membership Annual meeting. Per the IHS By-
laws, “Active members may propose new business to the IHS Composition Commissioning
Advisory Council. Such proposals must be submitted in
writing to the President or Executive Director no later than Opportunities
30 days prior to the annual meeting of the Society.” During This fund was established by the Advisory Council of the
the AC meetings we also discuss and vote on new Honor- International Horn Society in 1989. Meir Rimon (1946-1991)
ary Members. Did you know we take nominations from was Principal Horn of the Israel Philharmonic Orchestra
members? Also in our bylaws: “Honorary members may and served three terms as Vice-President of the IHS. In
be nominated at any time by any member in good stand- memory of our esteemed colleague who had a positive effect
ing and may be elected to honorary status upon receiv- on many performers, composers, and audiences around the
ing a two-thirds majority vote of the Advisory Council.” world, the fund was renamed in his honor in 1992.
Visit hornsociety.org/ihs-people/honoraries for more The Meir Rimon Commissioning Assistance Fund has
information. assisted in the composition of numerous new works for the
Be sure to keep an eye on IHS53.com for updates on our horn. IHS members are invited to request funds to support
symposium! Information about registration, performanc- collaboration with a composer in the creation of a new work
es, master classes and events, Premier Soloist competition, featuring the horn. Rimon awards are typically for smaller
and more will be posted on an on-going basis. A mobile app works, and the IHS reserves the right to offer less or more
is available on Android and iOS, which is another way to than the requested amount, depending upon the nature
connect ‒ search for IHS 53 and look for our tri-horn logo. and merit of the project.
We also have a T-shirt available! Request application forms and information from
Randall E. Faust, PO Box 174, Macomb IL 61455 USA,
[email protected].

IHS Website
The video playlists from the 2010 part of the European
Style Surveys (on the IHS website under MEDIA->Euro-
Have you moved? Are you planning on moving? Please pean Style Surveys) have been revamped for easier access.
remember to update us with your new address! You can Visitors can see and hear five standard orchestral excepts
let either Elaine Braun or me know via email, or log in to played by twelve leading professional principal horn play-
your account at www.hornsociety.org and update your ers. Those can be compared and contrasted with audio
profile. This will ensure prompt delivery of your copy of recordings of the same repertoire made in 1964-65 by
The Horn Call. Thank you! principals of many of the same orchestras.
As always, if I can do anything for you, if you have The app for the IHS 53 symposium is now available for
any questions, or if you’d like to volunteer, please don’t free download in Google Play and the Apple App Store.
hesitate to reach out to me at [email protected]. Search for IHS 53. Content is being added continuously as
I’d love to hear from you! we ramp up for the event.
‒ Julia Burtscher, Executive Director − Dan Phillips, Webmaster

News Deadline Job Information Site

The next deadline for news submissions is August 1, Hornists with information about professional jobs
2021. If using email, send the text of your message in the should send the information to James Boldin at boldin@ulm.
body of the email. Send exactly what should appear, not a edu. Professor Boldin posts the information on the IHS web-
link to a website or publicity document. If you choose to site. To view the listing, look under Networking -> Perfor-
send a photo (only one), include a caption in the email and mance Jobs.
attach the photo as a downloadable JPG file; photos are not Assistantships
guaranteed for publication. Send submissions to the News To see a listing of available assistantships, go to the IHS
Editor, Brenda Luchsinger, at [email protected]. or log website and look under Networking -> Assistantships. To
in to the IHS website, click Publications -> The Horn Call -> post an announcement, send the information to Dan Phillips
Member News Submission to upload text and image files. at [email protected].

18 The Horn Call - May 2021

 I IHS News & Reports

Area Representatives Coming Events

Israeli IHS Country Representative Aviram Freiberg Hornswoggle celebrates 40 years in Jemez Springs,
is a horn player, singer, composer, teacher, researcher, and New Mexico on May 28-30, 2021, featuring Dennis Hough-
entrepreneur. He studied at the New England Conservatory ton, Karen Houghton, Kenneth Iyescas, and Michael Walk-
in Boston and Bar-Ilan University in Tel Aviv and is current- er. Participants will be grouped into ensembles by ability
ly a PhD candidate at the University of Haifa. He reports: level. Contact Karl Kemm at 940-300-3131 or visit horn-
Despite the challenging pandemic, horn related musical swoggle.org.
activities have taken place in Israel. Principal horn Alon The University of North Carolina School of the Arts
Reuven and second Ruti Rozman-Varon performed Bee- Summer Horn Intensive, to be held June 15-17, 2021 and
thoven's Sextet op. 81b for two horns and string quartet led by Stefan de Leval Jezierski and Maria Serkin, is open
in a chamber music concert in Jerusalem at the Brigham to hornists of all ages. This three-day online seminar will
Young University branch with their colleagues from the include two hours of daily masterclasses and presentations.
Israeli Camerata. Horn players of the Israeli Philharmonic, Register at one of two levels: observe daily group classes or
assistant principal Dalit Segal and second Yoel Abadi, participate in these classes and receive two one-hour lessons
played a Hanukah traditional song based on Handel’s with the artists. See uncsa.edu/summer/index.aspx.
Judas Maccabaeus. A horn choir organized by Tzippi Cheryl
Pellat, former principle of the Kibbutz Chamber Orchestra,
meets every six weeks and plays for fun, from duets to large
horn ensembles. Among its members are amateur players
as well as retired professional players. In the photo are (r-l)
Aviram Freiberg, Vladimir Shumov, Shlomi Eini, Nechama
Mann, Hadas Michaeli, Tzippi Cheryl Pellat, Ami Zehavi,
Shlomo Almog, Vitali Palei.
− Kristina Mascher-Turner, Coordinator
Stefan de Leval Jezierski Maria Serkin

The Eastman French Horn Online Workshop will be

held from July 26-28, 2021 led by Elizabeth Freimuth and
Nikolette LaBonte. This three-day intensive online work-
shop includes private and group lessons, masterclasses,
solo playing, and guest faculty presentations by Peter
Kurau, Chad Yarbrough, and Denise Tryon. Registration
is open until April 15 to both performers and auditors.
https://summer.esm.rochester.edu/course/french-horn-
Israel Horn Choir online-workshop/

Member News
Jeffrey Agrell: After two careers – 25 years as a pro- (Lindsey Stoker), and as a guest on The Horn Circle (Carl
fessional symphony musician, followed by 21 years as Wells). He presented “Effective Approaches to Teaching
horn professor at the University of Iowa – I will be retiring and Learning,” along with recital performances at Tarleton
as of June 1, 2021. I have too many plans for retirement – Brass Day (Kim Rooney-Hagelstein) and the Northeast
writing books and composing, and learning lots of new Horn Workshop (Jonas Thoms). Randy also discussed con-
things: drawing, watercolors, calligraphy, Norwegian, cepts from “Visualize to Realize” with host Jeff Nelsen on
biking, pinot noir, reading history and historical fiction, his Musician Mindset broadcast. (Mod-
blues and bluegrass guitar, and so on. I plan to be avail- ular Music Masterclasses are listed at
able for college horn classes anywhere via Zoom, gratis, for randygardner.com). Randy was also hon-
anyone interested. ored to perform as a substitute hornist
Randy Harrison of Harrison Brass (Baltimore MD): for several video recordings with The
After 40 years in the horn sales, repair, and customization Philadelphia Orchestra. He looks for-
business, I have closed my shop for retirement. Though ward to teaching at this summer’s online
sometimes stressful, my time in the business has been a Kendall Betts Horn Camp.
great, rewarding experience, during which I met many new Frøydis Ree Wekre is teaching during the summer of
friends. I want to thank all of those I was privileged to serve 2021 at the Weimar Hochschule für Musik from July 25-31.
over the years for their trust, support, and kindness. See hfm-weimar.de/masterclasses. And in Oslo, Norway,
Randy Gardner (Temple University, IHS Advisory she will be teaching at the Voksenåsen Summer Academy
Council) has presented “Mastering the Horn’s Low Regis- from August 2-6. See summeracademy.no
ter” at the University of Minnesota (Ellen Dinwiddie Smith Maddie Levinson (Northglenn CO): I began sewing
and Caroline Lemen), Royal Northern College of Music masks in February 2020 as part of a sewing chain making PPE

hornsociety.org 19
IHS News & Reports I
for hospitals and clinics. Then came orders from students for Saturday Sessions via Zoom and Facebook Live for horn
bell covers. I played a brass quintet gig last summer with players to come together for discussions and to share their
one of the participants in the Miller CU aerosols study and talents and knowledge. As winter approached, they were
learned what fabric was being used. Because horn players able to perform outdoors for the Festival of Lights at Powell
put their hands in the bell, bell covers are different than for Gardens, a botanical garden near Kansas City, leading to a
other brass instruments. I designed an envelope with ease feature article in the Kansas City Star. In 2021, they partnered
of entry, and had outfitted approximately ten different with Show Delivered to bring music to more neighbor-
schools when Mike Thornton ordered a set for the Univer- hoods in the Kansas City area. The Kansas City Horn Club
sity of Colorado horn studio. I have been donating covers to consists of members between the ages of 14-80, as well as
as many schools and students as possible, as I know music two percussionists. See kchornclub.org.
programs are underfunded. Mad Mountain Stitchery was
born years ago, as I have always sewn items for schools,
bands, fire departments, and other organizations with sew-
ing needs.

Kansas City Horn Club at The Festival of Lights at Powell Gardens;

photo credit: Wildly Creative Co

The American Horn Quartet (Kristina Mascher-Turn-

Maddie Levinson, er, Denise Tryon, Geoffrey Winter, and Kerry Turner)
Mad Mountain Stitchery Owner/Designer
were featured artists at the Northeast Horn Workshop,
Quadre (Amy Jo Rhine, Adam Unsworth, Lydia Van performing a live-stream concert followed by a discussion
Dreel, Daniel Wood) recently kicked off their series of and masterclass. The AHQ will attempt to rebook cancelled
virtual Conversations with Quadre with David Krehbiel engagements in Germany, France, Belgium, Luxembourg,
about his new memoir, Through the Door: A Horn Player’s Cincinnati, Philadelphia, Conway (AR), Montreal, Mexico,
Journey. Nearly 100 players showed up for the two lively Costa Rica, Panama, and Brazil. Kerry and Kristina (the
conversations about Dave’s life and career playing princi- Virtuoso Horn Duo) have released YouTube video record-
pal with the Chicago, Detroit, and San Francisco sympho- ings of three new duets that Kerry composed recently. One
ny orchestras. (See a review of the book in Book and Music of these, Ghost Dance, Op. 90 is the required piece for Round
Reviews.) Quadre announces its 2021 international com- 2 of the Phoenix Music Competition, which also features
position contest for horn quartet works. All composers are the 7 Duets by Ricardo Matosinhos. From their new res-
eligible and there is no fee to enter. Submission deadline is idence in Brussels, Kerry and Kristina have concentrated
June 1. First prize: $1,000. Second prize: $500. For complete on the release of several new works for horn from Phoenix
details, see www.quadre.org/projects. Music Publications. Kerry retired from the Luxembourg
Philharmonic in October.

Lydia Van Dreel, Amy Jo Rhine, Adam Unsworth, Daniel Wood The Luxembourg Philharmonic Orchestra horn section: Andrew Young,
Luise Aschenbrenner, Leo Halsdorf, Kerry Turner, and Nagy Miklos.
Stacy Lendt: The Kansas City Horn Club has been find-
Brenda Luchsinger and her Alabama State University
ing new ways to reach out. A virtual performance featured
colleagues Cordelia Anderson, soprano and Adonis Gon-
their resident composer and musical director, Gavin Lendt,
who composed an original piece inspired by the Kansas zalez-Matos, piano, premiered a new song cycle, Songs of
state motto, Ad Astra Per Aspera, meaning “To the stars Strength and Hope: A Song Cycle for Soprano, Horn, and Piano.
through difficulties.” The piece evolves into the state song, The cycle was composed for them by their colleague
Home on the Range. Another virtual performance in Decem- Kristofer Sanchack, and it was premiered at the Alabama
ber featured another Gavin Lendt original, Sing We Now Music Educators Association Conference in January. The
Upon a Rose. During the fall, the club began virtual Second cycle features the poetry of Langston Hughes in four

20 The Horn Call - May 2021

 I IHS News & Reports
movements: To Wealth, Helen The ensemble also produced a video featuring music by
Keller, Demand, and Daybreak in American composers that was posted to YouTube as the
Alabama. The cycle was recorded monthly recital program of the Music Club of Baton Rouge.
at First United Methodist Church The week before Christmas, the quintet performed four
in Montgomery, Alabama in outdoor holiday concerts in four days, then played at the
December. funeral of a fellow musician.
Sharon and Randall Faust of
Faust Music have recently pub-
lished several new offerings for
horn, including A Christopher Leuba
Compendium and several solo and
chamber works. See faustmusic. Kristofer Sanchack, Cordelia
com. Anderson, Brenda Luchsinger,
Adonis Gonzalez-Matos
David Amram (Beacon NY):
The Dallas Symphony performed my Partners: A Double
Concerto for Violin, Cello, and Orchestra in April. At age Mark Courter, Louis Bordelon, Ellen Bordelon,
Richard Johnson, David Wallace
90, I have been remembering when I started out in 1954:
Julius Watkins and I were the only hornists playing jazz, Piotr Kowalski: A horn quartet from Poland (Gabriel
and now a small army of hornists play jazz. Czopka, Michał Szczerba, Łukasz Łacny, and Piotr Kowal-
Janis Lieberman of the San Francisco Bay area writes ski) performed the Konzertstück by Robert Schumann in an
that her trio, Sierra Ensemble, is currently recording the online concert with the Sinfonia Iuventus, a young Polish
Brahms Horn Trio, set to be released this summer. The trio professional orchestra conducted by Marek Wroniszewski.
will perform the US premiere of Turkish composer Tolga The concert (The Rite of Brass) took place in the Polish
Özdemir’s Chaopolis this May in San Francisco. Sierra Radio Concert Hall in February and was streamed online
Ensemble is committed to supporting a lively chamber on YouTube at sinfoniaiuventus.pl/the-rite-of-brass on the
music environment, performing worldwide since 1998 and Sinfonia Iuventus channel.
seeking to build community locally as well as globally via
composer commissions, education projects, and accessible
performances. They currently collaborate with students
in virtual education projects in the San Francisco Bay
area schools.
Fred Hines: I have not played much since the pandem-
ic began, except for a Zoom performance with TACO (the
Terrible Adult Chamber Orchestra) in the San Francisco
Bay area. I have also been working with my spouse, a violist, Michał Szczerba, Łukasz Łacny, Piotr Kowalski,
to create some horn and viola duets. Our favorites so far and Gabriel Czopka with Sinfonia Iuventus
are romantic songs from West Side Story.
Tadeusz Tomaszewski: The Polish horn community
Pamela Marshall (Lexington MA) learned that Bray-
has produced horn competitions and masterclasses, mostly
don Ross, a horn student at the University of the Pacific
online. The Winter Academy of Music took place in
in California, recorded a video of himself playing all four
Lusławice, and a horn workshop led by Tomasz Bińkowski
parts of her composition, Isolde’s Garden – “appropriately in a
of Fryderyk Chopin Music University in Warsaw took place
garden, among the cabbage plants.” Braydon studies horn from January 31-February 6. The horn quartet HornTastic,
with professor Sadie Glass. Joanna Wydmuch, Edyta Chmielewska, Natalia Kawecka,
and Anna Baran performed the Heinrich Hübler Kon-
zertstück for Four Horns in the
Witold Lutosławski Con-
cert Studio of Polish Ra-
dio. The Ninth Internation-
al Brass Instruments Com-
petition was cancelled due
to COVID restrictions, but
other competitions moved
Braydon Ross performing Pamela Marshall’s horn quartet online and were held virtu-
ally. A regional horn compe-
Ellen Bordelon (Baton Rouge, Louisiana) hornist with tition was held in Katowi- Joanna Wydmuch, Edyta Chmielewska,
the Bayou Brass Quintet ‒ Mark Courter and David Wallace cach in February with a jury Natalia Kawecka, Anna Baran,
(trumpet), Richard Johnson (trombone), Louis Bordelon led by headmaster Wiesław Gabriel Czopka, Michał Szczerba,
(tuba) ‒ performed two “front yard” concerts last summer. Łukasz Łacny, and Piotr Kowalski
Grochowski.

hornsociety.org 21
IHS News & Reports I
Ab Koster: During the Corona crisis I used my free Obituary
time to digitalize many of my radio, television, and CD Ralph F. Pullin, Jr. (1945-2020) was an active commu-
recordings, made during my career from 1977 until present
nity horn player in northern Illinois, a lifetime resident of
day, for my YouTube channel. More than 70 videos, includ-
the Lindenwood area and a member of the nearby Rock-
ing many unknown pieces for horn and piano, horn and
orchestra, as well as chamber music are available. Almost ford Horn Club since 1982. He had many occupations, but
all of my CDs, including the Mozart Concertos on natu- was always a musician, both singing and playing horn.
ral horn, Haydn: The Natural Horn, the CD with the Dutch He served in Vietnam as a member of the 1st Cav Sky-
Horn Concertos, and recordings during IHS Symposia are troopers Band. He played in the Rockford Symphony at
available. In the future, I also plan to publish some lessons. one time, and more recently in the Rochelle Municipal
See youtube.com/c/AbKoster. Band, the Old Timers Band, and groups at Kishwaukee
Frederik Rostrup in Denmark: The country has been in College. He was a longstanding member of the IHS and
either complete or partial lockdown since March 11, 2020. encouraged young people to join. He paid for memberships
Consequently, any concerts or rehearsals have been illegal. for students and others who couldn’t afford it. With the
Some of us are playing quartets. Recently, I celebrated the Rockford Horn Club, he dressed up as Santa for the YMCA
completion of recordings of horn and piano works, includ-
Christmas tree walk and Belvidere Hometown Christmas.
ing the Dukas Villanelle and the Schumann Adagio and
The club also performed at weddings, fundraisers, the hos-
Allegro.
Dietmar Dürk: The year 2020 was a challenging and pital, and the Mendelssohn Club in Rockford. Ralph was
difficult year, with virtually no exhibitions, and we lacked knowledgeable about the horn and attended IHS work-
above all personal contact with customers, partners, and shops whenever he could. I knew him from the horn club.
friends. Fortunately, we were able to present our latest We will miss him.
creation from DürkHorns at the beginning of 2020: the ‒ Nancy Johnsen
double horn model D10 Allegrini Experience, which we
developed in collaboration with Alessio Allegrini from
Italy. See duerkhorns.de/d10-allegrini-experience.html.

Event Reports
Intermountain Horn Con 2021 2021 Florida French Horn Festival
reported by Maddy Tarantelli reported by Benjamin Lieser
The Intermountain Horn Con 2021 was held online The 2021 Florida French Horn Festival was hosted
in February, hosted by Maddy Tarantelli. Featured artist virtually in March by Benjamin Lieser at the University of
Denise Tryon guided the event’s 100 participants through Central Florida and Kathy Thomas at Stetson University.
her warm-up routine, delivering specialized training for A variety of topics was presented, including discussions on
low horn playing. She led a question-and-answer session healthy practice habits, preparing for college auditions, and
focused on mental and musician health during the pan- composing for horn. Presenters included Matthew Haislip,
demic and taught a masterclass. Katy Ambrose delivered Travis Bennett, Richard Seraphinoff, Carolyn Wahl, Karen
a lecture on the history of Black American hornists. The Schneider, Maria Serkin, Lisa Ford, Wayne Lu, Rachelle
solo competition was adjudicated by Lanette Compton, Liz Jenkins, Zachary Cooper, Nicole Calouri, Nick Calouri,
Freimuth, Jaclyn Rainey, and Denise Tryon. Throughout Chris Hunter, Angela Cordell-Bilger, Audrey Destito-Stutt,
the event, a virtual hall of vendors’ videos was presented and Angela DiBartolomeo. The Florida French Horn
with discounts and giveaways raffled off to participants Festival is an annual event held in Orlando, FL. See florida-
around the country. Larry Lowe delivered a lecture on high hornfest.com.
horn specialization and then was honored for his upcoming
retirement as Brigham Young University’s horn professor
for 28 years. Sonja Reynolds and Wendy Koller constructed
a touching video of Legacy Fanfare for six horns, composed
and performed by Daniel Omer (Utah’s IHS Area Represen-
tative) and dedicated to Larry upon his retirement.

Florida French Horn Festival session

22 The Horn Call - May 2021

 Correspondence
In Memory of Horace Fitzpatrick (1934-2020)

I
never met Dr. Horace Fitzpatrick in person, only heard Thanks to his fluency in English and German, Dr. Fitz-
about him from an elderly colleague, whose appreciation patrick was also able to explore unknown and rare written
for the former’s temperament was not, so to say, fully sources preserved in Austrian and German libraries, thus
sympathetic. Instead, I had plenty of occasions to evaluate exploring the early art music that requires the instrument,
Fitzpatrick’s academic output, in particular his main and after the initial French repertoire mostly made up of hunt-
well-known horn book (since a bibliography of his writings ing calls and fanfares. Early horn parts were therefore
is apparently unavailable, I add a tentative one here below). retraced in music by Buxtehude, Schürmann, Keiser in the
A cultivated scholar, teacher (Guildhall School) and per- North of Germany, Wilderer in Düsseldorf, Fux and Bonon-
former (mostly on natural horn), Dr. Fitzpatrick graduated cini in Vienna, and many others elsewhere, with a comple-
at the University of Oxford with a dissertation on the early ment in Naples, the capital of Southern Italy then under
history of the horn. His research afforded the novel and Austrian rule. The adoption of the instrument in 1714 in the
seminal perspective of the social context in which the instru- Neapolitan vice-reign music chapel thus gave Alessandro
ment was developed, at first as a hunting device and later on Scarlatti the occasion to experiment and greatly profit from
as a complement of art music. its use. A novel manner of exploitation of the horn devel-
The social approach is familiar to historians of the so- oped, the harmonic sustain of the entire orchestra, devised
called material culture, who evaluate any human artifact by the great composer and imitated by generations of his
as a witness of the respective community and its customs. colleagues of the Neapolitan school. But, of course, the
Even though frequently overlooked by organologists, this Viennese environment was mostly under Mr. Fitzpatrick’s
perspective can be a fruitful source of new knowledge magnifier: he describes not only the Imperial establish-
also with musical instruments, in particular at their first ment where the horn found one of its early musical
appearance and/or exploitation. The second main feature acquaintances, but also the role played by the famous
of Fitzpatrick’s research was its focus on a limited time Leichamschneiders, the makers who, at the beginning of
span, a common practice today (think of the “early” his- the eighteenth century created a new model of the in-
tory of the piano, of the violin, mandolin, trumpet, etc.), strument endowed with crooks, set apart from its French
but in those days a completely new attitude in our field of parallel, the cor de chasse.
studies. These two, in my opinion, are the main metho- For non-German readers a useful complement of the
do-logical novelties of The Horn and Horn-playing and the book is the English translation of the long article on horn
Austro-Bohemian Tradition 1680-1830, a book that sheds light history published in 1792 in the Historisch-bibliographisches
on the many social and political aspects that nurtured the Lexikon der Tonkünstler by Ernst Ludwig Gerber (art. “von
advent and the increasing success of the instrument during Spörken”). This paper was, to my opinion, a contribution
the Baroque and Classical period (including the main hand- provided by the skilled player Carl Türrschmidt, but this
horn era), leaving out the remainder. is irrelevant. The final surprise of the volume was a record
Hunting and hunting ceremonies constituted a main with many musical examples played by the author on dif-
commitment in the life of the most prominent and wealthy ferent natural and valve horns, again a rare occurrence in
personalities of the French Royal court at the end of the those days.
seventeenth century. The activity was in fact a way to pro- Notwithstanding, the book was unfairly welcomed by
mote the ideals of courage, chivalry and nobility, which had Reginald Morley-Pegge, the author of the famous con-cur-
been exalted by the aristocracy since the Middle Ages, and rent paper on the instrument, who in the preface of the
that are summarized by the German concept of Tugend second edition of his The French Horn (1973) unexpected-
(virtue and bravery). The role of Count von Sporck, the ly states that, after Fitzpatrick’s publication he could only
nobleman who imported the mounted chase from Paris “correct a few dates and include in the biographical section
to Prague and the Holy Roman Empire, was put in a new one or two early players” (!).
light, assigning him also a fundamental impulse to the A few more objective contemporary reviewers applaud-
musical achievement of the instrument. In fact, the import ed instead the outstanding amount of fresh information
of the hunting horn tradition to Bohemia paved the way poured into the new volume and concluded their positive
for the first and second generation of horn players and evaluation with great respect, though complaining some
masters, who later spread all over Europe assuring the early misprints (and mistakes) which understandably entered the
musical fortune of the instrument. The author also clari- scene. The originality of the book is in fact indisputable, to
fies that the inclusion of the horn in musical establishments the point that during my long teaching career, I used it in
was not only an artistic issue, but also the by-product of several classes as a model for the history of musical instru-
the political status symbol that the instrument boasted. ments in general, not the horn alone.
Indeed, after the enrollment of two horn players (Wenzel
Rossi and Friedrich Otto) at the Imperial court orchestra Thanks a lot, Mr. Fitzpatrick.
of Vienna in 1712, many representatives of the Austrian rul- Prof. Renato Meucci, University of Milan
ing power, both in domestic and foreign countries, equipped
their own music ensembles with a couple of horns.

hornsociety.org 23
Correspondence I
Horace Fitzpatrick: A Partial Bibliography
Horace Fitzpatrick Plays Music for the Hunting Horn, 1561-1840: on instru- ples from horn music by Handel, Bach, Fux, Haydn, Mozart, Danzi,
ments of the period, LP with music by Joseph Haydn, Ludwig van Beethoven, and Weber, played by the author).
Beethoven, Jean-Joseph Mouret, New York, Golden Crest, [1960] “The Gemshorn: a Reconstruction,” Proceedings of the Royal Musical
“Notes on the Vienna Horn,” The Galpin Society Journal, 14 (1961), pp. 49-51 Association, 99 (1972), pp. 1-14
“Antonio Rosetti,” Music & Letters, 43 (1962), pp. 234-247 Richard Petzoldt, “Georg Philipp Telemann,” trans. by Horace Fitzpatrick,
“The Waldhorn and Its Associations in Bach's Time,” Royal Musical Oxford, OUP, 1974
Association Research Chronicle, 3 (1963), pp. 51-54 “The Medieval Recorder,” Early Music, 3 (1975), pp. 361-364
“Some Historical Notes on the Horn in Germany and Austria,” The Galpin “Sounding Brass,” (comment and criticism to an article by Jeremy
Society Journal, 16 (1963), pp. 33-48 Montagu on brass instruments), Early Music, 4 (1976), pp.
“An Eighteenth-Century School of Horn-Makers in Bohemia,” The Galpin 347+349+351+353+355
Society Journal, 17 (1964), pp. 77-88 “Ein Huthorn von Adam Buchshwinder mit einem Mundstück aus der
“The Valveless Horn in Modern Performances of Eighteenth-Century Barockzeit,” Salzburger Museum Carolino Augusteum Jahrschrift, 22
Music,” Proceedings of the Royal Musical Association, 91 (1964), pp. 45-60 (1976), pp. 61-65
“The Austro-Bohemian School of Horn Playing, 1680-1830: Its Players, The New Grove Dictionary of Music and Musicians, 6th edit., London, McMil-
Composers, Instruments and Makers: the Evolution of a Style,” lan, 1980 artt. Domnich Heinrich, Franz Carl, Nisle family, Köhler,
Thesis (Ph.D.), University of Oxford, 1965 Jagdmusik, Lebrun Jean, Leichamschneider, Böck, Türrschmidt
“Jacob Denner's Woodwinds for Göttweig Abbey,” The Galpin Society Carl, Raoux, Paersch Franz Friedrich, Palsa Johann
Journal, 21 (1968), pp. 81-87 Anton Reicha, “Solo, pour cor et piano,” ed. by H. Fitzpatrick, Wien,
The Horn and Horn-playing and the Austro-Bohemian Tradition from 1680- Doblinger, 1988 (Diletto musicale, Nr. 955)
1830, Oxford, OUP, 1970 (contains a 45 rpm disc with musical exam-

Try All The Best Brands of Pro Horns At Our Location.

2525 E. Douglas Wichita, KS 67211
Orders: (800) 835-3006 Info: (316) 684-0291
Fax: (316) 684-6858
E-Mail: [email protected]
Visit our website: www.wichitaband.com
***Since 1953!***

24 The Horn Call - May 2021

 Obituaries
Jan Bach (1937-2020)

J
an Morris Bach was a composer, edu- In an interview, Jan said, “I don’t abuse
cator, hornist, pianist, and cartoonist. the performer. I try to stretch them some-
He is known to horn enthusiasts for his what, but I try to keep it within the realm.
Four Two-bit Contraptions for flute and horn They always tell me that my music is hard,
(written when he was in the US Army Band), but it’s not impossible. It doesn’t make
Laudes for brass quintet, French Suite for demands that are going to ruin them when
unaccompanied horn (written for Douglas the next piece comes up.”
Hill), and Horn Concerto (commissioned Jan comments on the Four Two-Bit Con-
by Jon Boen). He was hired to teach horn traptions that it is a spoof, gets performed
at Northern Illinois University and went on more often than anything else, and because
to teach theory and composition from 1966 of its playful character “people have gotten
to 2004. me confused with PDQ Bach.” Gayle Chese-
Jan (no relation to Johann Sebastian) bro wrote a review in the May 1976 issue of
wrote music for virtually every live medi- The Horn Call, describing the character and
um of vocal and instrumental performance, technical difficulties of each movement.
often for specific performers and ensembles. His awards For example, in Second Lieutenant, “Fanfare rhythms occur
and grants include the BMI Student Composers first prize with sudden dynamic changes adding to the levity of the
(1957), the 1980 New York City Opera competition, six military man.” For Calliope, “The asymmetrical 5/8 meter
recommendations for the Pulitzer Prize in music, nomina- changes occasionally to a 6/8 meter which avoids rhythmic
tions for two Grammy Awards (2018), and first prize at the patterns in this witty attempt at a waltz.” In Gramophone,
First International Brass Congress in Montreux, Switzerland “Finally, the needle slips across the record and this Con-
and the Nebraska Sinfonia chamber orchestra competition. traption ends with a ‘rip from lowest possible note to the
While his music is serious, he often found ways to sneak highest’ on the horn.” Pinwheel “pictures the wind mov-
in musical jokes. Musicians have found his music both ing by the half-step trills which dovetail between the two
challenging and enjoyable to perform. instruments for most of the movement.”
Jan studied at the University of Illinois in Urbana-Cham- Jan’s artistic talent also extended to drawing. As a child,
paign, receiving the DMA in Composition in 1971. His com- he knew he was gifted in both music and art, and he made
position teachers included Aaron Copland the conscious decision to choose the first as
and Thea Musgrave. At Northern Illinois a career and the second as a hobby. Many
University, he received the Excellence in of Jan’s biographies list him as being born
Teaching Award (1978) and a Presidential in Forrest, Illinois, which is incorrect, but he
Research Professorship grant (1982), and did this purposely to give credit to the tiny
was nominated six times for the national town where he was raised. A scholarship
CASE Professor of the Year award. He also fund has been established in his memory
played horn with the DeKalb Municipal through Northern Illinois University.
Band for three decades. Prior to joining the
NIU faculty, he taught for one year at the
Material for this obituary is from the Cremation
University of Tampa, Florida, and played
Society of Illinois website and from an interview
in the orchestras of Tampa and St. Peters-
in October 1990 with Bruce Duffie of WNIB in
burg. He also played in the US Army Band
Chicago, posted in 2020.
from 1962 to 1965, including playing for
President John F. Kennedy’s funeral.

https://www.facebook.com/Internation- https://www.youtube.com/channel/
al-Horn-Society-45360062965 UCFqyMb5MbzN17grF2HEIb_g

https://www.instagram.com/hornsocietyIHS/ https://twitter.com/hornsocietyIHS

hornsociety.org 25
Obituaries I
My Colleague and Friend
I first met Jan Bach when I was a personally, his music reflected his
student at Northern Illinois Univer- thought process ‒ very busy, simi-
sity from 1974 to 1978. We became lar to Jan’s mind. He had so many
good friends while carpooling from thoughts, he could barely talk fast
DeKalb to Rockford for rehearsals enough to express his ideas.
and concerts with the Rockford Sym- An opportunity arose in 2006 to
phony. Jan was principal horn and record the Concerto. The co-spon-
I played third. We had many stimu- sor of the commission had passed
lating conversations during our com- away and left money to the Orches-
mutes together. tra of Illinois. The orchestra contact-
I always thought Jan would some- ed the family members to ask what
day write a great horn concerto be- they wanted to do with the money,
Jon Boen and Jan Bach, photo by Benjamin Kende
cause of his personal knowledge of and they replied that they would
the horn and because of his formidable compositional skills. like to have the Jan Bach Horn Concerto recorded. Eager to
I was a fan of his brass quintet, Laudes, and also his Two- seize the opportunity to make this happen, my wife, Laura,
Bit Contraptions for horn and flute. I dreamed of having Jan and I found ways of fundraising for the remainder of the
compose a horn concerto for me, and eventually explored recording costs. It was a labor of love, and much creativity
the possibility with him. He was happy to do it, so I went and hard work went into securing the donations, but I’m
to the Orchestra of Illinois (now known as the Chicago thrilled that this testament to Jan‘s legacy now exists. Jan
Philharmonic) and secured a commitment to perform the chose every selection on the CD, helped to edit, and man-
piece if I could fund the commission. A sponsor co-com- aged the project throughout the entire process. We worked
missioned the concerto with me, and the following year, I closely, and Jan’s enthusiasm and attention to detail is
was on stage premiering the Jan Bach Horn Concerto. something that I admired greatly. Our shared love of the
Before Jan sat down to write the piece, he wanted to horn, and our many years of friendship (and puns!), made
make sure that the work would include current compo- the Music of Jan Bach CD a project that I will always cherish.
sitional ideas. He had heard that Doug Hill was about to Jan was truly one of the most talented people with whom
publish a book on extended techniques for the horn. He I’ve ever worked. You could talk to him about almost any
contacted Doug to get an advance copy. Doug said yes, topic and he was knowledgeable and of course always
and in return, asked Jan to write him a piece using those had an opinion! He knew how to engage with people and
techniques for an engagement at the next horn sympo- could find common ground with anyone. He was one of
sium. Jan agreed and wrote the French Suite, which Doug the funniest people I’ve ever met. Jan was truly an original.
performed at the 1982 Horn Symposium in Avignon, France. I miss him.
Jan then incorporated some of the French Suite techniques
into the Horn Concerto. I must say, the valved quarter tones Jon Boen has held the Principal Horn position of the Lyric
were difficult to learn, but once I had mastered them, it Opera of Chicago, Grant Park Orchestra, Music of the Baroque,
created very expressive music. His compositions are dif- and Chicago Philharmonic and is on the faculty of Northwestern
ficult and taxing, but at the same time, exciting. For me and Roosevelt Universities.

Fredrick Bergstone (1935-2021)

by Joe Mount

F
redrick Charles Bergstone, of Win- up in Long Beach, CA. He attended the nearby
ston Salem, North Carolina – widely University of Southern California and studied
known for many years as a beloved with Fred Fox and George Hyde as a Music
horn teacher at the North Carolina School Education major and member of Phi Mu
of the Arts and the principal horn in the Alpha. He also served as a librarian for the
Winston-Salem Symphony – passed away USC Marching Band. Upon graduation in
suddenly on Thursday, January 14, 2021, 1958 he served in the U.S. Army band, then
from non-COVID medical issues. Affec- returned to Northern California where he
tionately known by many students as married Pauline (Polly) Foster and they had
“Mr. B.” and as “Fred” by the hundreds a son, David. After a brief time teaching ele-
of musicians he performed with, he was mentary music classes and playing in the
revered not only for his superb musician- Monterey Symphony, he was admitted to The
ship, but also for his wicked, dry sense Juilliard School for graduate school, where
of humor and quick-witted puns. he studied with James Chambers and played
He was born December 8, 1935, to Charles and Marie in such well-known orchestras as the NY Philharmonic,
Bergstone in Detroit, Michigan, but soon moved and grew NY City Opera, and the Pittsburgh Symphony. In 1964,

26 The Horn Call - May 2021

 I Obituaries
Fred took the position of Principal Horn in the Kansas Obispo Mozart Festival and the Cabrillo Music Festival
City Philharmonic and taught at the Music Conservatory in California from the 1960s until the early 1980s, as well
at the University of Missouri, Kansas City. as several summer seasons in the orchestra at the Chautau-
After Fred and Polly had moved to Kansas City, their qua Institution in upstate New York. He was married to
daughter, Ellen, was born in 1965. That same year he violist Louise Trent from 1976 to 1980. He later married
became a member of the renowned Clarion Wind Quintet Elizabeth (Liz) Marren in 1987, his wife of 33 years. Fred
and moved with them to Winston-Salem, North Carolina, and Liz founded Renaissance Marketing, Inc, a small PR
to become founding faculty members at the newly-formed and Marketing company where Fred skillfully type-
North Carolina School of the Arts. Fred lived in Winston- set and designed newsletters, ads, and brochures for the
Salem, teaching at NCSA (now UNCSA) until his retire- company’s many clients. During a four-year spell living
ment in 1999. He also served as artist-in-residence at in Hollywood, Fred kept busy working as a background
Duke University and the University of Virginia. He was actor on the sets of many commercials and TV sitcoms.
very proud of his students, many of whom have gone on (Look carefully at the reruns of such shows as NCIS and
to play in major international orchestras as well as those Mom, and you might catch a glimpse of him, drinking a cup
who went on to pursue a variety of careers, but all carrying of coffee in the background of a cafe or sitting on a porch.)
with them their memories of how much they achieved Throughout his retirement he continued to promote the
under Fred’s tutelage and an abiding love of music. enjoyment of playing horn, working with a small church
During Fred’s time with the Clarion Wind Quintet, the brass ensemble, a local community orchestra, and leading a
group recorded several albums and toured international- recently-formed local horn club with original arrangements.
ly. While playing as principal horn in the Winston-Salem Fred is survived by his wife Liz, son David with his wife
Symphony from 1967 until his retirement in 2008, Fred Mary, and daughter Ellen with her husband Dan Wasil, and
also played with the Piedmont Chamber Orchestra, includ- five grandchildren: Harrison and Madeleine Beer, Robert
ing at the inaugural Kennedy Center events. Fred was fre- Bergstone, Phoebe and Alexandria Lewis. He is predeceas-
quently called on to supplement the horn sections in the ed by his parents and older sister Ellen M. Bergstone,
Charlotte and North Carolina Symphonies, and touring formerly of Palm Springs, CA. Details about a memorial
Broadway shows, such as The Lion King, when they trav- service will be announced later in 2021. In addition, the
eled in the state. One of his favorite gigs was playing for UNCSA Horn and Wind/Brass ensembles will be honored
Luciano Pavarotti’s sold-out performances in Raleigh and him at their spring concerts on March 12 and April 16.
Charlotte, North Carolina. The Winston-Salem Symphony has announced plans to
Fred spent many summers playing at the San Luis dedicate a concert in his memory.

Subscribe to other IHS Online

Music Sales
Brass Journals:

International Trumpet Guild Journal

Works by:
www.trumpetguild.org
Paul Basler
Sy Brandon
International Trombone
Douglas Hill
Association Journal
[email protected]
Oscar Sala
Brett Miller
International Tuba/Euphonium Fernando Morais
Association Journal Ryan O’Connell
www.iteaonline.org Corrado Saglietti
Oscar Sala
Historic Brass Society Journal Mark Schultz
www.historicbrass.org Kerry Turner
…and many more!
Look for the Marketplace at www.hornsociety.org

hornsociety.org 27
 Robert Watt Remembers, Part 2
by Mary Ritch
This interview is the second in a three-part series. Part 1 is published in the February 2021 issue of The Horn Call. Unless other-
wise indicated, all photos are from the collection of Robert Watt. Sources for the article can be found online at https://hornsociety.org/
publications/horn-call/extras.

A
Music School and Early Career
t New England Conservatory,1 my horn teacher was Harry Shapiro, second horn of the
Boston Symphony. He gave m a list of books to order, all from the Paris Conservatory
school of horn playing. The most interesting one was a transposing method that used
beautiful melodies of French composers.2 The exercises were broken up into different keys
and they fit together like a puzzle and sounded great if one played the correct transpositions.
Harry said to me, “You can’t read as well as you should. You can’t think quickly enough in
musical situations; we will work on it.” And how we did – he must have dragged every horn
part in the Boston Symphony library to my lesson. Every week he had new music for me to
sight-read, all sorts of odd time signatures and rhythms. To top this off, Harry found me a
community orchestra where I could play first horn, The Newton Symphony, conducted by a
violinist from the Boston Symphony. The orchestra was quite good and the best thing in the
world for my playing. Right away, I learned that I had to project my sound more in that group.
Harry Shapiro (1914-2014)
in rehearsal (from Dignity It was bigger and better than the conservatory orchestra, with many very strong string players.
Memorial) My training with Harry really paid off. I could read most anything the first time we played it.

Soloing with the Boston Pops

After my first year at NEC, Harry thought I should and shook my hand, “Thank you, son, you play very well.”
attend a summer music camp. A cello player from the Bos- Harry told me later that everything went very well and
ton Symphony ran a music camp in the Berkshire Hills in not to worry, because “now Fiedler thinks it’s his idea, so
western Massachusetts, The Red Fox Music Camp.3 Har- you’ll be playing this concerto with the Pops this summer.”
ry asked me if I had an interest in being in the country for The problem then was how to live with the idea that I was
the summer. I told him I had never heard of a music camp. actually going to be a soloist with the Boston Pops. I can’t
He told me that it was an orchestra that rehearsed and remember a happier time in my life. I had a great musical
played concerts in a lush, green, mountainous setting. This opportunity to improve my playing over the summer, I
was a completely foreign concept to me, a city slicker who had a solo engagement with the Boston Pops under Arthur
had lived and worked in the bustling, overpopulated cities Fiedler, and I had a great teacher who made all of it pos-
of Asbury Park, New York City, and Boston, and who had sible. I was extremely blessed. The day before the perfor-
never ventured out to the serene wilderness of the Berk- mance, the Boston Pops sent a luxury car to take me to
shire Mountains. At my next lesson, he had the director of Fiedler’s house in Brookline for a run-through of the concerto
the music camp there to hear me play, and to see if I could with a pianist. The famous maestro conducted and coached
take direction from a conductor. He had me play a few me through the concerto, and we had few beers together
orchestra parts in different ways, then said, “Fine, you can afterwards while he showed me his
be my first horn and you’re going to have a wonderful fire-engine memorabilia. The next day,
summer.” I almost cried. I was performing in a special Esplanade
Around the same time, Harry thought that I was play- Concert before a crowd of 2,000 people
ing the Strauss First Concerto very well and that I should sitting on blankets and folding chairs
play it with the Boston Pops. Harry told me to come to in the grassy areas and on stone col-
Symphony Hall, and when the Pops rehearsal was over, I umns (which were the only remnants
was to go stand next to the piano on the stage and wait for of the Old Franklin Park Playhouse).4
his cue. “When I point at you, start playing the Strauss.” It I had walked out ahead of Fiedler to
all happened very fast. As the orchestra stood up to leave, the stage and right away the all-Black
Arthur Fiedler tapped the podium with his baton and said, audience applauded and yelled, “Yes,
“Thank you, orchestra.” Harry came from out of nowhere my brother, we are glad to see you!
and pointed at me to play. As I played the opening of the We are here for you!” When the last
Strauss, the entire orchestra turned around in surprise, movement came, I started a half-beat
politely sat back down, and listened while I played through late but caught up and it all ended
the entire first movement of the concerto. It was frighten- well. The crowd roared. I was soaking
ing, but it worked. Harry had orchestrated that whole wet with perspiration. It was intermis-
amazing scene. When I finished, the orchestra applauded sion and everybody poured backstage
and Fiedler said, “Very good, Harry, he’s a very talented to see me. It was a little scary at first Clipping from Asbury
Park Press, 12 July
boy. Maybe we could have him play this in Plumber Park having so many people physically rush 1968, p. 18. Should read
this summer – in the colored area.” Fiedler came over to me me in such an excited manner. I just “Boston Pops”

28 The Horn Call - May 2021

 I Robert Watt Remembers
stayed calm, held onto my mother’s arm, smiled, and shook the performance, I
hands. My cousin, Bobby Booker, was there; and as always, went back to finish
he was very supportive. He shook my hand and hugged out Red Fox Music
me, saying, “Way to go, Cuz.” My mother got to meet Camp. The thing I re-
Arthur Fiedler backstage. I later repeated the same con- member most about
certo on November 9, 1969 with the New Jersey Symphony being in the Berk-
Orchestra under conductor Henry Lewis, for whom I had shires was seeing the
auditioned at Tanglewood the previous summer. My horn stars for the first time
teacher Harry had introduced me to Henry, who was at without the bright
Tanglewood conducting the Boston Symphony and was lights of the city get- Robert and his mother, Eleanor, with Arthur
music director of the New Jersey Symphony. I had a very ting in the way. Fiedler backstage after performing the
nice talk with him about many musical topics. After Strauss Concerto No. 1 with the Boston
Pops Orchestra on July 8, 1968.

My First Professional Jobs

One day my teacher called and told me to meet him at me that I could have the music any time I wanted. It was
the Beethoven statue at the Conservatory. I was very curi- all very exciting and a little bit scary, too. At my next les-
ous because it was mid-week, and we didn’t have a lesson son, I tried to tell Harry, but he already knew all about it.
scheduled. He was waiting there with a little envelope when Of course he knew – he was the one who spoke up for me.
I arrived. He greeted me warmly and asked how I was doing He told me that it would be a snap for me. He suggested
in school. I told him that school was still difficult, but I was I go to the conservatory library and listen to the piece so
doing a lot better. He looked at me in that familiar deadpan I would have an idea of what it sounded like before the
manner, which told me that something amazing was about first rehearsal. He had also arranged for me to take one
to happen. He handed me an envelope. “Now this is a little of the Tuben home and learn to play it, since this was the
job, Bob. All the information is enclosed.” Curious, I opened first time I’d played in a piece that used them. I wasn’t
the envelope. “Now, whatever you going to play Wagner Tuba, but he
do, don’t be late for this job, Bob. You “Harry…was always very said perhaps next time I would.
only get one chance in this bus-in- The day of the first rehearsal with
ess.” He had just hired me for the paternal towards me. He the Boston Symphony, I went over
Boston Ballet playing The Nutcracker
with Arthur Fiedler conducting. On
was like a father to me.” to Symphony Hall early, because I
didn’t even want to even think about
the paper it said something about Musicians Union Local how Harry would chew me out if I even looked like I was
9. In addition to the little piece of paper, there was a check going to be late. I entered the backstage area, took out my
from Harry for $80.00 to join the union. I looked at him puz- horn, and went to feel out the stage. There were only a few
zled and said, “This is a check from you – I don’t understand people on stage. I was a little nervous, but my lip felt so good
what to…” He cut me off, “Don’t say anything, Bob. Remem- from preparing for that moment that after a few minutes, I
ber, this check is just a little loan. When you get your pay- relaxed. The first horn, James Stagliano, who I had watched
check, you’ll pay me back.” I smiled and thanked him again. play on TV for many years (and who had played the horn
I ran and joined the Musician’s Union. That was the day I solo on the first album I bought as a child, Tchaikovsky’s
became a professional musician. I was playing fourth horn, Fifth Symphony), seemed so relaxed when he played. Noth-
and Dave Ohanian was first horn. This was not the first time ing seemed to bother him. He just leaned back and played
Harry gave me money. I remember when I was hungry at the many solos in the symphony with a beautiful style and
the Tanglewood Festival (they only served two meals a day tone. When it came time to relieve him, I could feel Har-
and I would just skip lunch), Harry insisted that I take a ry glancing over at me from his second horn position. I felt
$20 bill from him to buy food. I was so touched by this that quick but fleeting bits of nerves when he did that, but after a
my eyes teared up so I couldn’t see the menu. He reminds short while I relaxed. The real shock came for me when the
me of the quote by jazz drummer, Leon “Ngudu” Chancler, full brass section played together on the loud tutti passages.
“I don’t teach music, I teach life.” Harry (who lived to be It made the floor under my chair vibrate and I felt goose-
100) was always very paternal towards me. He was like a bumps on top of my head when I was playing with them.
father to me. It was hard to believe that I was actually on that stage
Not long after that, I got a call from the Boston Sym- playing with those guys. New England Conservatory’s
phony asking if I could play a week with them as assistant President, Gunther Schuller, was very upset that I was not
first horn. About a week later I got a check in the mail from at school playing in the wind ensemble and came over to
the Boston Symphony. I had forgotten that they were so the rehearsal to drag me back across the street where I be-
organized that they often paid in advance. The music was longed. He didn’t care that I had been hired by the Boston
Bruckner’s Eighth Symphony, which called for 8 horns and Symphony – I had an obligation to the Conservatory – but
4 Wagner Tuben. The BSO’s music librarian called and told it turned out that I wasn’t scheduled to be playing in the

hornsociety.org 29
Robert Watt Remembers I
wind ensemble after all. As the concert neared, Stagliano reviewing all the tempi with me after the rehearsal. He
missed a rehearsal. To my great surprise, the conductor, was quite the Wunderkind in those days. The horn section
Erich Leinsdorf, looked right at me and said, “We’ll have at that time was Stagliano, Shapiro, Ohanian, Ralph Pottle,
the conservatory boy play first.” (David Ohanian couldn’t Jr., Charles Yancich, Paul Keaney, and Tom Newell. After
because he was playing first Wagner Tuba.) As if that weren’t the rehearsal I had to call my dear friend Barry Gross-
enough, Leinsdorf told Michael Tilson Thomas, the assistant man to tell him what had happened and what might hap-
conductor at the time, to take me in a room and review the pen if Stagliano didn’t show up for the concert. I was so
tempi with me just in case I had to play first on the con- nervous I went home and passed out. Around 5:00 pm the
cert that night. I looked at Harry again in disbelief. He Boston Symphony called and told me that Jimmie was
looked me square in the eyes and said, “If you have to going to play. They thanked me for filling in and said that
do it, you’ll do it.” That rehearsal was quite the rush as I it would reflect in my paycheck. I had already bought
recall. Harry was sitting next to me, and seemed more my Alexander 103 horn for $500 from Jimmie some months
nervous than I was. He had to keep reminding me to rest before, because I recall how nicely my sound blended with
during the big brass tutti passages because I didn’t have that section. Jimmie often ordered several horns at once
an assistant. Before every big solo, he’d lean over and tell from Alexander and he would pick one for himself and sell
me to really play out or give it my all. It was quite a morning. the others. I bought one of the extras. It’s still my favorite
Michael Tilson Thomas was helpful and encouraging, horn.

Tanglewood
The following year (1969), Harry sent me over to stein and the New York Philharmonic, playing the Brahms
Symphony Hall to audition for Armando Ghitalla, prin- Second Piano Concerto. After the rehearsal I just had to
cipal trumpet of the Boston Symphony Orchestra. Ghitalla meet him somehow. Harry Shapiro introduced us by
complimented me, “Harry said you saying, “Mr. Watt, meet Mr. Watts.”
could blow the hell out of that thing “My most memorable André was very charmed by our
and he was right. Congratulations, experience at Tanglewood similar names. He said something
like, “I bet you received a lot of my
son. We’ll see you this summer at
the Berkshire Music Festival at Tan- was performing checks, too.” We shook hands and
talked a little before he had to leave
glewood.”5 The Tanglewood Insti-
tute consisted of fellowship players,
the Brahms Horn Trio.” (we later became good friends).
fellowship conductors, and fellowship composers. I was a Incidentally, I ran across this favorite photo of me with
recipient of the Leo Wasserman Foundation Fellowship. My André. In those days (1980s) he was smoking cigars. I
favorite conductor that sum- promised to take a photo with a cigar in my mouth if he
mer was Michael Tilson Thom- promised to quit. He did. We were both into reading big
as, with whom I had worked at time. He would bring books for me to read. He was one
the Boston Symphony. He had of my favorite soloists to perform with in those days. He
a skilled conducting technique would often look back into the horn section and mouth
and a great ear. I worked with our parts (especially the big horn moment in Beethoven’s
him on several difficult con- Fourth Piano Concerto). Tanglewood was certainly the place
temporary compositions and to be.
he really knew how to work My most memorable experience at Tanglewood was per-
through difficult problems of a forming the Brahms Horn Trio. We were coached by Stagli-
piece and give it polish. ano, from whom I had bought my horn just a few months
I was honored to meet oth- prior. I loved that horn and broke it in that summer at Tan-
er Black artists who were at glewood. Jimmie
Tanglewood that year. There coached us for two
was one really great Black ten- rehearsals and then
or who sang in one of the opera we had two rehears-
Tanglewood, 1969, Robert standing
productions, James Wagner, als with the cele-
and the celebrated composer David Baker, a professor of brated pianist Lilian
jazz at Indiana University. That summer I also attended a Kallir. After Tangle-
Boston Symphony rehearsal where the Black pianist André wood, I returned to
Watts was performing. I was completely awestruck listen- Boston for my third
ing to him. He was simply amazing, so deeply into the year at the Conserva-
music. I had read that he had filled in at the last minute tory. Pianist André Watts and Robert in the 1980s

for an ailing Glenn Gould on a concert with Leonard Bern-

30 The Horn Call - May 2021

 I Robert Watt Remembers

Preparing for Auditions

Towards the end of my third year, after the conserva- day with the set of six Maxime-Alphonse étude books.
tory had financial problems and my scholarship got can- After several months of that routine, I could sit in a prac-
celled, Harry came to me and said, “I think it’s time for you tice room with the lights off and go through the excerpts
to start looking for a job.” I said, “Doing what?” And he said, almost from memory (I later discovered I had a photo-
“Playing your horn, dummy!” I took two major symphony graphic memory, and would play my orchestral solos
auditions as a student: the Los Angeles Philharmonic, and with my eyes closed, which infuriated Zubin Mehta, who
the Chicago Symphony (and made the finals); and another demanded constant eye contact). One of the ways I would
two after having worked as a pro for approximate the nerves experienced at
a couple of years: the New York Phil- “I had no nerves, just auditions was to do 15 push-ups, and
harmonic, and the Boston Symphony. I then play while still out of breath with
ended up winning the first professional a sudden strong, my heart racing. I found that to be a
audition I took and played with the Los
Angeles Philharmonic for 37 years.
driving desire to play good way to prepare for the rush of
adrenaline and nerves that accompa-
In preparing for auditions, I came
up with a little game that really helped
extremely well.” ny auditioning and performing solos.
Once your body comes to realize it’s
me. First, I played my concerto three times. If there were possible to play a solo even if you are very nervous, it will
any missed notes or anything that I didn’t like, I would consequently produce less adrenaline and therefore less
add another repetition to the set of three until I could play nervous tremor. When at an actual audition, instead of
the concerto three times perfectly. This really forced me standing around with all the other horn players ripping
into extreme concentration. I followed the same procedure through excerpts, I would sit in a chair and go into a quiet
with each excerpt. If all three times were perfect, I went on zone, a kind of meditation, to conserve my energy. When it
to the next excerpt. During my lessons with Harry, we be- came close to my time to play, I got up, grabbed my horn,
gan with a mock audition. Every night after dinner I played touched my lips to the mouthpiece to confirm that I was
for hours. This was in addition to hours put in during the still warmed up, and went up to the stage.

LA Philharmonic Audition
When I walked onstage for the LA Philharmonic audi- Symphony solo. Then they asked me to play them again,
tion in 1970, I looked out into the house to see who was but instead of playing them on my Alexander 103, this time
going to audition me and there was no one in sight. I they wanted the excerpts played on a Conn 8D (the make
waited for a while then left. I told the personnel manager, and model of horn they played in the LA Philharmonic.)
“Look, I’ve come a long way for this, I went out there and The principal horn, Henry Sigismonti, who was standing
no one said anything and I didn’t see anyone. Can you right next to Zubin Mehta, loaned me his horn. I played the
please tell me for whom or what am I supposed to be excerpts as requested, and my street-kid instincts kicked in
playing?” He cut me off. “I’m sorry, I’ll take care of this.” and told me it was best not to tell them up front that I had
He went out to see for himself and then he came back previously owned two Conn 8Ds and had just sold one a
and said it would take only a minute while he called year earlier. If I said nothing about owning or playing one, it
someone. I reentered the stage and this time I could barely would certainly win me points. They were very impressed.
make out six or eight people sitting in distant dark shad- “It’s amazing, Mr. Watt, how easily you can switch instru-
ows. I couldn’t help but wonder, “Had they been there all ments. This is the brand of instrument we use here in the LA
the time?” If so, how strange that they let me come onstage Philharmonic; it’s called the Conn 8D.” I said, “Yes, I believe
and not greet me or say anything. Were they examining I’ve heard of such an instrument!” It took the LA Philhar-
me like a specimen under a microscope? Now I was real- monic over two months to offer me the position. Gunther
ly ready to play, almost with a vengeance. I had no nerves, Schuller was worried that I might not like it there, because
just a sudden strong, driving desire to play extremely well. he thought the LA Philharmonic was kind of a bombastic
They wanted me to start with the long call from Wagner’s orchestra in its playing style, didn’t like their overall sound,
opera Siegfried, then asked me to explain what I knew about and thought that the style of horn playing was very heavy,
the opera, and then asked me to play the Tchaikovsky Fifth unmusical, and uncharacteristic – more of a studio sound.

Chicago Symphony Audition

I auditioned for the Chicago Symphony right after the in their section. Then I had to stop and think for whom I
LA Philharmonic. In the warmup room, the CSO’s princi- had just played. That was the brass section of the Chicago
pal horn, Dale Clevenger, and principal trumpet, Bud Symphony! The personnel director and performance co-
Herseth, started telling me how to approach the first horn’s ordinator, bassist Radivoj Lah, watched me play my audi-
pickup to the Act One opening of Richard Strauss’s opera tion from backstage, instead of leaving like he did with
Der Rosenkavalier: “Just get it and don’t worry about the the other auditionees. I made the finals and they actually
notes in between the glissando, just rip up to it.” I played paid for me to stay in Chicago for a week because I couldn’t
through the entire excerpt and everyone said, “Very nice.” afford to stay that long between rounds.
Dale said that my horn, the Alex 103, would sound good

hornsociety.org 31
Robert Watt Remembers I

Playing in the LA Philharmonic

I rented a hotel room for my first summer horns). I remember enjoying the Strauss – lots
in Los Angeles near The Hollywood Bowl, of fun horn passages – and Zubin was always
the summer home of the LA Philharmonic. At listening to me to see if I could deliver. I was
9:30 a.m. on June 30, 1970, I played assistant still on probation at that time for the next two
principal horn with the Los Angeles Philhar- years. My mother, who as a pianist had a very
monic for the first time. By September, I was good musical ear, did say she could pick out
touring with them on a 15-concert tour in- my sound from the massively thick orchestral
cluding New York City and Boston. I thought, texture. After the Carnegie Hall concert, my
“My God! My first tour, just months after I family came backstage to see me, and my
joined the orchestra, and I was coming back mother got to meet Zubin Mehta.
to my home territory!” The first concert was I remember with fondness my time playing
at the United Nations in New York for their at the Hollywood Bowl (the summer home of
twenty-fifth Anniversary, then on to Boston the LA Philharmonic). Since it was outdoors,
Symphony Hall. After Boston we flew to wildlife of all kinds would wander up to us
New York, where some of my family attend- while rehearsing or playing. I remember see-
ed the concert. My mother was sitting in the ing deer, doves, and dogs. Once, second horn
balcony of Carnegie Hall with my older sis- Clipping from the Los Angeles Ralph Pyle even got “marked” by a raccoon!
ter, Judy. She was constantly looking at me Times, February 21, 1971 One interesting highlight of my time with
while I was on stage. She even waved and winked at me the LA Phil was the making of the 1974 Academy-Award
like a teenager. We played the Beethoven Triple Concerto winning short film “The Bolero,” which was filmed at UC-
with pianist Daniel Barenboim, his wife, cellist Jacqueline LA’s Royce Hall in 1972 and released October 31, 1973. They
du Pré, and violinist Pinchas Zukerman. We also played interviewed us backstage and then filmed us in rehearsal and
Symphonia Domestica by Richard Strauss (which had eight performance (in our street clothes) of Ravel’s Bolero.

Robert, principal horn and Ralph Pyle, second horn, Image from “The Bolero” showing the LA Phil horn section from 1972.
LA Philharmonic, The Hollywood Bowl, 1972 L-R: Hyman Markowitz, George Price, Robert Watt, Ralph Pyle,
Sinclair Lott, Henry Sigismonti

Playing Assistant Principal Horn

When I started playing assistant principal with the LA below middle C. Whenever there were a lot of low notes
Philharmonic, they had never had a full-time assistant first or bass clef in the music, this principal would always ask,
horn. For that reason, they didn’t have the extra parts and “What are those notes down there, Bob? I never play down
the music librarian wasn’t at all interested in copying extra that low.”
parts for me. In fact, he yelled at me, “Just read off the first I had an interesting experience with Eugene Orman-
horn’s music.” The way it feels when actually doing the dy and Stravinsky’s Firebird Suite. It was another one of
assistant part of the job – there’s something very musical- those mornings when the principal horn didn’t show
ly disconnected about it – like you’re not really playing or up. Ormandy called me in his room after rehearsal and
part of the real action, especially when you have principal said he didn’t know I was principal and that I sound-
horns who don’t want to tell you where to assist them, and ed really good. “I hope you’ll be playing the concert.”
think that the assistant should read their minds. For exam- I had to explain that I was not principal and was just fill-
ple, when I played first, they made it as difficult as possible ing in for the morning. He went to management and
by only offering me one little piece to play insisted I play on the concert. The princi-
spaced over long periods of time, like one lit- “Moving around pal was pissed and caused a scene at the
tle piece per month or even less. They knew
quite well, from playing principal horn them-
in the section was next rehearsal. He played the concert, but
had a rather bad night. Ormandy was
selves, that the less principal horn one plays, the part of the job very upset.
the more difficult it is. One of our principal An assistant principal horn is also
horns always came off as if he never ventured I liked the most.” referred to as utility horn, and in Europe

32 The Horn Call - May 2021

 I Robert Watt Remembers
they call it “bumper horn,” that is, to bump up the principal months of filling in on principal horn!
horn when needed in loud parts of the music so the princi- In 1983, the LA Philharmonic’s new music director,
pal horn can rest. Utility means moving up and down in the Carlo Maria Giulini, wanted to add another solo horn to
section, playing some first horn, usually those works the the section. After a short search, John Cerminaro, former
principal doesn’t want to play. I had to play a certain amount principal of the New York Philharmonic, was hired. He did
of second horn, which is a very busy position, and some a very nice job, even though he was just that, a solo horn.
third and fourth horn. Therefore, the player for assistant He only played the solos and not much else. He kept me
first horn position has to be quite flexi- very busy when I was assisting him, so
ble, playing well in all registers, high “My workload was we got on quite well. Soon after he was
and low. Moving around in the section hired, he told me that the New York Phil-
was the part of the job I liked the most. It also influenced by the harmonic had just hired a young Black
gave me so many different musical per- associate principal horn player, Jerome
spectives. It helped to further train my film and television Ashby. When Giulini was hired in 1978,
ear and taught me to listen in context. I
learned how composers used the differ-
recording industry.” it was the beginning of a whole new era
for the orchestra. I always looked for-
ent horn parts with other instruments of the orchestra – like ward to playing principal horn when he was conducting.
third horn with the cellos, second horn with the violas, and I just loved being in his musical presence. The music was
fourth horn with the basses. It was also a challenge just to deeply in him and it was a true pleasure to be on the same
read another part for the sheer joy of doing a different task stage with him. Once while on a tour of the East Coast, I
and playing in a different register or just expanding the played principal horn on Maurice Ravel’s Scheherazade in
mind. I especially enjoyed it when I had to play someone’s Carnegie Hall (May 4, 1979 with mezzo-soprano Frederica
part in an emergency at a concert when I didn’t rehearse Von Stade). I played the soft pianissimo muted solo at the
that part, making me the only one in the orchestra playing end never giving it a second thought. The next leg of the
the concert without a rehearsal. tour was in Washington DC, and as the orchestra was
My workload was also influenced by the film and walking through the airport, I heard someone call out
tele-vision recording industry. In the LA Philharmonic, to me. “Mr. Watt! Aspetta! [Wait!] I turned around to find
many players would get a studio call on the morning of a Giulini trying to catch up to me. He said in front of all the
Philharmonic rehearsal, accept the studio job, immediately orchestra members, “Mr. Watt, I just want to say that I
call in sick for the rehearsal, and go play the studio job really enjoyed your beautiful pianissimo solo playing at
(hoping not to be discovered). A common scenario would the end of Scheherazade last night. It was very beautiful.
be for me to get a call in the morning of a Philharmonic Thank you!”
rehearsal from a contractor at Fox Studios. I would turn My last concert with the Los Angeles Philharmonic was
down the job and then when I arrived at the Philhar- with the very fine and celebrated maestro Lorin Maazel on
monic rehearsal, one of the principal horns would have January 27, 2008. We played the Benjamin Britten War Requi-
called in sick because he had taken the job that I had em. At the end of the concert, the maestro gave me my final
turned down. The personnel man- bow. It was a sweet moment, with
ager would then ask me to fill in my older brother Ronnie and many
for the principal horn for the dear friends in the audience. That
rehearsal. Once, both principals moment, that final bow, I thought
were suspended for seven months would live only in my memory
back-to-back. I asked the personnel for the rest of my life. A few hours
manager what had happened, and later, I was no longer a member of
he said one principal left the con- the Los Angeles Philharmonic. It
cert early to play another job and was a departure with a deep sense
that he had just suspended him. of completeness. I had played a lot
The other principal later tried a of music in those 37 years and I was
similar stunt and got the same sev- ready for a change. I was satisfied
en-month suspension. It was quite Bob Watt retired from the LA Philharmonic after 37 years. and happy to move on to the next
a windfall for me: nearly fourteen Photo by Ringo H.W. Chiu for the LA Times wave in life.
Soloing in Europe
In June of 1987, Esa-Pekka Salonen – who was appearing thusiastic audience bustling with midsummer energy. The
as guest conductor with the Los Angeles Philharmonic concert started with a Sibelius string piece and then my
for the week – invited me to his summer chamber music concerto (Mozart’s First Horn Concerto). I was moved to
festival in the little town of Porvoo outside Helsinki, Fin- tears by the way they played Sibelius. I was convinced that
land, The Avanti! Summer Sounds Festival. We set up in a in order to fully understand Sibelius, one must go to Fin-
small park where the people were waiting, as well as TV, land and hear Finnish musicians play his music. I got nice
radio, and media. Esa-Pekka made a rather long announce- applause and Esa-Pekka started the concerto. When I fin-
ment about the Festival as he introduced me to the en- ished, I noticed that the crowd had grown larger. The next

hornsociety.org 33
Robert Watt Remembers I
day the local newspaper raved about “I was moved to tears a pianist with whom I had never played
my performance and described me before, and who sight read the music
as “coming seemingly from out of by the way they at the performance. Afterwards, the
nowhere, looking like an Archan-
gel (the large one, a messenger) de-
played Sibelius.” TV cameras pushed in to interview me
and several radio stations were hold-
scending on Finland and playing like a God.” I was very ing their mikes over my head. I kept thinking this was
satisfied that I had played a concerto in Europe with a more than I could have ever wished for. I had wanted to
very fine conductor who had appeared with the Los Angeles come to Europe and play as a soloist and here I was on
Philharmonic as a guest. I knew then that he would have Finnish TV and radio doing just that.
some kind of future with the Los Angeles Philharmonic, When I was in Finland, I met the celebrated German
either as a principal guest conductor or as music director. violinist Anne-Sophie Mutter, who was playing Mozart’s
The next day, there was a cancellation of a string quartet for Violin Concerto in A Major with the Slovak Chamber
a concert that was to start in a half hour. The secretary from Orchestra at the Naantali Festival. I had played that very
the Festival asked if I could play for an concerto with her earlier in the year
hour or so by myself, because the peo- with the Philharmonic in Los Angeles.
ple were already waiting. “The radio When the rehearsal was over, I found
and TV are already set up and waiting her alone backstage. I introduced my-
and there is no one to play.” The sec- self and we started talking about the
retary said that the place where I was concerto and that I had performed
going to play was on a cliff high above it with her a few months prior. She
the sea. It looked like something from remembered that I had “gotten all the
Wuthering Heights: a lone house on a high notes.” We talked about my Ger-
seaside cliff. I played the Franz Strauss, man Hanoverian dressage horse, Othel-
C. D. Lorenz, an arrangement of arias lo. I ended up asking her to dinner to
from Bellini’s opera I Puritani, and Performing Mozart’s Concerto No. 1 with Esa-Pekka talk about Herbert Von Karajan, whom
variations from Carnival of Venice with Salonen conducting in Finland June 25, 1987 she had known since she was a little girl.

Playing Chamber Music

In the early 1970s, I was invited to play at a private the future of the UFW. I remember everyone boycotting
fundraiser for César Chávez, the Mexican American labor grapes for years in support of the farmworkers. After that
activist who founded what was later the United Farm exciting event, I was forced to look at Zubin with different
Workers. He was the lone voice for migrant workers all over eyes. I was truly honored to be part of such an event.
the American Southwest. Zubin conducted a small cham- Some of the younger players in the LA Philharmonic
ber group that played in the San Fernando Valley. Chávez invited me to play chamber music in their homes, and some
spoke briefly about the struggle, which was followed by a of the players I met in the studios also wanted to play cham-
reception where I had the pleasure of meeting him. He was ber music. I ended up playing at different homes of movie
an imposing figure, yet still a humble man, who seemed to producers and film composers. That was how a new player
look right into your soul. We spoke only of the struggle and in town got hired for work in the studios back then.

Studio Playing
My first studio call was from the legendary Benny the Los Angeles Coliseum (and trying not to fall.) Early
Carter. It was for a series of recording sessions in January that afternoon, as the crowd of over 110,000 mostly Afri-
through March 1972 at Capitol Records and United Records can-Americans took their seats, the Wattstax ’72 Orchestra
in Hollywood for an album called The Music of Bob Friedman and its conductor, composer “Dale” Ossman Warren, waited
- Twenty-five Years/To my Genie with love, Bob, a rare double on stage in the sweltering summer heat for almost an hour
album featuring around 80 musicians. It was a bi-coastal to play the warm-up music, Salvation Symphony.7 I discov-
project. Some of the recordings were done in LA and some ered that there was an entire group of Black instrumentalists
in New York. The horn section was me, Gale Robinson, who played record dates, except for major motion picture
Alan Robinson, and Vince DeRosa. I began to get calls from and TV, which was still an almost exclusively white clique,
Black contractors in Los Angeles to record with giants like unless the writers were Black, in which case the Black play-
Barry White (Barry Eugene Carter) and songwriter/pro- ers would be hired for that one time and then things would
ducer Jerry Peters. Isaac Hayes (Isaac Lee Hayes, Jr.) even go back to normal. Some of the Black freelancers called me
hired me to record and play concerts, and I was part of “Symphony Bob” because I used to show up on the late-
the original Wattstax6 Festival backing up Isaac Hayes on night record dates still dressed in my tails after playing a
August 20, 1972. I remember trying to climb with my horn Philharmonic concert. They even lifted the tails on my full-
up the scaffolding they built as the stage in the middle of dress coat and joked, “Look! This brother has wings!”

34 The Horn Call - May 2021

 I Robert Watt Remembers
In Part 3, Mr. Watt discusses being a Black hornist, racism, The New Brass Ensemble, teaching, his friendship with Jerome Ashby, other Black
horn players, Black conductors, writing, his friendship with Miles Davis and the birth of the idea for his solo album I Play French Horn.
Mary Ritch earned a BM in performance at UMKC and an MM and DMA in performance at USC. An Illinois native, she began study-
ing the horn at 14 with Bill Scharnberg, then at 19 decided to pursue a career in law. She resumed playing at 27, completing her BM
under Nancy Cochran Block, and relocating to California for graduate studies with Dave Krehbiel and Jim Decker. At USC, she was also
librarian and music copyist of the Wendell Hoss Memorial Library of the LA Horn Club from 1999-2003 and worked with such noted
film composers as Elmer Bernstein, Bruce Broughton, and Michael Giacchino to prepare newly-commissioned works for publication by
the Los Angeles Horn Club. After graduation, she worked as a paralegal and genealogist for law firms. In 2007, she started her own probate
genealogy firm, Benefinders.com, which assists lawyers in locating missing heirs, and resumed playing the horn in 2018, and writing
for music trade journals in 2019. This is her second article in a series about noted West Coast horn players’ memoirs for The Horn Call.
She wishes to thank Mr. Watt for his assistance with this article.
1
During my first semester, I was a music education major, which my https://horn society.org/publications/horn-call/extras)
father had talked me into so I “would have something to fall back on.” I 3
The Red Fox Music Camp, a/k/a/ “Little Tanglewood,” was founded
learned how to play all the stringed instruments, but decided to switch in 1949 by concert pianist Isabelle Sant’Ambrogio (“Mrs. S”), directed by
to performance for my second semester. her and her son John (BSO cellist from 1959-68, and St. Louis Symphony
2
Named the professor of horn at the Paris Conservatory in 1937 . . . Jean principal from 1968-2005) for 30 years, and was a six-week summer music
Devémy authored a book of horn etudes entitled Vingt et une lectures camp located in New Marlboro, MA, for nearly 200 students, with facul-
études et neuf etudes d’examens avec changements de tons pour cor d’harmo- ty comprised of visiting members of the Boston Symphony from nearby
nie (Twenty-one Study Etudes and Nine Test Etudes with Transposition Tanglewood, as well as professional musicians from around the world
for Horn), which was published in 1946 by Alphonse-Leduc. In the in- who played in the resident chamber music group, The New Marlboro
troduction, Devémy stressed the importance of studying the transposi- Chamber Players. (see sources page)
tions used by the horn. At first glance, the twenty-one etudes look fairly 4
From “Boston’s Riches Reach Roxbury” (see sources page)
easy, but the frequent transposition changes imposed on the horn player 5
“The Tanglewood Music Center (TMC) was founded in 1940 as the Berk-
render simple melodies much more difficult. Devémy also incorporates shire Music Center by the Boston Symphony Orchestra’s music director,
accidentals and stopped technique in his etudes, adding another layer Serge Koussevitzky, three years after the establishment of Tanglewood as
of difficulty to the task of transposing. In the nine Études d’examens, he the summer home of the BSO. Koussevitzky’s vision for the TMC was an
makes a point of forcing the horn player to use the “three registers of the institution where students would work closely with faculty members of
instrument,” pushing the range of each etude into the extremes of the the BSO and guest artists, as well as with each other.”–From Wikipedia
horn range. Each etude is a full page, some containing unmeasured (see sources page)
passages in the style of Gallay, with transposition changes as often as 6
The documentary Wattstax, released in 1973, was about the momentous
every bar. The book is seldom used in American horn studios..–From musical event that had taken place a year earlier as a healing truce after
Emily Britton’s 2014 Doctoral Dissertation “ Jean Devémy and the Paris the 1965 Watts riots in Los Angeles.
Conservatory Morceaux de Concours for Horn, 1938-1969” (see sources page) 7
From Wikipedia (see sources page)

Beck Brass Works

Building a new Custom horn!!!
Say hello to the Beck
model II

Purveyor of - Lawson TM

Custom Built By Hand, One At A Time

214 Worcester St, Wellesley, MA USA
beckbrassworks.com
lawson-horns.com
781.235.4008

hornsociety.org 35
 Teaching a Tone-Deaf Horn Player: A Personal Experience

I
by Burke Anderson
t is often said that to be a good horn player you must One definition of tone deafness is “relatively insensi-
have a good ear. The ability to hear the note you are play- tive to differences in musical pitch.”1 This broad definition
ing is crucial on any brass instrument. Since the horn certainly fit my student’s ability. While she could perceive
plays higher in the harmonic series than any other brass larger intervals, even a whole step, the only thing she could
instrument, on many notes it is possible to change finger- say with certainty was that there were two notes being
ings and either not change notes at all, or move to a lower played. She could not identify, replicate, or differentiate
note instead of a higher note (or vice-versa). If you cannot between them. I researched what other teachers had done
hear that you made one of those mistakes, horn playing is with tone-deaf students, and found the most helpful
virtually impossible. What can you do if a student cannot information in “Progressive Exercises for the Tone Deaf,”
hear these kinds of mistakes? Can someone overcome hav- by Pamela L. Bridgehouse.2 Under the section on ear train-
ing a “bad” ear? These were some of the questions I faced ing, she lists eleven progressive ear training exercises for
upon discovering that I had a tone-deaf student. the tone-deaf. The first four deal with demonstration
I started teaching this student in the middle of her from the teacher, either playing intervals or chords, so the
eighth-grade year during sectionals, where she was the only student can learn how to discern what is being heard on
horn player in class. Because she had many other playing the most basic level (higher/lower, number of different
issues, it took me a while to figure out she was tone-deaf. notes, etc.). Beginning in the fifth exercise, the student
I took her inability to play certain notes, either consistently matches pitches from the piano. I began this exercise with
or at all, as a reflection of these problems and not due to tone a slight alteration. Instead of requiring the student to match
deafness. the pitch from the piano (or in this case my buzzing), I
In addition to her playing problems, this student was asked her to buzz any note she could. I would then buzz
not great at following my instructions, though to be fair these around her note, pausing on a unison and moving again.
sectionals happened at 7:30AM. For This helped her hear and understand
instance, as she attempted to play c'' “After a couple of months what unisons sounded like.
and higher, she would over tighten The sixth exercise is to “have
her embouchure to the point that
working with her and seeing the student echo half steps and
her lips could not vibrate. This was some positive results, we whole steps…” This is the exer-
how she explained the way she tried cise I used to create the process
to play higher, by tightening her
had a moment.” that was most helpful. Exercises
lips. She would also bring her lower lip in, causing a gap in seven and nine provided the method to move the pro-
her corners where air would leak. I made some suggestions cess forward. Seven suggests that “after the student has
about how to approach both of these issues and asked her conquered half and whole steps, use them to build progres-
to play again. After her unsuccessful attempt, I would ask sively larger diatonic scale fragments.” Nine is to “build up
her what she was thinking about when trying to play these to a complete diatonic scale and master it ascending and
notes, to which she would reply, “I tried tightening my descending."3 With these exercises as my framework, I used
lips.” This was not an isolated incident. a three-part exercise, performed in two forms to help with
After a couple of months working with her and seeing the progression: I sing, we both sing, she sings; I buzz, we
some positive results, we had a moment. Normally, we prac- both buzz, she buzzes (Examples 1 and 2).
ticed buzzing a scale from f' to c''. Her intonation was never Starting with singing helped eliminate the variable of
very accurate, which I took as another sign of her physical her playing problems. This way I could hear whether it
playing problems since the quality of the buzz itself was was her inability to hear the notes causing problems, or a
also not very good. This time, deciding to simplify a bit, I potential physical problem with her playing. This also
buzzed a half-step down and up, asking her to repeat. She helped put her mind in the right context so she could learn
buzzed a single note. I asked her if she buzzed what I did, to “sing” while playing.
and she said, “Yes.” I repeated the exercise, asking her to After she learned what a unison sounded like, we
listen carefully, and had the same result. I repeated my started using this method of imitation with single pitch-
example a third time and asked her if she could hear that es in a comfortable range and progressed chromatically
there were two notes. She seemed to think I was lying to her, downwards (Example 1). She learned to do this relatively
sure that there was only one. I demonstrated again going quickly and we were able to move on to half steps (Exam-
even slower and exaggerating the half step a little bit, with ple 2). I prefer descending half steps since they seem more
the same result. I left the issue alone for that lesson, but it natural in the context of a diatonic scale, but others may
made me wonder if she was tone-deaf. prefer ascending first.

36 The Horn Call - May 2021

 She learned to do this relatively quickly and we were able to move on to half steps (Example 2).
I prefer descending half steps since they seem more natural in the context of a diatonic scale,
I prefer descending half steps since they seem more natural in the context of a diatonic scale,
but others may prefer ascending first.
but others may prefer ascending first.
I Teaching a Tone-Deaf Player

Example 1. Imitating Unisons

Example
Example1.
1.Imitating
ImitatingUnisons
Unisons

Example Example 2. Imitating Descending Half-Steps

Example2.
2.Imitating
ImitatingDescending
DescendingHalf-Steps
Half-Steps
After becomingAfter comfortable
After becoming withcomfortable
becoming descending half
comfortable with ing and remembering the corresponding fingerings, and
with
steps, I debateddescending half
about the half
descending steps,
next steps, I debated
step. Ascending
I debatedhalfabout the
steps?
about
“Starting
“Starting
the learning how with
with
to makesinging
a sound.helped
singing helped
It could have been that
next step. Ascending half steps? Descending she struggled with all of these things and never received
Descending whole steps?
next step.
whole
Ascending
Ascending
steps?
halfwhole
Ascending
steps?steps,
whole
mim-
Descending eliminate
eliminate the the variable
variable of of her
her
icking a diatonicwholescale? Or add
steps? whole steps,
another descending
Ascending steps, the proper attention needed to develop her ear. This pro-
note
down to the mimicking
sixth aa diatonic
scale degree,
mimicking which
diatonic scale?
in Or
scale? Or add another playing
add another playing problems.”
problems.”
cess gave her that attention, which then
descending
descending
this case would add a whole step.
degree, which
note
note down
in this
down
case
“Starting with singing
to
to the
the sixth
sixth scale
scale allowed her to continue fixing some of the
Ultimately,degree,
I chosewhich
to inadd casewould
thisanoth- wouldadd
addaawhole
whole step.
step. other playing issues.
er descending note because, logically I
helped eliminate the We did not use the horn for the first
was thinking that it ticks several boxes variable of her couple of lessons in this process, but once
at the same time: she gets an interval of playing problems.” she could do half steps well, we start-
a whole step added to the half step; it ed transferring the same process onto
follows Bridgehouse’s seventh exercise “to build progres- the horn. I started similarly, with just half steps and whole
sively larger diatonic scale fragments;” and by going down steps, but we were quickly able to use this process on simple
and returning she is both descending and ascending. melodies. These are things she could not have done only a
This turned out to be more difficult for her than I few weeks before, with any degree of consistency or in some
anticipated, though I feel the experiment was worth the cases at all.
attempt. We then shifted to working on descending whole While I would love this to be a story of her becoming
steps, following the more incremental approach suggest- an amazing horn player, that is not how her story ends. She
ed in Bridgehouse’s article. This approach turned out to be stopped taking lessons in the middle of her freshman year
more effective because she needed to be able to hear, and and stopped playing altogether a year later. In the span of
distinguish between, the two inter- a year, she went from a horn play-
vals that comprise a scale before she “While I would love this to er who could only on occasion play
could hear them consecutively. It be a story of her becoming the same note two times in a row,
seems less important which interval to a horn player who could play an
to begin with, or whether to start with an amazing horn player, that arrangement in F Major of the Ro-
descending or ascending. What is is not how her story ends.” manza from Mozart’s Third Horn
most important is to be systematic in Concerto fairly well.
the approach. Start with something simple that the student The method I used for her is not necessarily a univer-
can do and work from there. Go back a step or simplify if sal fix for any student who struggles with tone-deafness. I
it is too difficult. was lucky that she was willing to sing for me, that she had
Early in this process, she began to have noticeable im- a piano at home to do the exercises by herself, and that she
provements in her ability to discern different notes. Young put in the time. If she had been unwilling to sing, possibly
students assimilate so much information at the beginning buzzing would have been enough. Or instead of singing
of their studies: learning to read notes and rhythms, learn- and buzzing, we may have buzzed and then played it on

hornsociety.org 37
Teaching a Tone-Deaf Player I
the horn. Bridgehouse’s eighth exercise is to use solfege framework, I hope that teachers will try it and add their
hand signals, which in combination with buzzing, could own bits of creativity. Often, just knowing something is
have worked as well or better. Using this method as a possible leads to greater innovation.

Applications for Beginners

I only had one student who was tone-deaf, but I have The beginners I teach spend much of their first year
been able to use this process with beginning students in working up the F major scale, adding notes periodical-
private lessons and sectionals as well. Many of these stu- ly throughout the year. The first thing I do during warm-
dents are not comfortable singing, but this process has ups is buzz the scale starting with the first note, adding
dramatically improved the accuracy and consistency of one note at a time, up to the scale degree that they are on
their playing from the beginning. that week (Example 3).

Example 3. Working up a scale adding one note at a time.

Example 3. Working up a scale adding one note at a time.
By the time they get to the fourth scale degree, many struggle with intonation. There are two
By the timefor
reasons they get the
this: to the fourth
more scale degree,
notes, many theagainst
the greater memory the drone
of what andthe accidently
teacher buzz a few correct
buzzed needsnotes.to
struggle with intonation. There are two reasons for this: Another difficulty can be that a drone and a buzz sound
be; and secondly it is the first half step in an ascending major scale. Many students buzz
the more notes, the greater the memory of what the teacher different. To address the first problem, I use a drone while
another whole step. The first way I address this is by isolating the half step, making sure they
buzzed needs to be; and secondly it is the first half step in demonstrating each part of the exercise. This allows them
can hear that interval using the
an ascending major scale. Many students buzz another
same process outlined earlier. The second way is to limit the
to hear what each interval should sound like over a drone.
whole number
step. The offirst
notes
waythey havethis
I address to remember.
is by isolatingUp the to this point, the
To address I buzz up problem
second and back down
I keep to thewhile
buzzing tonic.they
When we add the fourth scale degree,
half step, making sure they can hear that interval using the I buzz up and stop on that note, which allows
perform each set, which gives them a more accurate sound that note to
samebe clearoutlined
process in theirearlier.
memories.
The secondAs theyway isbecome
to limit better at this,
to mimic. they do
However, I havenotfound
necessarily need
that buzzing mytomouth-
do
each step.
the number of notes they have to remember. Up to this piece for five minutes straight, for several classes in a row,
point, I Doing
buzz upthese and back down to
exercises the a
over tonic.
droneWhen canwealsoisbenot very
an enjoyable
effective. experience,
However, so I started
I haveplaying
foundmy horn
that
add many
the fourthstudents struggle with this, so I do not use a drone at first. The difficulty lies in part a
scale degree, I buzz up and stop on that instead. This creates a similar problem, since it also has
note,because
which allows the that
firstnote to be clear
interval is a in their memories.
whole step which is different
dissonanttimbreand thanso thethey
buzz.buzzI finally
too settled
high, on playing
usually
As they become better at this, they do not necessarily need stopped horn which is a much closer timbre and is also a
up to a minor third. This causes the rest of the notes to be incorrect. Sometimes they find notes
to do each step. naturally softer sound that balances to their buzzing more
that are in tune against the drone and accidently easily.
Doing these exercises over a drone can also be very
buzz4 a few correct notes. Another difficulty can
be that a drone and a buzz
effective. However, I have found that many studentssound different. To address
Withoutthe the first
drone,problem, I use exercise
this is a simple a droneto while
do with
demonstrating each part of the
struggle with this, so I do not use a drone at first. The exercise. This allows
beginners themto to
make hear
sure what
they each
get an interval
easy should
warm-up and
sound like over a drone. To address
difficulty lies in part because the first interval is a whole the second problem I keep buzzing while
to make sure they are engaging their ears. Adding in thethey perform
step each
which isset, whichand
dissonant gives them
so they buzza toomorehigh,accurate
usual- soundhelps
drone to mimic.
them developHowever, I have foundto that
the independence “feel”
ly upbuzzing
to a minor third. This causes the rest of the notes to what each note
my mouthpiece for five minutes straight, for several classes in a row, is not an sounds like in tune.
be incorrect.
enjoyable Sometimes they find
experience, so notes that are
I started in tunemy horn instead. This creates a similar problem,
playing
since it also has a different timbre than the buzz. I finally settled on playing stopped horn which
is a much closer timbre and is also a naturally Conclusion
softer sound that balances to their buzzing more
We can
easily. use
4 words like “bad” and “good” to describe a This experience was also a wake-up call to the physi-
student’s musical ear. It may be accurate, but it also might cal problems that can arise from having an untrained ear.
Without the drone, this is a simple exercise to do with beginners to make sure they get an
put that student’s ability into a fixed state in our minds. Many beginners can buzz back a note they hear without
easy warm-up and to make sure they are engaging
If, instead, we think of students who are tone-deaf as
their ears. Adding in the drone helps them
any prior training. But if a student has an untrained ear
havingdevelop the independence
an “untrained” ear, this allows usto to“feel” what
ask the each note
question: andsounds
it is notlike in tune. addressed, they may keep try-
immediately
what can I do to train their ear? ing various physical changes to their embouchure until
Conclusion
38 The Horn Call - May 2021
We can use words like “bad” and “good” to describe a student’s musical ear. It may be
accurate, but it also might put that student’s ability into a fixed state in our minds. If, instead, we
 I Teaching a Tone-Deaf Player
something works, if it ever does. From my own experience
as a teacher and a student, using the “whatever works”
method usually leads to a problem sooner or later. For
example, when beginners repeatedly attempt a note that
is “too high,” they may start doing strange things with
their embouchure to try and reach that note. Most of these
cases are just the student not believing they can play that
high, it often has nothing to do with their ear. Typically, if a
student has an untrained ear, they may be just told con-
tantly that they are on the wrong note, without any under-
standing of what that means. All the student will know is
that they need to change something and that could turn a
good embouchure into a bad one pretty quickly. It may help
to test whether the student can identify two intervals as
being the same or different, or whether they can hear a half
step, to see if they have an issue with tone-deafness.
Most teachers will not have to teach a tone-deaf horn
player, and many may never teach beginners. Even so, I
hope this article will remind teachers that any student can
learn and become better, even if the problem is tone-deaf-
ness. If we show students that we are willing to teach them
no matter what, maybe they will show that level of care to
one another, and not give up so easily when they are con-
fronted with a challenge.

Burke Anderson, DM, holds degrees from Indiana University and

Central Washington University. He currently teaches at Wabash
College and Brownsburg Community School Corporation. myna-
[email protected]

1
Meriam-Webster Dictionary, s.v. "tone-deaf," accessed May 3, 2020,
Join The
https://www.merriam-webster.com/dictionary/tone-deaf.
2
Pamela L. Bridgehouse, "Progressive Exercises for the Tone Deaf," International
Music Educators Journal 65, No. 3 (Nov. 1978): 51-53
3

4
Ibid.
A cello drone may also be effective, though I have never tried it Horn Society!
myself.
5
A fun remedy for this is to trick the student into playing the high- One-year membership $50
er note. Using the many partials that the horn has to offer, if you use a Student membership* $32
fingering for a note they can comfortably play and tell them you are Three-year membership $141
playing that note. Then play a partial too high on purpose. Many stu- Life membership $1000
dents will easily play the too-high note. This is because their brain is
telling them that they are capable of playing that note, and so they are
Library $80
not trying so hard to play. Family $75
Club** (8 or more with 1 organizer $35
Friendship (depending on the country) $5-35
E-Membership*** $45
E-Membership – student $27
E-Membership – three-year $126
E-Membership – life $950

Join at www.hornsociety.org
or mail your name, dues, and address to:
Elaine Braun, IHS Membership Coordinator
305 Raywood Ct., Nashville TN 37211-6000 USA
email: [email protected]
*age 26 or under
**Ask for a “club membership” rate ($35) when 8 or more join.
***no paper journal – received electronically at our website

hornsociety.org 39
 For Horn Alone
by Douglas Hill

S
o much time with so little music making! The COVID-19 variety of initial motivations. All but one of these are
Pandemic has brought us into a place where students, available in PDF from the IHS Online Music Sales web-
teachers, amateurs, symphonic, and chamber musi- site, https://hornsociety.org/marketplace/oms. I am so
cians have never been forced to be. Alone at home! How- pleased to share, and am extremely grateful to the Society for
ever, being alone with our horns is not necessarily all bad. making available much of my original music for solo horn,
This could be the time to perfect your warm-up routine, multiple horns, horns with others, alphorn and natural
or learn to get comfortable improvising, or time to en- horn, along with various texts and a teaching video.
joy learning new pieces for horn alone. I have long been a My first completed solo work was written in the early 1970s.
strong advocate for what used to be a somewhat limited un- It was originally titled Soliloquies but later became Character
accompanied horn repertoire. I remember a recital program Pieces for Solo Horn. These four movements were composed
performed numerous times back in the 1980s, including to be overly theatrical representations of particular character
at the International Brass Congress at Indiana Universi- traits; “Whimsical,” “Restless,” “Quarrelsome,” and “Foolish.”
ty in 1984. It featured David Amram’s Blues and Variations They were written during my year teaching and performing
for Monk, Lev Kogan’s Kaddish, Sigurd Berge’s Horn-Lokk, at the University of South Florida in Tampa. These are quite
Olivier Messiaen’s Appel Interstellaire, He Zong’s Night Song: representative of my love, at that time, for virtuosic modern
A Traditional Chinese Melody, Vitali Buyanovsky’s España, musical and technical effects, rhythms, and multi-metric rela-
and my own Jazz Set for Solo Horn. These selections cov- tionships. They also demonstrate an early and consistent com-
ered numerous musical, technical territories, and ethnicities, positional trait that my music should be “about something.”
and no two works were alike compositionally. A full recital My melodic language at that time was highly influenced
of one timbre is by definition monotonous. So, to share greater by a recent European tour and recording with the New
acoustical variety for the listeners, I created additional timbral York Contemporary Cham-
effects through frequent bell direction changes, extreme techni- ber Ensemble, a Fellow- "I also wish to encourage
cal tone color modifications, and positioning myself in various ship at the Berkshire Music all of you to compose
spots upon the stage. That did help. Festival, and my composi- yourself, for yourself
In 1986, Gunther Schuller invited me to record A Solo tion projects at Yale Univer- with your horn, for all
Voice for his GM Recordings label, GM2017D, including the sity with Yehudi Wyner.
premiere recordings of: Sonatine for Horn Solo, Op. 39b by Many experiences as a the right reasons."
Hans Erich Apostel, Sonata for Horn Solo Op. 101 by Avram performer in the 1970s did cause me to realize that so many
David, Studies for Unaccompanied Horn, No. XII Lento, and of our contemporary composers really didn’t know the horn’s
No. VIII Allegro ritmico by Gunther Schuller, Elegy for Solo capabilities. As an example, numerous new brass quintet com-
Horn by Verne Reynolds, and my own Jazz Set for Solo Horn positions commissioned by the Spoleto Festival which first
(1982-84), all modern works for unaccompanied horn. I came to Charleston, South Carolina in 1978, were exciting,
mention all of this to advocate for these fine pieces of music, demanding, and adventurous for the trumpets, trombone,
and to encourage interest in what this special genre of mu- and tuba, but what was requested from the horn was only a
sic has to offer as a performance outlet. And also because it short step beyond hunting horn calls and off-beats in the
is so much fun to be alone with your horn, making music, all band. That’s when I finally decided to research and write the
by yourself. For more information, a recent and extensive list book (with recorded examples) Extended Techniques for the
of published music for unaccompanied horn is the Guide to the Horn: A Practical Handbook for Students, Performers and
Solo Horn Repertoire by Linda Dempf and Richard Seraphinoff, Composers. It was originally published in 1983 with an up-
2016, Indiana University Press. date in 1996, and is now available through the IHS Online
Those solo performances and Music Sales catalog. To decide on the nearly 100 techniques and
"...It is so much fun to recordings provided further stim- effects, I studied over 300 scores along with numerous books
be alone with your ulus for me to consider compos- and articles on new notation and varied instrumental tech-
horn, making music, ing even more of my own music niques to see what composers had expected from the horn.
for solo horn. Anyone who has Then I presented my findings in a graphic format for practi-
all by yourself."
studied horn with me knows cal reference and included 72 recorded tracks of my originally
that I also wish to encourage all of you to compose yourself, composed examples of most of the extended techniques
for yourself with your horn, for all the right reasons. Think of discussed. Sound is what it was all about, and hearing it clearly
some-thing you love, something you think is really interesting, on a horn alone made it all even clearer.
but do your own thinking. Then start, follow it along, finish. Jazz Soliloquies for solo horn was written while I was
Play it a few times through. Change anything that doesn’t feel researching and writing my extended techniques book in
quite right. Enjoy it for a while. Keep it, share it, toss it. Think 1978-80. It was also my first attempt at notating many jazz
some more, and start again. effects, techniques, rhythms, and gestures. “Blues-like”
What follows is a discussion of my 20 published piec- shifts freely between compound meters and duple metered
es for horn alone, composed over a 50-year period, involv- melodic patterns, suggesting a slow blues-feeling contrast-
ing many musical and technical styles and an extensive ed with an upbeat double-time swing-feel. Glissandi, bends,

40 The Horn Call - May 2021

 I For Horn Alone
half-valved effects, smear-like trills, doinks, and dips oc- the varied intonations of many six-holed cedar flutes.
cur throughout. “Mixin’” is an up-tempo, disjunct, dance- Even if played without the percussion, the four movements
about including ghost tones, fall-offs, slow bends, plops, and – “Eagle at Ease in the Sky,” “Six-legged Dance,” “Wood-
extensive use of quarter-tones. Many of the quarter-tones re- land Trail,” and “Spring Dance” – work to celebrate the
quested suggest the traditional “bluenote” in jazz genres, natural world and the Native American flute. I also created nu-
and each has its fingering included. The typical double merous compositions inspired by Native American musics from
horn (in low F and BH), can create a near quarter-tone scale flute solos, dance pieces, and vocal works. The culmination was
over most of the top two octaves. (See page 67 in Extended a large commissioned work for the Omaha Symphony Orches-
Techniques). “Laid Back” also alternates between triple and tra including the “Drum” of the Omaha Tribe of northeastern
duple gestures as it dips and spills and rips and bends into Nebraska, Ceremonial Images.
a few flutter-tongues and vocalization effects; singing while In the spring and summer of 1993, while returning to
playing unisons, into glissandi, and ending with a some- Madison after a year of teaching at Oberlin College, I composed
what silly harmonic cadence. Then comes the return of the the five songs (with changes) that soon became Song Suite in
earlier walking string bass-like motive. (Throughout my Jazz Style for Horn and Piano. Returning to a jazz orientation
late teens and early adult years I was active as a jazz bass player, was important for me, and writing for the piano as an equal
improvising, learning tunes, and memorizing changes. It also voice was rewarding. These five songs have recently (2021)
helped pay for a new bass and new horn.) evolved into Song Suite in Jazz Style Reimagined for Solo
In the summer of 1982, I was invited to perform at the Horn. “Easy Going” is a light-hearted jazz waltz, “Quiet Tears”
14th International Horn Workshop in Avignon, France. is a thoughtful ballad that tries to lighten up into a Latin
My recital presentation included the premieres of invited dance feel, “Dream Scene” is perpetually wandering through
works for unaccompanied horn by American horn play- an unstable, repetitious melody in 5/4, “All Alone” is a deeply
ers including: Elegy for Solo Horn by Verne Reynolds, French felt isolation, and “Blackened Blues” follows the blues in both
Suite by Jan Bach, Blues and Variations for Monk by David Am- form and mood.
ram, and the first two movements of my own Jazz Set for Simple tonal melodic lines and comfortable rhythms
Solo Horn. The third and fourth movements were completed had taken a strong hold on my internal musical language.
in 1984 and premiered in Provo, Utah, at the 19th Inter- In 1994, I composed To the Winter Sun for Solo Alphorn as
national Horn Workshop. The movement titles “Lost and a continuation of my contemplative love for Nature and
Found,” “Cute ’n Sassy,” “Lullaby Waltz,” and “Fussin’ for Em- for the natural harmonic scale through a celebration of
ily,” make references to feelings and responses regarding the the winter solstice. Later, based on materials found in
parent/child relationship. The musical energies and emotional my Shared Reflections for Four Horns (1994), a work pre-
journeys that developed while composing these pieces required miered at the Provo workshop in memory of Philip Farkas, I
many special effects and extended techniques, much like be- refocused the simple melodic content into a dramatic so-
fore. Throbbing tones, various vibrato stylings, valve flutters, liloquy, Reflections for Horn Alone (1994). In the quartet
flips, spit-tongue attacks, and tremolos were added to the glis- version, individual voices gradually overlap and then
sandi, multiphonics, ghost tones, doinks, and plops required in eventually come together sharing their mutual memo-
my earlier work. This work is available only in hard copy, and is ries. The solo version creates a more personal and deeper
available through Sheet Music Plus, or through Shawnee Press. introspection.
The 1980s was a period with many out-of-town perfor- Elegy for Horn Alone (1998), was composed in the
mances and clinics. The production of my teaching vid- summer after my mother died. Many hours of medita-
eo, Hill on Horn, additional teaching responsibilities, and tive improvisations included the disjunct, wavering melo-
early fatherhood all resulted in less time to compose. My dies, the sudden silences, the risings and fallings, and the
wife and musical companion, Karen Hill, and I recorded our searching without resolution. While living with this piece for
second LP for Crystal Records, The Modern Horn (CD670), a time, it grew larger, became a duet with violin, and was pre-
in 1983 on which I included the premiere recording of miered on February 5, 1999, along with the Brahms Trio Op. 40,
Persichetti’s Parable for Solo Horn Op. 120, and “Laid-Back” one year to the day after my mother’s death (knowing all along
from my Jazz Soliloquies. In the summer of 1988, a major that the Adagio Mesto of Op. 40 was composed by Brahms after
turning point for me as a composer occurred with a grant the death of his mother).
to research the music of Native Americans. The solo flute During the late 1990s, my primary creative energies focus-
culture of the mid-American tribes became all-consum- ed on compiling and writing Collected Thoughts on Teach-
ing. With the exception of a solo alphorn piece titled Idyll ing, Learning, Creativity and Horn Performance (2001, Warner
in 1988 written for Marvin McCoy, the next five years of my Brothers Publications). I brought together many past articles,
compositional inclinations were hugely influenced by those clinic presentations, teaching materials, and thoughts regard-
wonderfully simple wooden flutes and their unique aes- ing the concept of “the complete musician.” Sixty-three pages
thetic. Thoughtful Wanderings for Natural Horn and Per- of this 200-page compendium are devoted to discussions of
cussion (1988) was an early application of what those flutes basic and not so basic horn repertoire, including exceptional
were teaching me, what they were capable of, and what works for horn alone. It is presently available through alfred.com
documented traditions suggested. The natural harmonics and amazon.com.
on a horn, when played untempered, matched, in a way, My next six pieces for unaccompanied horn were ei-

hornsociety.org 41
For Horn Alone I
ther derived from larger pieces or became larger pieces. tent of “Gratitude,” I discovered elements of both “Grace” and
Oddities for Solo Horn (2004), was based, loosely, on the “Gravitas.” Two new introspective pieces grew from those
odd numbers of each of the five pieces; “Ones,” “Fives,” elements, both musical and emotional, to create the full
“Threes,” “Nines,” and “Sevens/Elevens.” Jazz-like feel- three-movement set for a horn alone.
ings in many guises (swing, Latin, waltz, bebop, etc.) are My friend and fellow birder, Frank Lloyd, the renowned
explored and expounded upon. Odd meters, intervals, British horn virtuoso, expressed an interest in a solo piece that
odd phrase lengths, and formal designs all added to the might give him a challenge. Considering his immense abili-
oddities. These for-the-fun-of-it pieces quickly grew into a ties, that meant I could write almost anything. Motivation for
set of horn quartets, and eventually brass quintets. Hear- many of the musical gestures that became Raptor Music for
ing the added harmonic complexities and rhythmic add-ons Solo Horn (2013) arrived with the poem “Raptor Music” by
can expand and inform a solo performer’s perspectives. Steve Millard. It includes lines like: “Feathered batons slicing
Greens/Blues/Reds: Three Moods for Solo Horn (2005), the air…,” “…tumbling through thermal melodies,” “A sym-
was an adaptation of the melodic and timbral materials phonic aerial ballet…”. These poetic images, and some shared
found in a deeply felt piece for horn and string quartet. birding experiences, fed this free-flowing adventure up and
July 3, 2005, the day this quintet began, was the date of down the horn. Glissandi, flips, dips, plops, trills, and three-
Gaylord Nelson’s passing. He was known as the “Father quarter-stopped bends arrive often into vocalizations while
of Earth Day.” The piece begins with a “Joyful” celebra- playing sustained pitches. The valve-flutter and flutter-tongued
tion of our beautiful “Green” planet. The second movement raptor-like calls and cries are contrasted with quieter, melodic
expresses “Sorrow” and remorse, the “Blues,” felt regard- moments of calm. A challenge. “..Composing the stirring notes
ing our nation’s passive neglect toward the health of the of flight.”
environment. “Red” with rage, the third movement shows I retired from my teaching/playing position at the Univer-
“Anger” towards those who could help, but show only sity of Wisconsin-Madison in 2011, after 37 years. I then became
greed, destructive behavior, or consequential neglect. I a hornist alone with no more established ensemble outlets.
returned to the extended techniques needed to express the col- So, an early plan was to revisit my long-lost love for the jazz
orful, powerful outpouring of emotions being felt. There are string bass. Joining the “Full House Quintet,” a jazz improvi-
extensive jazz elements throughout, but not exclusively so. In sational group of old friends, was a rebirth of a sort. We all wrote
2008, the original version was transcribed as a horn feature our own tunes and shared our improvisations. Three of my
in the context of a woodwind quintet titled Three Moods for new songs eventually became Three (Jazz) Fantasies for Horn
Woodwind Quintet. Alone (2013). Each of these melodies is presented after brief
In 2006, it was wonderful to be invited to write a playful introductions, and then freely developed, peppered with com-
piece for the incredible horn soloist Gail Williams, Professor mon jazz gestures and stopped horn now and then. “Blueberry
of Horn at Northwestern University. The result was A Set of Soup” is both playful and soulful with serious walking bass-
Songs and Dances for Clarinet, Horn, Vibraphone/Percussion, and lines. “Not So Sure” revolves around a simple song, haltingly
String Bass, which was included on Gail’s recording, Horn questioning, shifting awkwardly between muted and open.
Muse (2011, gailwilliamshorn.com). This melodic five move- And “Jelly Jam” is a rambunctious jazz waltz in 9/8, light-heart-
ment work quickly morphed into Five edly dancing through angular melodies.
Little Songs and Dances for Solo Horn.
"I returned to the extended These jazz solos are designed to be some-
The set begins with an expansive, expres- techniques needed to what less virtuosic than many of my earlier
sive song-like “Introit/Intrada.” Next we express the colorful, jazz soliloquies. They also eventually evolved
dance a jocular “Quadrille with Be-bop,” powerful outpouring into my Jazz Sonata for Horn and Piano
which shifts from “square” to “hip” mel- (2014), which enjoys many harmonic and
odies and back. The “Ballad” movement,
of emotions being felt" rhythmic additions from the piano.
in three, has become one of my favorites, with flowing melo- In 2015, after a request from my friend Peggy DeMers, an
dies – especially within the larger piece – thus informing the accomplished alphorn soloist, I returned to writing for those
unaccompanied version of the harmonic setting. The fourth wonderful pitches of the natural harmonic series, but this time
movement, “Whimsical Waltz,” dances innocently enough within a more expanded aesthetic. Searching/Finding: Solos
in a 9/8 swing feel. It does get a bit more excited along the for Alphorn or Natural Horn (2015) was composed after hear-
way, however. “Romp with Rumba” begins with a joyful, ing the amazing Arkady Shilkloper at the 47th International
hard-core, almost big-band-like swing feel, with a few valve- Horn Symposium in Los Angeles. As the title suggests, it be-
flutters, dips, bends, and glissandi. By halfway it jumps gins deep in thought and progresses outward, through a three-
into an aggressive Latin-like rumba rhythm that dialogues octave range, sliding past and periodically sitting on the sev-
between open and stopped horn. enth, eleventh, thirteenth, and fourteenth harmonics, searching
Grace/Gravitas/Gratitude for Solo Horn was completed for a resolution. “Finding” combines an expansive calling-forth,
as a set in 2018, but began as a solo version of the melodic a gentle flowing melody, some agitated anger, with a spirited
material in movement three of Recollections for Horn Octet com- dance-like section that eventually resolves into rest. The “…or
posed in 2007 for Michael Ozment in memory of his father. Natural Horn” suggestion in the title emphasizes the option,
“Gratitude” became an unaccompanied solo a few years later and acknowledges that I deviated from the simpler Nature-
as an expression of my feelings at that time. Within the con- oriented aesthetic of the traditional alphorn. This work (and

42 The Horn Call - May 2021

 I For Horn Alone
the following one) can actually be played on the full double normal activities, a great many turned to enjoying the varied
horn as long as the following notes are performed on the open colors, playful antics, and melodic and otherwise songs of
F horn, allowing for those pitches to sound a bit lower: bH', f#", our local bird populations. “Birding” has thus become even
and a". more popular. For years, I have enjoyed watching birds out our
In 2016, Thomas Jostlein, Associate Principal Horn in the windows. I also enjoy listening to jazz which often includes
Saint Louis Symphony, invited me to write a solo alphorn Charlie “Bird” Parker tunes. Thus, Yard Birds for Horn with
work. Three Solo Pieces for Alphorn or Natural Horn grew Narration, a piece combining the two. It was composed so that
into even more. The solos begin with “The Journey,” a free- a solo horn player could perform both the music and rhyth-
ly flowing meander that builds towards a section with mically narrate the periodic ornithological observations. The
warm vocalizations, eventually reaching the climactic 16th text comes from poems I had written years ago. The music is
harmonic before relaxing into the most resonant of vocal- notated so that when it is in 6/8 time it is to be swung in a
izations, a 10th. “Celebration and Dance” is just that; much “bebop” style (consider Parker’s “Ornithology” and “Yardbird
more active, this playful romp is full of melodies and Suite”). When notated in 2/4 time it is to be played straight.
enjoys many glissandi, a few trills, and periodic alphorn-like The melodic and rhythmic patterns of specific bird songs and
calls over a full three octaves. The third piece, “Return- calls are blended in throughout.
ing Home,” suggests that this set of pieces is connected My long-time love for haiku poetry began in the summer
programmatically. However, each piece can stand alone. of 1965 at the Aspen Music Festival. I even wrote a few hai-
“Returning Home” is the most expansive and least tech- ku of my own. According to Stephen Henry Gill, “The essence
nically active of the three pieces, full of rich melodies. After of haiku is that spontaneous moment of awareness in which
it was completed, I knew we had to revisit “Returning our thought is illumined by a sense of wonder, a close identi-
Home” and create expanded versions which became fication with some apprehended feature of the natural world.”
“Returning Home” for Alphorn, Flugel Horn, and Trombone, Haiku Readings for Solo Horn (2020) are abstract timbral
and a version for Alphorn and Two Horns. settings of seven poems by Robert Spiess (1921-2002), the long-
With the devastating onslaught of the coronavirus pan- time editor of Modern Haiku. It is requested that the perform-
demic in early 2020, “horn alone” became a much more er read aloud each haiku just before performing each move-
vivid reality. What would be fun to play, that would not ment. The audience is invited to read them silently during each
require an ensemble of others? Familiar Melodies, composi- rendering. In an attempt to capture the spontaneous aware-
tionally elaborated upon, in settings for solo horn, sounded ness of these programmatic miniatures, I found I needed to
like fun. I selected songs that we all know, that are all public revisit the horn’s extensive “extended techniques” vocabulary.
domain, and that could be quickly prepared and shared in These included glissandi, bends, fall-offs, scoop-ups, varied
many typical social settings (like Zoom) around birthdays, vibrato, stopped horn, echo horn, multiple mutes and mute
Christmas events, New Year’s events, church services, funerals, effects, tone color manipulations, quarter-tones, lip and fin-
St. Patrick’s Day, Independence Day, or for any joyous occa- gered trills, half-valve effects, didl-tongue, and vocalizations.
sion. I arranged 15 well-known songs in 12 settings includ- All as needed to help capture these singular poetic moments,
ing: “America the Beautiful,” “Happy Birthday,” “We Wish and the resultant “sense of wonder.”
You a Hallelujah,” “Auld Lang Syne,” “Amazing Grace,” “Go- Over the past 60 years I’ve composed more than a hundred
ing Home,” “Londonderry Air,” “Simple Gifts,” “America/ pieces of music, a few of which will forever remain silent. The
Shall Overcome,” “Greensleeves,” “Ol’ Man River,” and “Ode primary formula for such creativity has been to start some-
to Joy.” This collection began a few years back with “Ode to thing, then follow it where it seems to want to go, then finish
Joy” which is somewhat more extended, a lot easier than it it. It’s just that simple and that difficult. Composing has been
sounds, and could serve well as a joyful encore. extremely helpful and important for me as a performer and a
In 1998, Wisconsin celebrated its Sesquicentennial, and I teacher of other people’s music, too. Learning to understand
researched collected folksongs of the early Wisconsin pion- and empathize with a composer’s intentions is what makes
eers. Rather than quoting, I composed a simple melody in composing by yourself such an important element towards
the style of a traditional country ballad and let it serve as the becoming a complete musician. I encourage all of you to start
theme for Americana Variations for Horn Quartet, expanded later something. And even if it forever remains silent (in public), the
for brass quintet. The final programmatic work was compo- process can’t help but provide new insights into more effec-
sitionally conservative for me, and was my first extended tive interpretations and thus greater communication with your
attempt at theme and variations. It describes a day in the life audiences. Remember, we are all alone in this together.
of a pioneer family, or perhaps the lifetime of an individual
pioneer. During these alone times it seemed like an effective Douglas Hill is Emeritus Professor of Horn at the
option for a new piece for solo horn. Americana Variations University of Wisconsin-Madison (1974-2011),
for Solo Horn (2020), closely follows the melodic content of past President of the International Horn Society,
the original quartet including the sections: “Daybreak,” a recorded soloist, chamber musician, and orches-
“Awakening,” “Kid’s Game,” “Ballad,” “Country Dance,” tral performer, author of nine texts, and composer
“Hymn,” and “Sundown. of over 100 works for various genre. He is pri-
When so many of us found ourselves confined in or near marily grateful for the hundreds of his past students who are contri-
our houses or apartments in early 2020, unable to enjoy most buting so much to the world and to the music profession.

hornsociety.org 43
 Together through Music: A Conversation with Thomas Jöstlein
by Layne Anspach

S tarting during the COVID-19 shut-down in mid-March 2020, Thomas Jöstlein, Associate Principal Horn of the St. Louis Symphony
Orchestra, and his family began to perform live concerts on their front lawn. I sat down with Thomas to ask about his experience and
motivation to perform regularly, particularly as it pertained to the connection with his community. The conversation took place on
Tuesday, November 24, 2020 via Zoom.
Layne Anspach. Thank you Kaza conducted Wagner’s Siegfried Idyll. That was a risk
for taking the time to speak because that was thirteen players. I had our SLSO trombon-
with me. For those who ist playing the cello part, but we were spread across three
have not heard what oc- lawns and being super, super careful. Then it just kept
curred in your front lawn snowballing. In May, we started inviting Irish musicians on
during the COVID-19 shut- Tuesdays, which then became our Irish night. Eventually
down, could you give a we did a concert of Mozart Wind Ensemble pieces. I am so
little background to what proud that we got fifteen men of the Symphony Chorus in
these lawn concerts were July to sing Schubert’s Nachtgesang im Walde with four horns.
and how it all started? Thomas Jöstlein. Unlike the other con-
Thomas Jöstlein. I am Photo by Max and Klaus Jöstlein. certs, we rehearsed for
grateful for you asking because it got me to do some type that. We made a pol-
of record of the event. We started on Wednesday, March icy of not rehearsing.
18th with me playing alphorn every day at either 5 or 5:30 When you are doing
pm; the time shifted based on heat and the sunlight. The seven concerts a week,
previous weekend the St. Louis Symphony was supposed it is hard to rehearse.
to perform Berlioz’s Faust. They had done all the rehearsals We also did the Brahms
for it except the dress rehearsal, and then they just stopped women’s chorus with
everything. I thought, let’s just see if we can keep playing. harp and horns. L to R; John Bolduan, guitar;
And so, every night I got the alphorn out ‒ whether it was We were blessed Klaus Jöstlein, violin; Tim Yau, fiddle.
melodies from the Hans-Jürg Sommer alphorn books or you in so many factors: Photo by Max Jöstlein.

name it. I would end each night with either the alphorn call one was the lack of live music that was happening, so peo-
from Brahms’s First Symphony or the Prologue from Benja- ple were eager to play, and people played for free, which
min Britten’s Serenade. Ultimately, we dropped the Britten, I would have never asked ordinarily. The acoustics were
and then we ended virtually every classical concert with the astoundingly good. We had a lawn at the perfect angle. We
Brahms First call. Whether myself, with my son, or with an had no big trees blocking the view, and the other houses
arrangement I did for nine players, we did that for a good formed a nice shell. Without me asking them, every sin-
month. gle neighbor was excited about this. Between the acoustics
If I had planned ahead of time, thought about it, and and the weather, it was perfect. Oh, the weather was sub-
asked for permission, it never would have happened. It lime. We got rained out once, maybe twice. Even for those, I
grew organically, which I think is how the best conversations could still stick the alphorn out and blast a bit. The concerts
and works of art occur. If I overly plan a piece by mapping started small, and I would ask people a week before, “Hey
it all out, the composition feels a bit stilted and forced. do you want to play Siegfried next week?” I just gathered
For me, the great joy in playing ‒ and pieces by using IMSLP, which is an amazing
I think for other enthusiastic and pas-
"If I had planned ahead resource. That is the long answer.
sionate players ‒ is having a bit of clay of time, thought
you can mold and play with. For me, my about it, and asked for LA: I think that encompasses a lot of
clay was having musicians in our house- the progression of the concerts as well.
permission, it never It shows that you did not start thinking
hold perform. My wife, Tricia, performed
on horn as well. She is the former first would have happened." you would schedule seven unique con-
horn of the Omaha Symphony and a Bill VerMeulen stu- certs a week with a variation of ensembles and genres.
dent like me. Both of our two sons, who play violin and It just started, as you said, organically, and then went
cello, also played, and played very well I might add. Then from there. Speaking of the variety of music, you men-
we gradually enlarged the circle. tioned Irish musicians, so what other genres were
The first big piece we did was a piece I arranged for involved besides the classic concerts?
alphorn, two violins, and tuba, with whoever was around. TJ: During the heyday, we had a concert every night. We
The first big concert we did was late May when Roger went for 104 straight nights before we took a break, which

44 The Horn Call - May 2021

 I Together Through Music
we did on July 4th. Sunday nights was my horn choir, LA: I wouldn’t say crazy; rather, enjoys a challenge.
basically a laboratory. I would have students who were in- TJ: Oh yes, but I go back to it being clay that you can play
terested, including music majors, like Charley Ball-Fuller, with. I am sure you can think of thirty pieces that you
one of your Hoosiers [student at Indiana University]. I en- would want to perform on your lawn, providing you had
couraged the students to conduct or arrange pieces or find such a lawn and access to great players. I wanted to do
works on IMSLP. They were not performances as much as Stravinsky’s Dumbarton Oaks on the lawn, but it was a rent-
a workshop night. Audiences would still come and would al. Luckily, we did perform it in Powell [Hall, home of the
love it. We had kids of all ages performing. I love the El St. Louis Symphony] two weeks ago.
Sistema model, where you have young students coupled These concerts were meant to be a bridge towards a
with advanced college students side by side. The young return to Powell Hall, which we did in the end. It makes
students are hearing great sounds and the me so sad when I hear of examples like the
college students can mentor. It is a great
"We went for 104 Metropolitan Opera in New York City, where
skill for these college students to learn, straight nights before my sister is fourth horn, where the manage-
how to teach and mentor. Sunday was the we took a break, which ment, not the musicians, waved the white
hardest to program, to match all of the skill flag: “We aren’t going to present anything
levels.
we did on July 4th." except rebroadcasts of operas.” Which is
I loved Monday nights, which was education night. A fine for a while, but it isn’t the same as live performances.
semi-retired pianist offered to come with her electric key- Live music with an audience is so different. Unless you are
board. She ran the most successful Music Education pro- doing one of those movie-horn Zoom kinds of things, which
gram in St. Louis for high school students and had a raft of are in its own way special and fun. I am thinking of Eli
current high school and college kids who were stranded at Pandolfi, who played on my series quite a bit. People asked
home. They would come and play spectacularly. She would me, “Can we live-stream these concerts?” I said, “No, please
always program the music. Tuesday was Irish night with don’t, we aren’t rehearsing them, dressing up, or being paid
guitar and fiddle or harp. Wednesday, typically, was story extra for that.” But the main reason is that I want these to
telling night from the library. I would provide background be about the live experience.
or in-between music. Thursday was cover night, whether
that was the Beatles or whatever. A singer in the Sympho- LA: Taking from the variety of what was being played, what
ny Chorus, who also plays horn, was willing to participate. was the neighborhood response? In terms of attendance, were
I played keyboard; it wasn’t perfect, but we tried. Friday the concerts mostly attended by your immediate neighbors,
was the big classical night. Saturday was typically a run-out or were people coming from
night. We would do a small concert on our lawn preceding the neighborhood next door?
"Universally,
the run-out. We would have to go elsewhere for that, to a TJ: As you can imagine, that everyone spoke of
St. Louis Symphony clarinet player’s house. We started was a delicate balance. I orig- how profound these
breeding other series. inally only invited my Face-
My dream was to have a symphony musician curate book friends. The concerts
concerts were."
every night of the week, they could pick the players and were not open to the public through Facebook. I didn’t want
the repertoire, but you have to have the right mix of nice to have too many people. For the Schubert men’s chorus night,
neighbors, acoustics, no traffic, etc. The way my brain works we had 180 people in attendance, which seems insane, but
‒ I am kind of crazy ‒ I love to try and organize seven things they were spread out over six lawns plus half the street was
at a time. used up. It was a balance between safety and keeping people
aware of live music.
The audience was half neighbors and the other half
people from all over, which I am proud of. People heard
about it through word of mouth. For me, this is the dream
of every orchestra, if you look in the audience: Black, white,
young, old, people wearing jeans, eating, drinking, people
coming and going. Universally, everyone spoke of how
profound these concerts were. If you can imagine, you are
walking down the street and you hear the sound of a horn
in the distance, especially during this time. Not miked and
not amplified, what a gift. To hear the Schubert song, the
Night Song in the Forest, that is what we were doing. It was a
L to R; Eva Kozma, SLSO violinist; Thomas Jöstlein, horn;
Alvin McCall, SLSO cellist; Anna Lackschewitz, viola. big clear night, with the air, again the weather was beautiful.
Photo by Max and Klaus Jöstlein. The magic was palpable.

hornsociety.org 45
Together Through Music I
LA: That is incredible. Were you able to meet new individ- ragtime tunes on it. They would get tip money, which was
uals in your neighborhood? People who were just outside so precious.
whom you would have met organically before COVID life? I did notice that in the New York Times on Sunday,
TJ: You’re asking all the right questions. Our neighbor- there was an article about New York City where a lot
hood has a block party once a year, like a lot of places do. of the jazz musicians have been doing impromptu
You are there to eat and make small talk. Because you are park concerts. It just speaks about how for them it
meeting on a nightly basis with these people, these con- was essential, both financially and the connections.
certs allow you to have really deep conversations based To answer your question, neighbors would ask me, “Oh
and centered on music. In fact, our former Symphony man, you must be tired of doing this stuff.” For me, no,
Chorus director, Amy Kaiser, who also hosted a series of this is great, I get to hear X, Y, or Z tonight. Every night,
her own, thought about these connections. We both tried to except for the horn choir night, which I had to really balance
choose pieces that were pastoral, that were a balm for this not knowing who would show up and the needs of
time of sorts. Mozart seemed to appear regularly, but the everyone, was just a thrill to sit on our neighbor’s lawn and
people talked about the connections with their neighbors, get to listen. St. Louis just has so many killer musicians,
to us, and among musicians. We had not just symphony besides classical. I had no idea, I guess I was too busy
players, but freelancers as well. We had advanced students, working.
my twelve-year-old son playing side by side with symp-
hony players. Just a great variety and diversity, both on LA: There are probably many favorites, but what were
stage and in the audience. some of your favorites that you performed in, and ones that
You asked about the connections with the audience; you were an audience member for?
these are people that I have never spoken with before. At TJ: I think the Schubert, the Night Song in the Forest, is the
the end, we received countless thank you notes. I actu- top of my list of performances. It is only an eight-min-
ally asked for any memories, so that I could give them to ute piece, but it really hit the mood and atmosphere. This
the History Museum. We got two special gifts: one was a will sound like a proud dad, but anytime our boys got to
beautiful hand-carved wood figure of a violin with a horn perform was my favorite listening performance. Klaus,
stemming out of it. We also got a brand-new lawn; people my violin player, would sit in with the jazzers and Irish
gave money so that our neighbor ‒ who is lawn obsessive players. He has the right spirit and ear. He can improvise
‒ could redo our lawn. He made it look spectacular. It was without knowing what the chords are. He couldn’t write
the worst lawn that he had ever seen; now it looks like them, but he was able to jump in and improvise. I am
Busch Stadium. just so proud of him. I arranged the Ashokan Farewell
[originally by Jay Ungar, but famously used in Ken
LA: At the beginning, Burns’s Civil War television series] for him for horn and
you were thinking fiddle.
about how you can For the non-classical stuff, I would say two groups.
perform live music, The first one is called The Wee Heavies, who are a
but what was the Scottish acapella vocal quartet. It was raining ever so
driving expectation slightly, and they were singing sea shanties, great stuff.
with the concerts af- The second were concerts with an Iranian immigrant
ter the first couple jazz guitarist named Farshid. He did several concerts; I
L to R; Max, Klaus, Tricia, and Thomas Jöstlein
weeks and months? with gifted wood figure of a violin and horn. got to play with him on numerous occasions: “Black
TJ: I think the previ- Orpheus” and “Autumn Leaves,” all sorts of great
ous question answers a lot of that, because you mentioned standards. It just had the right spirit of, “Let’s just
the neighbors. I didn’t want to let them down. Because for experiment and play.” Jazz musicians have a different
them, it was so important to have this sense of normalcy, a ethic than we classical musicians do. Although for me, it
sense of beauty which was so missing in this time. is more nerve-wracking, I am never sure how do we end
The last three months of the series on Saturdays, the the piece or should I take another verse? I don’t want to
concerts were populated by a local non-profit music step on anyone’s toes.
venue. Their sound guy lived down the street, so we had The “Moonlight Music” from Capriccio by Rich-
the best audio you could imagine. He would bring in out- ard Strauss was great. We ended up playing it way too
of-work musicians: Bluegrass, Irish, etc. We had a 1920s slowly; my chops were burning at the end. There is a
authentic ragtime orchestra. They both worked at the Scott whole list of memorable performances. Early on, we did
Joplin House, so they brought in cornets, and I got to play a night of horn duets, the Gunther Schuller duets, which
trombone charts for them. One guy even brought his are just kick butt pieces. I heard those pieces for the first
honkytonk piano in the back of his car and played old time in 1994 at the IHS workshop in Kansas City. It was

46 The Horn Call - May 2021

 I Together Through Music
Roger Kaza and Bob Lauver, now of Pittsburgh, he was from the concerts. At the chorus concerts, we mapped out
fourth horn here in St. Louis before. So for me, to per- with bricks eight feet apart, which is plenty for outside.
form that with Roger, was like wow. We never get to play Maybe it is foolish, but based on what I had read, out-
together; we are like ships passing in the night on stage door transmission is difficult providing everyone is social
at Powell, except for pieces like Ein Heldenleben. distanced. The uniqueness of it, you cannot replicate it at
another venue. We can try, but we will see.
LA: Do you feel that the community has changed
in response to these concerts? We have mentioned how
you were able to talk with people more deeply than
before. Are there other ways that the neighborhood has
changed?
TJ: Yes. Before our lifetimes, people used to sit on their
front porches. They would perhaps play guitar or speak
with their neighbors. They would go for walks, there was
no television. The notion of speaking to strangers was
more normal. Now, one of our great storytellers and po-
L to R: Carole Lemire (cond.), hornist Roshen Chatwal, flutist Allison
ets who participated in the concerts lost their son toward Fenstermacher, tubist Derek Fenstermacher, hornist Thomas Jöstlein,
the end of the series ‒ profound things like that going on violinist Klaus Jöstlein, hornist Roger Kaza, and in foreground,
Max Jöstlein perform Mozart’s Symphony No. 25
that I had no clue about. The concerts changed our
neighbors’ interactions. Will it be long-lasting? I don’t know. LA: From what you have learned and connected with the
It changed the sense that people look forward to getting community, what advice would you give to someone who
together, albeit distanced and with masks, which of course is interested in these organic music sharing opportunities?
adds barriers. Especially at this time, to have human TJ: I am thinking of Bloomington, Indiana, where you are,
connection behind the masks was essential. Then we or different college towns, are ideal, because you have a
had a Syrian family that was able to sell their incredible wealth of students and former students who want to play.
gourmet Syrian food. You could put out a tip jar ‒ which we didn’t do for our clas-
sical concerts, but students certainly could. The advice is to
LA: Oh yes, every single time I saw the food online, I just do it. Maybe it is the wrong advice, but I would get the
thought about how I wished I could have been there to eat vibe and make a judgement from that. There must be some
and listen. Food and music go so well together. lawns that are ripe for performing on. Finding places that
TJ: Back to our initial words, I never asked the neighbors. have less traffic. I have had people in Richmond and, again,
We never got the health commission onboard or asked my sister in New York City, who thought about doing it. And
them if we could sell food. Our boys sold lemonade then they were like “Oh what if this, what if that, etc. etc.”
and such. I started thinking today that there needs to be You have to just do it. I can see you doing it.
something that replaces all of this. Next summer, I don’t
think that we will host it, our neighbor down the street LA: Yes, but certainly not on the ten square feet of grass in
is happy to do it. I am thinking that we should do some front of our place.
sort of music festival somewhere. It is tricky. The neigh- TJ: But you can find somewhere else. Here is a tip. Find that
borhood makes it so accessible; you just walk up and there neighborhood close to you, find the right homeowner, and
it is. I would love to be able to pay people. At the Uni- put out a tip jar. You can do horn choir. The main advice is
versity of Illinois, there was an old barn that they used to just do it. The second piece of advice is to pick the same
for concert series that was perfect. Who knows? It is all in night of the week, every week. So that people can get used to
the future. coming, build the audience.

LA: Exactly, is there anything concrete in terms of plans LA: Is there anything else that you would want readers to
for post-COVID for a lawn series or anything like that? take away about the lawn concerts?
TJ: No, but I suspect that there will be another lawn series TJ: Along with what I already said, particularly that music is
next summer for sure, probably down the street. I don’t so precious in this time. I shouldn’t say precious, but it is. It
see life returning to normal until the fall at the earliest. The is so rare to hear it live. For that reason, especially, we need
vaccine is crucial. I can imagine that if it is the right setting, to do it. I love the message it sends. It says, “We are going
the barriers could break down. The Symphony could not to be persistent and devout. Keep playing no matter what.”
have done this. I tried over a month to involve them, but Sadly, we will have plenty of months where there is no mu-
they were wary of the safety protocols and liability. I am sic happening live, which is why it is even more important
proud that, as far as we know, not a single person got sick to perform live music when you can!
.....continued

hornsociety.org 47
Together Through Music I

Appendix: Selected List of Classical Works Countless nights of Alphorn(s) in various configurations
Performed during Lawn Concerts and pieces
J. Brahms: Four Songs for Two Horns, Harp and Women’s Many nights of students with keyboard accompaniment
Chorus, op. 17
J. Daetwyler: Pière du Berger for alphorn and mixed ensemble, Thomas Jöstlein Associate Principal Horn of the St. Louis
arr. Th. Jöstlein Symphony Orchestra, and formerly with the New York Philhar-
A. Dvorak: Wind Serenade, op. 44 monic, loves helping students by applying tubists Arnold Jacobs
J. Gallay: Horn Trios (natural horns) and Roger Rocco’s “singing” principles. Jöstlein was Assistant
C. Gounod: Petite Symphonie Professor at the University of Illinois and has held adjunct
D. Hill: Returning Home for alphorn and two horns (IHS positions at Saint Louis University, the University of Hawaii,
Rimon commissioning fund) and Virginia Commonwealth University. He performs on a triple
W.A. Mozart: Horn and Clarinet Quintets horn by J. Patterson, on natural horns by R. Seraphinoff and
W.A. Mozart: Horn Concerto No. 3 (R. Kaza, natural horn) L.J. Raoux (ca. 1820), and on a Vanon alphorn. He is a lifetime
W.A. Mozart: Symphony No. 25 and No. 40 (in a pro-am side member of the IHS.
by side)
W.A. Mozart: Wind Serenades No. 10 (Gran Partita) and No. Layne Anspach is a teacher, horn
12 player, and composer based in Bloom-
A. Schönberg: Verklärte Nacht, in version for string sextet plus ington, Indiana. He currently per-
bass formsas fourth horn in the Terre
F. Schubert: Nachtgesang im Walde (men’s chorus and four Haute Symphony Orchestra and subs
horns) with other orchestras in Southern
G. Schuller: 4 Horn Duets (Th. Jöstlein and Roger Kaza) Indiana. Previously, he was the Asso-
S. Sondheim: “Send in the Clowns,” arr. Th. Jöstlein (sung ciate Instructor of Horn at Indiana
by Klaus Jöstlein with SLSO strings and Thomas Jöstlein
University’s Jacobs School of Music.
on horn)
Anspach earned a Master of Music
R. Strauss: “Moonlight Music” from Capriccio, op. 85, arr. Th.
Jöstlein (horn, string septet) from Ohio State University and a
R. Strauss: Wind Serenade, op. 7 Bachelor of Music from the Indiana University Jacobs School of
P. Tchaikovsky: Souvenir de Florence, op. 70 Music studying with Bruce Henniss and Richard Seraphinoff,
R. Wagner: Siegfried Idyll (Roger Kaza, conductor) respectively. He performs on a Darin Sorley horn. Anspach is
Many nights of horn choirs (music by Steven Juliani, currently completing a Doctor of Music degree at the Jacobs School
Fr. Strauss, Mozart, Wagner, etc.) of Music under Richard Seraphinoff.

www.Seraphinoff.com

Seraphinoff hiStorical hornS

Providing the finest reproductions of baroque and classical
natural horns to individuals, universities, and ensembles.
♦ Accurately copied from best playing originals in museums and private collections
♦ Individually handmade using traditional 18th and 19th century methods
♦ Pitch levels include modern (A440), classical (A430), and baroque (A415)
♦ Crook packages for any purpose or any budget

Seraphinoff horns can be heard on recordings and in concerts with: Philharmonia Baroque Orchestra, San Francisco ♦ Portland Baroque
Orchestra, Oregon ♦ Smithsonian Chamber Players, Wash. DC ♦ Washington Bach Consort, Wash. DC ♦ Drottningholm Theater Orchestra,
Stockholm ♦ Tempesta di Mare, Philadelphia ♦ Opera Lafayette, Wash. DC ♦ Lyra Baroque, Minneapolis ♦ Minnesota Orchestra ♦ Indianapolis
Baroque Orchestra ♦ Bloomington Early Music Festival Orch. ♦ Atlanta Baroque Orchestra ♦ Tafelmusik Baroque Orchestra , Toronto ♦ Mer-
cury Baroque, Houston ♦ Australian Brandenburg Orchestra, Sidney ♦ Grande Bande of New York ♦ Circa 1800 Woodwind Quintet, Baltimore
♦ American Bach Soloists, San Francisco ♦ Santa Fe Pro Musica ♦ Handel & Haydn Society, Boston ♦ Pacific Classical Winds, Los Angeles ♦
Boston Baroque ♦ Universal Piston Horn Quartet ♦ Apollo’s Fire, Cleveland ♦ American Classical Orchestra, Connecticut ♦ Connecticut Early
Music Festival ♦ Philadelphia Classical Orchestra ♦ Indiana University Baroque/Classical Orchestra ♦ Magnolia Festival Orchestra, North
Carolina ♦ Oberlin Baroque Performance Institute, Oberlin College ♦ Boston Early Music Festival Orchestra ♦ Cornucopia, Horn and String
Quartet ♦ Musikhochschule, Trossingen Germany ♦ And many more worldwide…

Richard Seraphinoff, Historical Instrument Maker

2265 Birdie Galyan Road Bloomington, IN 47408 USA

48 The Horn Call - May 2021

 Louis Savart, the Singing Horn Player, Part 1
by Tom Reicher

I
Introduction
first encountered the horn player Louis Savart (1871-
1923) in the course of researching composer Julius
Röntgen (1855-1932). Strange to say, my research was
prompted by a personal health condition that was treated
successfully by a medical team that included a Röntgen
relative. Röntgen composed Variations and Finale on Saint
Nepomuk for horn and piano for Savart and also arranged
for him a work for horn and piano, Aus Jotunheim, that he
had written originally for violin and piano. In the article
“From Melanoma to Melody,” I discussed those two works
and provided a brief biographical sketch of Savart’s life
in which I mentioned Savart’s career as a singer and sing-
ing teacher. I speculated that Savart might have performed
Röntgen’s Variations and Finale, which took as its theme
an old German folksong about the drowning of Saint
Nepomuk in the Moldau River, by first singing the folksong
before playing the Variations on the horn.1
Schrammel-Quintett: (l-r) Louis Savart, Fritz Kreisler, Arnold Schönberg,
Following the publication of that article, I continued Eduard Gärtner, Karl Redlich (on flageolet)
to research Savart’s musical life. With the help of Juriaan
Röntgen, a grandson of Julius, I obtained copies of letters cordings. I then revisit Savart’s career as a horn player, with
from Savart to Röntgen that span the years 1902 to 1924 particular reference to notices and reviews of his perfor-
(including two letters from Savart’s wife, Marianne, to mances, his 1899 recordings, and his and his wife’s letters to
Röntgen after her husband’s death) and provide insights Röntgen. Finally, I present Schenker’s Serenade for horn and
into the pieces that he composed or arranged for Savart, piano and discuss the journey of its manuscript from Vienna
Savart’s performances of those works, some of Savart’s to the library of the University of California, Riverside.
concert tours, and Savart’s training and career as a singer.
I discovered that Savart, both as a horn player and as a
singer, made a number of re-
Singing and Horn Playing
"Singing and horn cordings in 1899 and 1909, Singing and horn playing long have been associated
playing long have and the singer and Schubert in horn pedagogy, but rarely in performance by the same
scholar Karsten Lehl, who musician. In commenting on the beauty of tone for which
been associated in also graciously and master- early Bohemian and Austrian players were renowned,
horn pedagogy...." fully deciphered the seeming- Horace Fitzpatrick points to singing ability as the under-
ly impenetrable handwriting of lying basis:
Savart in his letters, has been kind enough to provide me
with digital files of two 1899 recordings of Savart singing The vocal quality for which the Austrian
Schubert songs and also has mined the German language horn virtuosi were so justly famous resulted
newspaper reports of many of Savart’s concerts. Of the two not only from their superb instruments but
1899 recordings of Savart playing horn, I was able to locate from a sound underlying discipline in the
one at the University of California, Santa Barbara library tone production which was handed down
and have received a digital file of that recording. Finally, I from the earliest days of artistic horn-play-
learned that the Austrian music theorist, critic, pianist, and ing. We will recall that one of the fundamen-
composer Heinrich Schenker (1868-1935) had composed a tal requirements for admission to a Jesuit
Serenade for horn and piano that he dedicated to Savart, or Benedictine monastery was a mastery of
and I have located and obtained a copy of the manuscript the rudiments of singing, and that the early
of that hitherto unpublished work from the University of teachers were without exception products of
California, Riverside library. A copy of that manuscript is the Bohemian colleges and seminaries. So,
reproduced in the appendix to Part 3 of this three-part article. too, were the teachers of the third genera-
This article first considers the relationship between sing- tion: thus it is no coincidence that Punto,
ing and horn playing, as discussed by several prominent Domnich, and Fröhlich all advise the be-
horn players and teachers in their instructional methods ginning pupil first to learn to sing correctly
that were in use prior to Savart’s study of the horn in Brno before taking up the horn, this being the best
and Prague. Next, I discuss what we know of Savart’s ca- way to proper breathing, musical phrasing,
reer as a singer, based mainly on concert programs and re- and an accurate sense of pitch.2

hornsociety.org 49
Louis Savart I
Fitzpatrick observes that Giovanni Punto (Johann reasonable to assume that the same singing style of play-
Wenzel Stich), for whom Beethoven wrote his Horn ing was carried forward to the valved horn instruction of
Sonata, Op. 17, was said to have had a fine bass voice the Prague Conservatory, which was founded in 1808.
and actually to have taught singing.3 Notably, Josef Kail (1782-1829) studied horn at the Prague
The horn player and teacher Heinrich Domnich Conservatory with Vaclav Zaluzan, who specialized in
(1761-1844), in his Méthode de Premier et de Second Cor, finds clarino horn playing, and later taught both valved horn and
singing ‒ specifically solfeggio ‒ essential to good horn trumpet at the Conservatory. Johann Janatka (1800-1881),
playing: who also studied at the Conservatory with Zaluzan, was
“famous for his fine singing tone” and for his gifted teach-
The relationship between horn-playing and ing ability after he succeeded Zaluzan in 1832 at the Con-
singing is absolute. Everything one plays servatory.6 Both Kail and Janatka had horn playing careers
on this instrument must first be formed in in Vienna before returning to Prague. Andrieux comments
the mind; if the inner concept is false or not on the style of playing that they may have exhibited:
clear, so the tone which results will sound
accordingly. …The beginner, even before he The Viennese careers of Janatka and Kail
first places the mouthpiece upon his lips, give us leave to think that their style of play-
must already have acquired perfectly facil- ing was close to that of their Austrian col-
ity in binding notes together in legato; in leagues, but it is possible that their contact
identifying intervals; and in matching the with the clarino tradition whilst students
pitch of a given note: all learnt by practising conferred on them a particular specificity to
Solfeggio. Although this grounding is useful their manner of playing. This is all the more
when learning other instruments, it is indis- probable because the qualities associated
pensable in the case of the horn. 4 with Bohemian horn players in those days
were subtlety and refinement ‒ contem-
The most comprehensive horn tutor in the nineteenth porary comments highlight affinities with
century was the Méthode de Cor-Alto et Cor-Basse by Lou- the same style of singers of the era. Lack of
is Francois Dauprat (1781-1868). In addressing singing in precise sources leaves us at the stage of
his Méthode, Dauprat went beyond both earlier and later supposition on this subject.7
methods by incorporating the Singing Method of the Paris
Conservatory into his recommended training regimen: Janatka had 40 years of teaching at the Prague Con-
servatory, during which time he had 56 horn students. In
Good training in singing being, in gener- 1852, three of his pupils took part in the first performance
al, the best course that could be followed of Schumann’s Konzertstück for Four Horns and Orches-
by any student who intends to master tra. In 1872, Janatka was succeeded at the Conservatory by
any instrument, we have adapted for the Friedrich Sander, who stayed for only three years before
horn these solfèges that the late Mengozzi departing for Dresden and was succeeded by Julius Behr
and other professors at the Conservatoire (1837-1896). Behr was officially made a professor in 1876
selected and collected. …Teachers of wind and had 24 students during his 19 years of teaching.8 Among
instruments have not been able to rec- those students was Louis Savart (Ludvik Wewerka, as he
ommend this Singing Method too highly was then called), who studied with Behr at the Conserva-
to their students, as it contains so many tory beginning in 1885, having begun horn study in 1883 at
precepts that are just as useful for instru- the age of 12 with Robert Bauer (1841-1912), a music teacher,
mentalists as for singers. It is particularly composer, and organist in Brno.9
suitable for shaping the student’s style in It is likely that the close relationship between horn
that it teaches him to phrase melodies and playing and singing that was exemplified by the playing
give them expression, to play with taste, of Giovanni Punto and recommended in the leading nat-
to place all the musical ornaments with ural horn tutors of the first half of the nineteenth century
discernment, and, finally, to imprint upon continued to be emphasized in the playing and teaching of
each piece the character that belongs to it. 5 the horn instructors at the Prague Conservatory. Therefore,
it is reasonable to think that Louis Savart was instructed
in that same manner by his teacher Julius Behr. Howev-
As Fitzpatrick has noted, the basis of the Bohemian er, unlike his teacher and his fellow horn students, Savart
style of horn playing was an underlying discipline in tone seems to have taken his grounding in singing even more
production that likely was related to an emphasis on sing- seriously, enough to pursue a successful dual career as a
ing in Bohemian colleges and seminaries. Although Fitz- horn player and a singer.
patrick’s focus is on the playing of the natural horn, it is

50 The Horn Call - May 2021

 I Louis Savart

Savart the Singer

We know that Savart made at least 14 recordings, two is open to conjecture. His precociousness on the horn sug-
in June of 1899 playing horn and 12 in October of 1909 as a gests innate musical talent, of which singing could well be a
singer.10 Of his vocal recordings, Karsten Lehl has pre- part. We know that from 1893-1896 he took part in concerts
pared digital transfers for two, "Der Doppelgänger" from of the Wiener Männergesangverein (however, more likely
Schwanengesang by Franz Schubert (recorded on October as a horn player than as a singer), and a number of news-
5, 1909 in Vienna) and Die Krähe from Winterreise, also by papers report on Savart giving solo voice recitals.13 I have
Schubert (recorded on October 6, 1909 in Vienna). Despite not found evidence of any formal vocal training in his stu-
their early recording dates, each of these recordings is dent years, though it seems likely that he had some at the
remarkably clear and life-like, notwithstanding the surface Prague Conservatory.13 In a letter dated January 4, 1904 from
noise. According to Robert Philip, “The most successful Savart to Röntgen, he says that he has “pursued [singing]
early recordings were of singers. The operatic voices of the for seven years with all his energy in Vienna, in Milan with
early twentieth century were transmitted through the Moretti, and in Dresden with Iffert.” Giulio Moretti (1845-
limited machinery with remarkable impact
and quality (and still are in sensitively trans-
“How Savart attained 1928) and August Iffert (1859-1930) were both
distinguished singing teachers whose pupils
ferred CD reissues).”11 such a high level of had illustrious careers. For example, Giovan-
Both recordings were produced by singing ability is open ni Zenatello (1876-1949) studied with Moretti,
Charles Scheuplein, a recording engineer and Erik Schmedes (1868-1931) studied with
for The Gramophone Company, which he
to conjecture.”
Iffert. The Austrian Music Lexicon and the Aus-
had joined in 1899 as an assistant to Fred Gaisberg. It was trian Biographical Lexicon both report that Savart aspired to
Gaisberg who produced Savart’s two 1899 horn record- a singing career, taught singing, and had to turn down an
ings. Fred Gaisberg and his brother William had recorded offer from the Wiener Hofoper in the Gustav Mahler era on
a number of prominent musicians of the day, including account of failing eyesight.15
Fritz Kreisler. How Savart came into a recording studio to    Schubert seems to have been a favorite composer for Sa-
make his first two recordings as a horn player is not vart. On December 11, 1921, at the Vienna Konzerthaus, he
known, but Karsten Lehl makes the educated guess that presented the complete Winterreise, accompanied by Carl
his acquaintance with Eduard Gärtner (1862-1918) may Lafite (1872-1944). On February 9, 1922, Savart and Lafite pre-
have something to do with it. The studio photograph dat- sented the complete Die Schöne Müllerin at the Muskiverein.16
ed July 8, 1900 of Savart playing in a quintet with Fritz Lafite was a multi-faceted musician, including a highly re-
Kreisler, Arnold Schoenberg, Eduard Gärtner, and Carl garded accompanist. Providing insight into Savart’s singing
Redlich illustrates how well Savart12 and Gärtner knew each career is Lafite’s Das Schubertlied und seine Sänger, in which he
other in the musical world of Vienna. Gärtner was not only observes that Schubert’s Auf dem Strom “was a favorite of
a composer of light classical music (Kreisler transcribed Louis Savart, who, as a former horn virtuoso and later con-
some of his Old Viennese Dances for violin and played them cert singer, had mastered both parts perfectly, once even
regularly) but also a well-regarded baritone. Gärtner record- taking on both parts simultaneously.”17 It would be fasci-
ed four songs for Berliner’s Gramophone on June 17, 1899, nating to see Savart’s “version” of the score to understand
only the third artist ever to record in Vienna and three or how, on that occasion to which Lafite refers, the horn-ac-
four days before Savart’s horn recording session. Karsten companied vocal portions were handled; the opportunity to
Lehl has suggested that Gärtner may have told Savart about put down the horn and sing is one way to deal with the en-
this new invention, as the young recording company was durance that the piece requires of the horn player, although
desperate to record just about anybody willing to step in the song’s demands on the singer are such that it would not
front of the recording horn. Gaisberg noted in his diary have been much of a rest for the horn player. Savart must
that Gärtner brought to him some artists for recording, and have been quite an entertainer.18
those recordings are almost directly before Savart’s record- There are programs for two other vocal concerts at the
ing sessions. Having already made two horn recordings in Vienna Konzerthaus. On February 18, 1923, a production of
1899, Savart was well positioned to make 12 voice record- Die schöne Magelone by Brahms was presented, with Savart
ings in 1909. singing the male songs, his wife Marianne singing the female
In the Schubert recordings, Savart’s tenor voice is song, Ella Hofer as speaker, and Carl Lafite accompanying.
beautifully controlled. He captures well the gloomy mood Finally, on November 26, 1923, less than a month before
of both songs. Above all, it is remarkable to hear Savart he died on December 18, Savart presented a program of
singing to us so clearly and distinctly from Vienna over a songs by Brahms and Joseph Marx, accompanied by Frie-
hundred years ago. drich Wührer. On that program was Brahms’s Todessehnen
How Savart attained such a high level of singing ability (Yearning for Death). Illness had affected his voice but not

hornsociety.org 51
Louis Savart I
his artistry. A critic wrote that “Louis Savart sang songs by had been teaching before then as well.21 That same news-
Brahms with a thread of a voice and beautiful warmth of paper announced in 1914 that one of his voice pupils,
feeling.”19 Savart’s death notice in the December 19, 1923 Emmy Fromm, had been signed as an operetta soprano at
edition of the Neue Freie Presse states that diabetes was the the theater in Reichenberg (Liberec), so his teaching appar-
cause, which likely explains his failing eyesight and per- ently was successful.22 Janetzky and Brüchle provide an
haps also, to judge from the apparent absence of newspaper illustration of a 1900 circular cast bronze bas relief plaque
notices and reviews of horn concerts, that he may have put portrait of Savart by the Austrian sculptor Artur Lowen-
aside the horn as early as 1906 on account of facial paralysis thal (1879-1964) and observe that “around 1900 Savart
(Bell’s palsy), which can be caused by diabetes.20 was not only one of the most renowned horn virtuosi in
Savart also taught singing. The Neue Freie Presse Vienna, but also a singing teacher at the Vienna Conser-
reported on October 13, 1903 that “Louis Savart has taken vatory, which later became the Music Academy.”23
up his activity as a voice teacher again,” implying that he
To be continued…

Tom Reicher, though formally trained as an historian and attorney, has played horn in the North Holland Philharmonic Orchestra, San
Jose Symphony, Carmel Bach Festival, Hartford Symphony, San Luis Obispo Mozart Festival, and Berkeley Symphony and in recording
with Concerto Amsterdam. His teachers include Gene Coghill, Ralph Pottle, Adriaan van Woudenberg, David Jolley, Paul Ingraham,
and Anthony Halstead (natural horn).

1
Reicher, Tom, “From Melanoma to Melody,” The Horn Call, Volume L, 13
See note 9
No. 2 (February 2020), pp. 72-74 14
Davidson, Amelia, in “Reclaiming a Golden Past: Musical
2
Fitzpatrick, Horace, The Horn and Horn-Playing and the Austro- Institutions and Czech Identity in Nineteenth-Century Prague” (2019,
Bohemian Tradition from 1680 to 1830 (1970), p. 179 PhD dissertation, University of Kansas), p. 107, discusses the singing
3
Fitzpatrick, p., 179 school at the Prague Conservatory and its students, some of whom
4
Fitzpatrick, p. 179, quoting from Domnich Méthode, p. 4 went on to have illustrious operatic careers and many of whom sang in
5
Dauprat, Louis Francois, Methode de Cor-Alto et Cor-Basse, translation theaters around Europe. In such an environment, it would not be surpris-
edited by Viola Roth (1994), p. 188/196 ing that Savart’s singing talents were fostered.
6
Fitzpatrick, p. 216; Andrieux, Vincent, “The Czech School of 15
See note 9
Hornplaying,” The Horn Player, British Horn Society, Volume 9, Number 2 16
Neues Wiener Tagblatt, February 7, 1922 (No. 38), p. 9
(Autumn 2012), p. 35 17
Carl Lafite, Das Schubertlied und seine Sänger (1928), p. 75
7
Andrieux, p. 35 18
Morley-Pegge, Reginald in The French Horn (1973), p. 165, tells this
8
Andrieux, p. 35 story of another such entertainer, his horn teacher Francois Bremond
9
Oesterreichisches Musiklexicon Online (Savart, Louis); Österreichisches (1844-1925) at the Paris Conservatory: “Besides being a very fine horn
Biographisches Lexicon (Louis Savart) player, Bremond was the possessor of a pleasant light tenor voice, and
10
Horn, with unknown pianist: June 1899 in Vienna, recorded by as a young man sang leading opera-comique roles at many of the larger
Frederick Gaisberg: Nocturne (Wottawa); Du bist die Ruh’ (Schubert). provincial theatres. He it was who, when a suitable décor offered, would
Tenor, with unknown pianist: October 5, 1909 in Vienna, recorded by have a horn hung up and when he came on stage would affect surprise
Charles Scheuplein: Morgen (R. Strauss); Ruhe meine Seele (R. Strauss); and delight at seeing it, and say ‘Ha! a horn . . . but I play the horn’ and
Liebeslied und Liebesleid (Dvorak [sic]); Stille Liebe (Schumann); Der would thereupon toss off a solo to the great delight of the audience.”
Doppelgänger (Schubert) [twice]. October 6, 1909 in Vienna, recorded 19
Wiener Morgenzeitung, December 1, 1923, No. 1723, p. 6
by Charles Scheuplein: Die Krähe (Schubert); Die Stadt (Schubert) 20
Neue Freie Presse, December 19, 1923, No. 21291, p. 9
[twice]; Allerseelen (Strauss); Im Herbst (Robert Franz); Unter Myrthen 21
Neue Freie Presse, October 13, 1903, No. 14055, p. 8
und Narcissen (Hans Hermann) together with Hör’ ich das Liedchen 22
Neue Freie Presse, March 30, 1914, No. 17814, p. 10
klingen (Grieg) 23
Brüchle, Bernard and Janetzky, Kurt, Kulturgeschichte des Horns
11
Philip, Robert, Performing Music in the Age of Recording (2004), p. 27 (1976), p. 226; the majority of Lowenthal’s cast bronze impressions were
12
From their outfits and the look on Schönberg’s face, their music- cast in editions of only a few impressions, so it would be interesting to
making was of a casual, light-hearted sort, well suited to wine taverns and know the occasion for the casting of this impression of Savart.
inns around Vienna

https://www.facebook.com/Internation- https://www.youtube.com/channel/
al-Horn-Society-45360062965 UCFqyMb5MbzN17grF2HEIb_g

https://www.instagram.com/hornsocietyIHS/ https://twitter.com/hornsocietyIHS

52 The Horn Call - May 2021

 My Horn
by David Arella

A
t a young age, I learned about my mother’s love of challenging. I practiced at home without being forced and
music. She sometimes sang while she played the was soon picking out solos that I enjoyed playing for my-
piano in our living room. Once or twice I also saw self. I only learned years later that the horn is considered
my father play a violin. My grandfather was taught to play the most difficult brass instrument to master, and one of
violin by the nuns while he was in an orphanage on Long the most difficult orchestral instruments to play. My mu-
Island. Two of my grandfather’s half-brothers were pro- sic director told me that if I was motivated, I had the talent
fessional musicians, one on piano and one on violin. to become a professional musician, but as my senior year
So, there was some musical talent in the family. My first reached its end, so would my horn playing.
musical experience was a short stint with the piano. My After high school I intended to pursue engineering
mother arranged for me to take lessons with my grand- at Manhattan College in the Bronx, and I had no express
uncle, and I was encouraged to practice on the piano in intention of pursuing music. At some point over the sum-
our home. But my interest and/or my ability did not stick, mer, I was speaking to a former classmate who played the
and this faded away by the time I was twelve. I took up clarinet. He asked me if Manhattan had a music scholar-
the clarinet for a very brief time in fifth and sixth grade of ship program. I explained that Manhattan was an engin-
grammar school. eering college, but perhaps it was at least worth asking. The
During the first week of high school, the incoming following week I found the name of the music director at
seventh graders were invited to sign up for an instrument Manhattan College and gave him a call. I asked him “Does
to play in the school band. I joined the line of students ready Manhattan College have any kind of a music program?”
to tell the music instructor which instrument I wanted to He said yes, but he was quick to lower my expectations
play, but at that moment I really did not have any clear idea by adding that is it was a very small program with only a
what I wanted to play. The boy ahead of me announced couple of awards. Then he asked, “What instrument do you
with some enthusiasm to the music director that he want- play?” I said horn, and his attitude immediately changed.
ed to play the drums. That sounded good to me, so I told “When can you come in for an audition?” was his next
the music director the same. At dinner that evening I told question. The following week I borrowed my high school
my parents I had signed up for the drums. To their credit I horn for the audition and played the solo I had perform-
do not remember them reacting in any way uncomfortable ed in a recital. Two weeks later I got word that I was go-
with my announcement. Within a few days, however, ing to be awarded a music scholarship of $500 per year,
my enthusiasm for the drums faded; in fact, there was never the largest possible. At that time this represented one-
enthusiasm. fourth of my tuition. I was elated.
Now I needed a horn of my own. My father helped.
"I practiced at home without He located Giardinelli Music Store, a well-known seller of
instruments near Forty-Second Street in New York City.
being forced and was soon He and I made the trip downtown together in August 1966.
The Giardinelli store was huge, with many instruments of
picking out solos that I all types. With the help of the salesman I proceeded to try
enjoyed playing for myself." out perhaps six or seven different horns until I found the
one with the sound I liked. It was a used double horn with
I cannot actually pinpoint when the idea of playing the a detachable bell produced by the Kalison instrument
horn came into my awareness. I do remember, however, company. After making my selection, the salesman men-
being captivated listening to Edvard Grieg’s Peer Gynt tioned that this particular horn had been previously
Suite, which has some wonderful horn parts. Anyway, just owned by Jimmy Stagliano. The price was $300. I still have
a few days later I got it in my head to change instruments. the receipt.
I sought out the music director and asked if it might be
possible for me to change instruments. He said that would "I was not playing the music, I was
be fine and asked what I would like to change to. I said
horn. He responded with surprise and great enthusiasm in the music. It was pure rapture."
saying that the school had just purchased a new horn that
I could use. He was very pleased that someone could take I played first horn in the Manhattan College concert
up that instrument. At dinner that evening I told my parents band for the next four years. We practiced one night a week
about the change of instrument; they were also surprised with a couple more rehearsals in the run up to the three
and pleased to hear the news. concerts we played each year. The music was much more
I took to the instrument quite quickly. I was playing advanced than what we had played in high school, but I
simple tunes within a week. Apparently, I had a good natu- was still able to manage my parts with ease. In my
ral embouchure. Allison, my horn teacher, was enthusiastic senior year we finally played a piece that featured the horn,
about my progress. Band practice was one hour a week, and American Overture by Joseph Wilcox Jenkins. I can still
I soon found the horn music in the band concerts not very remember at one point being literally swept away; I was not

hornsociety.org 53
My Horn I
playing the music, I was in the music. It was pure rapture.
The feeling lasted only a moment, but it was truly unfor-
"All of that said, it does not mean
gettable. I have not attained that state before or since. This I cannot still enjoy playing."
was the first and the last great moment in my horn-play-
ing career. After graduation from college, I packed my horn certs which were attended by most of my family members.
away in its case with little thought of its future. It stayed In my older age I am sad to say that I have become more
there for the next forty years. self-critical, and with that I have lost a good deal of the fear-
In 2007, two marriages and six children later, my lessness I had as a youth. This is something I believe I can
family moved from Norway to Half Moon Bay, California. never retrieve. And, therefore, I will never be the horn player
I resumed my career in computer software, and the family I was in 1970. All of that said, it does not mean I cannot still
settled into our new life. We were back for a year or two enjoy playing. Yes, my lips and my wind are not as strong,
before I became curious about the local community orches- and I am more nervous when I play, but I still have a good
ear and perhaps a bit more finesse with my playing.
tra, the Coastside Community Orchestra. I learned that they
The greatest compliment I ever received to my horn
rehearsed Wednesday evenings at the community center,
playing occurred in 2013. It was as memorable as it was
and on one particular Wednesday, I decided to sit and
unexpected. And it was not at a concert, but at a rehears-
watch one of their rehearsals. The orchestra is a fifty-per-
al. While playing with the orchestra I always felt that my
son group of mostly amateur players who were attempting
audience was my fellow players. It was important to me
to cover serious orchestral music. Following the rehearsal, I
that I played my part well and did not let down my team-
approached the director and asked if he might take on
mates. The members of the community orchestra were al-
another horn player. He was delighted at the prospect
ways supportive, even when all could hear if some players
and invited me to show up any Wednesday evening. But
were struggling. No word of criticism was ever expressed,
before I would even think of attending, I had to see if I
but all were expecting at least competent playing. I forget
could still play. I opened my horn case to see my instrument
the piece we were playing, but at one point there was an
just how I left it, no damage, just sticky valves which were
intricate little duet between the bassoon and the horn in
easily freed. I tried a few notes. I managed a few simple
the high register. I had practiced the part at home, but was
notes, but there was not much there. My lips were tired and
not yet really confident. Rehearsal night came. We came
sore after only a couple of minutes. I certainly was not ready to the challenging section, and I played it perfectly, the
to play in public. But I was sufficiently motivated to see what bassoon and I in perfect timing and harmony. I was happy
was possible. I took the horn out every other day, and lit- to be past the challenge, but then it happened. Carol, one
tle by little, I regained some stamina and range. After two of the flute players sitting directly in front of me, turned
weeks I thought I had progressed to the point where I would around and asked “Was that you playing?” That’s all she
not totally embarrass myself. I got up my courage and said, but the meaning was clear. I was startled and very
showed up with my horn. During the warm-up I played pleased to have her approval. For me, the highest compli-
my first notes in public for nearly forty years. ment is to be recognized by your teammates.
The director happily handed me the third horn parts, In the end I was never a great horn player, but I was
and off we went. My first night was a mess. I had not sight- competent enough to play many serious orchestral pieces
read music in forty years, and I was never great at it. My well. Playing horn was never a passion of mine; it was
lips were tired after ten minutes; I had to keep stopping. I more like an enjoyable hobby. Nevertheless, my horn has
was not sure I could do this. But at the break my fellow horn served me very well over the years, and it has provided me
players expressed support, and I was welcomed by several many joyful moments. Since 2014 my horn is once again
other orchestra members. It would be bad form for me to resting in its case. I still dream that someday I will return to
back out now. So, I agreed to come back the next week. I took Half Moon Bay and take it out again to play third chair.
home the music. At least I would not be sight-reading again.
I had only played in bands up until then, never in an Born in 1948, David Arella grew up
orchestra with strings playing classical music by Brahms, in Floral Park, Long Island. From
Beethoven, Mozart, and others. I took to the complexity 1966–1970 he studied engineering at
and intricate melody-sharing. The horns played an import- Manhattan College in the Bronx where
ant supporting role to the strings, and there were also op- he played in the concert band. Follow-
por-tunities for the horn to shine. Needless to say, I stuck ing graduation, he worked for ten years
with it, and I slowly progressed. I was surprised how much at the US Environmental Protection
work it took to build up my stamina. It was many weeks Agency in Cincinnati, Washington,
before I could play through a whole piece without stopping DC, and San Francisco. He earned
to rest a few times. I did not remember having any trouble an MBA from Stanford University
with stamina when I was younger. I also worked on regain- in 1976. In 1983 he started an eight-year career in the Human
ing my range. It was work, but gradually it was coming. I Resources group at Apple Computer in Cupertino, CA, and
would never be where I had been in my youth, but I could following that, founded and led two software companies from
still be at least a competent third horn player in a community 1991 through 2014. In 2009 he joined the Coastside Community
orchestra. I survived, and even enjoyed, our biannual con- Orchestra. He and his wife currently reside in Portland, Oregon.

54 The Horn Call - May 2021

 Kay Gardner’s The Elusive White Roebuck
by Katey J. Halbert
This article is the first in a series dedicated to exploring works for horn by underrepresented, under-appreciated composers.

Kay Gardner Biography The Elusive White

K
ay Gardner (1941-2002) was born in Freeport, New Roebuck
York. Her musical journey began when she publicly
Kay Gardner’s work for horn
performed her own composition on the piano at the
and piano was written in the fall
age of four. Her music career continued on the flute, start-
of 1986. It was inspired following
ing when she was eight years old, and the flute continued
a visit of a horn player named
to be her primary instrument through college. She studied
Margaret Gage 5 who lived in
music at the University of Michigan and the State Univer-
Grand Rapids at the time. Her
sity of New York at Stony Brook, but her compositional
inspiration for the work comes
career took off following graduation.
from a poem by Robert Graves
Gardner produced seventeen albums under both her
called The White Goddess. She de-
own independent record label and another named Lady-
scribes the horn as a small deer,
slipper.1 These albums include both her compositions and
whose theme is stated at the beginning of the work by
the works of other women. Her first recording, Mooncir-
the horn alone. The piano (which is meant to be the hunt-
cles, was released in 1975. Between 1976 and 1984, Gardner
er) starts the next movement, aptly named “The Chase.”
started to establish a reputation for musical compositions
It then segues into the third movement, which depicts the
that were designed for meditation on the eight energy cen-
deer taunting the hunter by calling to him from a distance
ters of the body, known as chakras. Her music became a
(“The Calling”). The fourth movement is a canon between
leading voice in the feminist movement of the 1970s.2 She
the horn and piano as the roebuck escapes from the
claimed that the music of female composers naturally had
hunter. The work comes to an end with the poet mourn-
a different form than that of men, specifically that wom-
fully reflecting on the story. Gardner’s program notes are
en are more inclined to write in circular form due to their
as follows:
monthly hormonal body structure.
Outside of her groundbreaking compositional tech-
niques and albums, Gardner also became a leader for both I wrote The Elusive White Roebuck in early fall
music and the LGBTQ community in the New England area. 1986. Grand Rapids hornist Margaret Gage
She was the music director and principal conductor of the had stayed at my house in August and had
New England Women’s Symphony in Boston as well as a done a lot of practicing. It seemed that horn
guest conductor for a number of all-female ensembles. She notes hung in the air for days afterwards. I
also was the creator of a sacred choral group called Women had no choice but to pluck them and gath-
with Wings which continues to perform. er them into a solo piece for horn and pia-
Her book, Sounding the Inner Landscape: Music as Med- no, my first. Dedicated to poet, author, and
icine, was published in 1990 and focused on how the vi- mystic Robert Graves (b. 1895-d. 1986), The
brations of certain keys and certain notes help to heal the Elusive White Roebuck was inspired by the
body’s chakras. She continued to write articles for peri- following paragraph from his 1948 classic,
odicals such as Women’s Music and Culture and other spir- The White Goddess:
itual-based publications, and presented workshops and
classes at universities such as the Omega Institute and As for the White Roebuck, how
Yale University about the healing properties of music and many kings in how many fairy
sound. tales have not chased this beast
One of her final works was an oratorio commissioned through enchanted forests and
in 1989 and premiered in 1994 at the National Women’s been cheated of their quarry?
Music Festival in Bloomington, Indiana.3 The work was The Roebuck’s poetic meaning
written for a 40-piece orchestra, a choir of 100 women, is “Hide the Secret.”
and 15 female soloists. It was entitled Ouroboros: Seasons of
Life: Women’s Passages and was produced by Ladyslipper Casting the horn as a small deer, the work,
Records. The oratorio musically portrays a woman’s life after stating the ascending minor seventh
from birth to death using imagery of the “Triple Goddess” as the roebuck’s theme, takes the listen-
(maiden, mother, and crone). er on an enchanted adventure. Beginning
In 1995 she received the University of Maine’s Maryann with The Chase, the roebuck escapes to
Hartman Award, which is awarded to women in recogn- taunt the hunter in the second movement,
tion of their inspirational service and achievements. In that Calling, only to disappear into The Thicket
same year she was given an Honorary Doctorate in Fine (third movement). The final movement, The
Arts.4 Gardner passed away unexpectedly in 2002 from a Bard’s Secret, casts the elusive roebuck as
heart attack. but a memory in the poet’s mind.6

hornsociety.org 55
Kay Gardner I
Performance History Final Thoughts
The Elusive White Roebuck was performed at a Society I have found this work to be an absolute gem! The
of Composers, Inc. regional conference at Wellesley College characters represented by the horn and piano create a
in April of 1989 by Richard Menaul, a Boston-based horn delightful interplay, allowing the work to tell a story that
player.7 I also found that the piece was performed by grad- keeps the audience intrigued. What’s more, the range of the
uate student Karl Kemm at the University of North Texas horn part (F to f'') would classify this as a “low horn” solo,
on November 24, 1997.8 I have performed this work for a which continues to be rare in our repertoire.
doctoral degree recital while attending the University of
Iowa and recorded it as part of my final doctoral project.

Katey J. Halbert teaches at Grand View University and Central College in central Iowa. She earned her BM at Bowling Green
State University, MM at Ohio State University, and DMA at the University of Iowa. Over the years, her interests as a performer
and researcher have focused on female representation within the brass community. It began with an independent blog that highlighted
all-female brass ensembles, both historically and in modern-day, and has continued to grow through researching, commissioning, and
performing works for horn by female composers.

1
https://www.ladyslipper.org/ 7
Richard Menaul (1954-2013). “The Elusive White Roebuck for horn
2
Gayle Kimball, ed. Women’s Culture: The Women’s Renaissance of the and piano by Kay Gardner”. Performed at the Society of Composers, Inc.
Seventies. (London: The Scarecrow Press, Inc., 1981), 19. Regional Conference, Wellesley College, April 1989. https://library.uta.
3
Ruth Barrett. “Last Chorus: Kay Gardner (1940-2002).” Sing Out! edu/sci/sites/library.uta.edu.sci/files/rc_i_1985.pdf
The Folk Song Magazine, Winter 2003, 26. 8
University of North Texas. College of Music. College of Music
4
Ibid, 25. program book 1997-1998 Student Performances Vol. 2, book, 1998;
5
Kay Gardner. The Elusive White Roebuck: for horn and piano. Denton, TX. (https://digital.library.unt.edu/ark:/67531/metadc725/:
Massachusetts: Sea Gnomes Publishing, 1986. accessed January 15, 2021), University of North Texas Libraries, UNT
6
Ibid. Digital Library, https://digital.library.unt.edu; crediting UNT Music
Library.

56 The Horn Call - May 2021

 The Arrival of the Horn in Colombia
by Luis Fernando López Muñoz
English Translation by David Bryant and Gabriella Ibarra
This article describes the chronological, geographical, and cultural path in regards to the introduction and musical relationship of the horn
in Colombia via symphonic orchestras and wind bands in the Caldas region from the colonial period through the twentieth century.

The European Horn and its Arrival in Colombia

D
uring the colonization process, the Spanish crown had not been heard until then. Later, musicians from this
and its nobles tried to replicate the culture and band and others living in Santa Fé (Bogotá), experiment-
customs of their motherland in the new American ed by bringing all the musicians together in a symphonic
territories. After the conquest, and with the imposition of the orchestra, which was a novelty at that time. This exper-
Christian church, Spanish music came to New Granada by imental orchestra performed works by Michael Haydn
way of noble and rich landowners, who paid conductors to and Johann Christian Cannabich in homage to the arrival
organize concerts, dances, and parties, not only for religious, of the new archbishop of Bogotá: Baltasar Jaime Martínez
but also for social purposes. The horn at that time was called Compañón in 1791.
by its Spanish name trompa. It arrived in Colombia in 1783, The previous events describe the arrival of the horn in
although many musicians think its appearance occured in Colombia. Perhaps it was played without the “Hampel”
the previous century. Contrary to what one might expect, hand technique because since the year 1791 it is not certain
the horn in Colombia has quite an extensive history. Its if the horn players incorporated this particular technique
first use was documented during the colonial period of the into their training due to the skills required for its imple-
eighteenth century. mentation. It is possible that the musicians from Europe
Colombian music history books1 confirm that the horn had heard about this new discovery; however, in the
appeared in the country for the first time in 1783 as part review it was not possible to identify if they incorporated it in
of a Spanish orchestra. This orchestra performed tonadillas their performances.
(short pieces with dialogues, theatrical performances, and In 1809 there were two organized bands, la Artillería
some music and dances), typically lasting about 30 min- and Milicias. There was a great rivalry between both
utes. These performances were the most important musical/ bands, evident in every open air concert they performed.
theatrical genre of Spain, reaching their peak in the eigh- An example of this was when the bands tried to interpret
teenth century, all the while beginning to receive strong what the other had played the day before. In addition,
Italian influence. Performances of this orchestra were played each one used to improvise new things to attract attention
in the first theater, the Coliseo Ramírez, which was founded from the audience, even if these improvisations had
by the approval of the viceregal authority, a military officer nothing to do with art or with the correct performance of
of that time whose name was José Tomás Ramírez. Over the the instruments. One particular anecdote tells about “a
years, that theater became known as the Teatro Colón. horn player who lost his mouthpiece while traveling to
This Spanish symphony orchestra performed for a Salto and surprisingly continued playing using a playing
season in 1795, with regularly scheduled concerts, includ- card.”4
ing the participation of the first documented Spanish horn The introduction of horns and other instruments into
players2: Diego García and José Garzón. Also, an import- the bands was a big event and caused a great impact in
ant highlight in the book Historia de la Música en Santa Fe y the city of Santa Fe (Bogotá). According to chronicler José
Bogotá’ by Bermúdez, we find the same horn players, Diego M. Caballero, “these instruments and players improved
and José María García forming part of the José María and enriched the low quality of the few instruments in the
Garzón group a year later. As a reference for the following Cathedral of Santa Fé orchestra.”5 In fact, it is mentioned
data and in order to avoid ambiguities or other excessive later by the same chronicler that the skills between the
clarifications, we chose the music history book by Perdomo elder and younger musicians were remarkable. As an
Escobar, because it is the predecessor of both and provides important piece of information that complements the
more documentation. previous statement, in 1810, a musical evening was held in
The year after the horn arrived in Colombia (1784), the front of the house of the President of the Supreme Board,
Banda de la Corona was founded. It was one of the first José Miguel Pey. For that event, and upon request of the con-
musical bands in Colombia conducted by Maestro Pedro ductor and the musicians, a stage with a lot of lights was
Carricarte, who also conducted the first symphonic or- adapted so that the musicians could read their sheets of mu-
chestra from Spain. According to the chronicler José M. sic, which meant that the music was interpreted with the
Caballero, “the musicians under the mentioned conductor help of the paper. Until that moment the music played out-
played music of horns and bugles.”3 Those instruments doors, generally by bands, did not use printed parts.6

hornsociety.org 57
The Arrival of the Horn I
From 1820–1828, Don Juan Antonio Velasco (organ- Lucia di Lammermoor. By 1846 the Philharmonic Society was
ist of the Cathedral of Bogotá) held weekly meetings at his created, which had five horn players: Felix Rey, Bernardo
home accompanied by a small orchestra which performed Dourde, Ignacio Otalora, Mariano Castillo, and Mr. E.
masterpieces by great classical composers. Some of these Jossup.7 The previous information represents a further step
concerts were held as special events or homages to the toward the introduction of symphonic music in Colombia
heroes of Colombia, such as Bolívar and Santander. For as well as the evolution of the horn, since the usage of
the first time, overtures by Rossini (Tancredi, L’Italiana in horns was fundamental in this genre.
Algieri, and La Gazza Ladra, among others) were heard. On July 20th, 1875 a public party was held celebrating
These works have two or four horns in their orchestration, Colombian Independence Day in the Plaza Bolívar with
a clear demonstration of the progress and the place that a military band. The band had horns as part of its instru-
the horn was gaining in Colombia. mentation. Later in 1882, the National Academy of Music
In 1838 (ten years after the events described above) was created including the horn class. The horn teacher was
Spanish artists performed in Bogotá the following theat- Jorge W. Price, who taught not only horn, but also trombone
rical works by Gioacchino Rossini and Gaetano Donizetti: and trumpet.
La Gazza Ladra, L’Italiana in Algieri, Il Barbiere di Siviglia, and

From the Natural horn to the “Flugelhorn”

Archives documented in Egberto Bermúdez´s book a very important role in public and outdoor venues. With
(2000), state that around the year 1865, the person in the appointment of Maestro José Rozo Contreras as con-
charge of the National Park wrote a letter to the Ministry of ductor of the National Band in the 1930s, and the growth
Finance describing the instruments of the bands Artillería, of the musicians roster, two Italian horn players arrived in
Zapadores, and Ayacucho: “among the instruments… Colombia in the middle of the twentieth century. One of
there are horns which had additional rings of tubing for them was Sergio Cremaschi, who was a horn teacher well
their tones.”8 That means that even in this year, Colombian known throughout the academic and musical scene in
bands still used natural horns. In addition, a flugelhorn in Colombia. By this time, and based on photos of the
EH is mentioned as being the instrument that replaced the National Band, there were four horns in this group, two of
natural horns in the second half of the nineteenth century. them were piston horns, or better known as EH Alto-Horns.
This was because it was an instrument with a new sound Due to the influence of Italian and Colombian musi-
(based on the text described by the instrument invento- cians trained in this school, the term trompa, which was the
ry clerk) besides, it had been recently invented by Antoine Spanish word for “horn” used by Spaniards, changed to
Joseph Sax,9 better known as Adolphe Sax. It was import- corno, which was the word used in Italy. Corno translates as
ed into the country between 1869-1874 by Importadoras the word “horn,” which refers to an animal horn such as
Monpox, which supplied the national market, mainly in goat, antelope, etc. As a result, the word corno was adopted,
Bogotá, in the second half of the nineteenth century. and continues to be used through the present day.
Harmony bands, as they were called at that time, played

Evolution of Music for the Horn in Colombia

In the year 1783, when the horn arrived in Colombia, shallow.10 The same occurs in the compositions of Julio
the literature for the instrument was very limited since the Quevedo Arvelo, son of the Venezuelan musician Nicolás
harmonic series produced few notes. Furthermore, in order Quevedo Rachadell. When we review his works for or-
to write melodies for this instrument, the players were chestra, we find the role of the horn is also limited. We
placed in an uncomfortable, more difficult register. There- cannot explain the exact reason; maybe it was due to the
fore, many composers based their writing on the ability limitations of the instrument or the players. However, when
and technical possibilities of the available musicians. An the musical meetings were held between 1820 and 1828
example of this is the Mozart horn concertos, written for in Colombia – where Rossini’s Italian overtures were per-
Joseph Ignaz Leutgeb, a horn virtuoso, who inspired and formed – there was neither acknowledgement nor docu-
motivated Mozart to write the horn concertos. mentation alluding to the solo horns. It is uncertain
The horn parts in the first works written by Colombi- whether these solos were played by horn players, or if
an composers were limited to the harmonic series with no those were just delegated to other instruments while know-
melodies and without a leading role. In the operas writ- ing that at that moment European composers already had
ten by the Colombian composer José María Ponce de León, great knowledge regarding the sonorous, expressive, and
Esther and Florinda – which were the first Colombian op- technical possibilities of the instrument.
eras presented on stage – the role of the instrument is quite When the Philharmonic Society was created in the

58 The Horn Call - May 2021

 I The Arrival of the Horn
mid-nineteenth century, there were five horn players that the French school, which was one of the most reluctant to
made it up. By now, the horn had taken a great step in its use them. It is important to mention that composers were
evolution, which included the use of piston valved horns. the biggest defenders of this new instrument because of its
We cannot deny, however, that acceptance of the modern notable advances, which facilitated both writing and their
horn was difficult for many schools. An example of this is performance.

Bibliography
Bedoya Serna, Hernán. 2014. Interview with the founder of Osorio, Juan Crisóstomo. 1879. “Breves apuntamientos
Caldas department plan of bands. Colombia: via phone. para la historia de la Música en Colombia.” Repertorio
Bermúdez, Egberto. 2000. Historia de la Música en Santa fe y Colombiano.
Bogotá 1538-1938. Bogotá: Fundación de Música. Pardo, Andrés. 1966. La Cultura Musical en Colombia. Bogotá:
Caicedo y Rojas, José. 1886. “Estado actual de la Música en Ediciones Lerner.
Bogotá” El Semanario de Bogotá, No 5. Perdomo, José Ignacio. 1975. Historia de la Música en Colombia.
De Greiff, Hjalmar y Feferbaum, David. 1978. “Textos sobre Bogotá: Editorial ABC.
Música y Folklore.” Boletín de programas de la Radiodi- Price, Jorge. 1935. “Datos sobre la Historia de la Música en
fusora Nacional de Colombia. Tomo I. Colombia”. Historia y Antigüedades, vol. XXII.
Domington, Robert. 1994. La Música y sus Instrumentos. Zarzo, Vicente. 1996. Estudio analítico de la literatura de la
España: Alianza Editorial. trompa. España: Ediciones Seyer.
Martínez, Andrés. “Reseña Histórica sobre la Música en Zarzo, Vicente. 1994. Compendio sobre las Escuelas Europeas de
Colombia, desde la época de la Colonia hasta la funda- Trompa. España: Piles Editorial de Música S.A Valencia.
ción de la Academia Nacional de Música”. Anuario de Zarzo, Vicente.1994. La Trompa: historia y desarrollo. España:
la Academia de Bellas Artes de Colombia en De Greiff y Ediciones Seyer.
Feferbaum, 1932. Ramírez, Guillermo. 2014. Interview to the Villamaría Band
Miravet Lecha, Juan. “Origen y Evolución de la trompa” conductor. Colombia: via phone.
Lecture at the First horn week of La Unió Musical de Restrepo Moncada, Alexander. 2014. Interview. Music teach-
Llirira, April 22dn, 2011. https://sites.google.com/site/ er in the magisterium of Risaralda. Colombia: via phone.
juanmiravetlecha/home/investigaciones/origen-y- Zarzo, Vicente. 1995. Una vida para la Música. España: ED-
evolucion-de-la-trompa (accessed on May 14th, 2014) ICEP C.B.

Luis Fernando Lopez Muñoz holds a Bachelor of Music from the University of Caldas, and a Master of Music from EAFIT
University. He is co-author of the book Iniciación al Corno, published by the Ministry of Culture of Colombia. He has
performed in the Teresa Carreño Symphony Orchestra of Venezuela. Currently he works as a horn teacher at the University
of Caldas and performs with the Caldas Symphony Orchestra.

1
José Ignacio Perdomo Escobar, Historia de la música en Colombia Música en Colombia, (Bogotá: Repertorio Colombiano, 1879).
(Bogotá: Editorial ABC, 1975). Egberto Bermúdez, Historia de la música 5
Ibid.
en Santa Fe y Bogotá 1538-1938, (Bogotá: Fundación de Música, 2000) 6
Ibid.
Textos sobre música y Folklore: Serie “Las Revistas”, Jorge W. Price, 7
José Ignacio Perdomo Escobar, Historia de la música en Colombia
“Datos sobre la historia de la música en Colombia”, Boletín de historia (Bogotá: Editorial ABC, 1975), 44.
y antigüedades, 1935. Andrés Pardo Tovar, La cultura musical en Colombia 8
Egberto Bermúdez, Historia de la música en Santafé y Bogotá, 1538-
(Editorial Lerner, 1966). 1938, Vol. 1 (Bogotá: Fundación de Música, 2000), 200.
2
José Ignacio Perdomo Escobar, Historia de la música en Colombia 9
Antoine Joseph Sax, born in Belgium November 6, 1814 and died in
(Bogotá: Editorial ABC, 1975). Paris February 4, 1894. He was a manufacturer of musical instruments
3
Egberto Bermúdez, Historia de la música en Santafé y Bogotá, 1538- and is best known for his invention of the saxophone.
1938, Vol. 1 (Bogotá: Fundación de Música, 2000), 70. 10
Egberto Bermúdez, Historia de la música en Santafé y Bogotá, 1538-
4
Juan Crisóstomo Osorio, Breves apuntamientos para la historia de la 1938, Vol. 1 (Bogotá: Fundación de Música, 2000), 58.

hornsociety.org 59
 Managing the Extreme Range of the Horn
by Catherine Roche-Wallace
This article is based on the author’s virtual presentation at the 52nd International Horn Symposium.

O
Under Pressure: Some Ideas on High Range Playing
ver the past few years, I’ve had students who could to prevent that. Air support should be fast and focused.
get around fine in the middle and even the low range, Some of the best air support exercises I’ve found are
but struggled to play in the extreme upper range those in The Breathing Gym by Sam Pilafian and Patrick
while keeping the tone consistent. Horn players are expect- Sheridan.2 Tongue level: raised at the top helps your air to
ed to play in an extensive range, see Figure 1.1 move faster. This can be vocalized as the “hissing” sound
Embouchure, air support, and tongue level all play a a cat makes. Several video studies of tongue level in an MRI
part in the extreme ranges, and if not properly employed, have been done recently and can be found on YouTube.3
can lead to use of excessive pressure. Here are some ideas

Figure 1. Practical Range for Horn

Embouchure Activation Embouchure Ideas for High Range

for the High Range In the high range, the corners must stay firm, not pulled
back. Roll the lips in, and think “embouchure forward,”
There are two sets of muscles, as shown in Figure 2:
the corners (a combination of the zygomaticus major and the filling that shape with firm air.
risorius), and the pucker (orbicularis oris)4 Recommended Etudes: William Brophy, Technical Studies
for Solving Special Problems on the Horn, Part III

Considerations for the

Middle Range (d to g')
Conversely, over the past few years I’ve had students
who could manage perfectly fine in the high range, but
had trouble producing g below c' with strength and good
tone. As I mention at the beginning of the article, horn
players are expected to play in extensive low and high
ranges. Much ado has been made of technique (embou-
Figure 2. Muscles of the Face
chure, air support, tongue level) in the extreme ranges, but
  Compare the following photograph of my embouchure, what’s up with g?
Figure 3, and my high school student’s embouchure, Figure 4.
Notice that the student has less strength in her cor-
ners,and is trying to strengthen her aperture by using Ideas on Mid-Range Playing
pressure. Air support should be “medium-warm,” with inten-
sity. Again, The Breathing Gym provides several excellent
exercises.
In our upper and mid-ranges, the oval aperture in our
embouchure is more narrow horizontally, as in Figure 5.5
In the extreme low range (c and below), the shape changes
to be more narrow vertically, though not quite as narrow in
the following illustration, Figure 6.6

Figure 3. Author’s Embouchure: c'' Figure 4. Student Embouchure: c''

60 The Horn Call - May 2021

 I Managing the Extreme Range

Figure 5. Upper and Mid-Range Aperture Shape Figure 6. Low Range Aperture Shape

The problem with g is that it still requires the more muffled tone. Compare the photos below, Figures 7 through 10.
horizontal oval shape of the upper register, but is as wide as You’ll notice that my student loosens her corners and
it can get without a strong shift, to make room for the vertical slightly rolls the lower lip out to access g, rather than
oval of c and below. Students sometimes try to achieve keeping the corners in the same position as for her g', and
this by loosening the corners, resulting in poor pitch and dropping the jaw slightly.

Figure 7. Student’s Embouchure: g' Figure 8. Author’s Embouchure: g' Figure 9. Student’s Embouchure: g Figure 10. Author’s Embouchure: g

Embouchure Ideas for g Catherine Roche-Wallace teaches at the University of Louisiana

The corners must stay firm, and should be in the same at Lafayette, where she is also coordinator of graduate studies in
position as for notes an octave higher, neither pulling back music. She performs with the Acadiana Symphony Orchestra and
nor pushing forward. Maintain the aperture’s oval, shape the Louisiana Brass Quintet. She holds BM and MM degrees from
rolling the lips in, filling that shape with firm air. Youngstown State University and the DMA from the University
Recommended Etudes: William Brophy, Technical Studies of Memphis.
for Solving Special Problems on the Horn, Part I
1
Practical Range for Horn, accessed January 3, 2018, http://www.
Low Range Considerations (below c) composerforums.com
2
Sam Pilafian and Patrick Sheridan, The Breathing Gym: Exercises
The low range requires the largest and warmest to Improve Breath Control and Airflow, (Fort Wayne, IN: Focus on Excellence,
airstream, and often uses a relaxed tongue position. Many 2002).
players use an embouchure shift between dH and c. Typically, 3
Sarah Willis. MRI Chamber Music with Sarah Willis. accessed January
30, 2021, https://www.youtube.com/watch?v=MWcOwgWsPHA
the jaw shifts out and down (while keeping the edge of the 4
Muscles of the Face, StudyBlue, accessed January 30, 2021.
lower lip inside the mouthpiece)! The oval shape of the http://www.studyblue.com
aperture becomes fully pronounced.7 5
http://www.the-solo-trumpet.com/
I hope these ideas are helpful to you and your students as
6
Ibid.
7
Ibid.
you navigate the full range of the horn.

hornsociety.org 61
 Technique Tips
James Naigus & Drew Phillips, Column Editors
Creating a Digital Recital: The Technical Side

I
n this issue of The Horn Call, we are coordinating the programming considerations, how to engage with the
Technique Tips and Creative Hornist columns to look audience, and ways to make the whole experience unique
at a single topic from two perspectives: creating a and fun. This article is being written as the Cor Moto Horn
digital recital. The Technique Tips column will discuss Duo is preparing a digital recital for a virtual residency at the
elements such as audio recording, video recording, editing, University of Central Arkansas for March of 2021, as travel
and distribution, and the Creative Hornist will discuss and collaboration are still limited due to the pandemic.

Audio Recording
Many articles have been written of late regarding the recording process – what to use, where to record, how to position
the mics, etc. – so rather than give a comprehensive list of all the possibilities, we will instead tell you what we use in general
and for this recital in specific.

1.   What do you use?

James Drew
Computer PC with Windows 10 iMac 2013 with OS 10.14.6
Software Cakewalk Sonar 8 Producer Ableton and Audacity
Microphones Stereo pair of Shure KSM32s Stereo pair of Audio-Technica AT2035s
Pre-amp Focusrite Scarlett 2i2 Focusrite Scarlett 212
Recording location home office (carpeted floor + home finished basement/recital hall
acoustic panels + dry room) of school
Microphone location spaced configuration (t-bar, 3 feet in front, spaced configuration (two mic stands)
1 foot to the right (more centered in front with left microphone about 2-3 feet away
of bell) and right microphone about 6-8 feet
away
Post processing Perfect Space convolution reverb with Repair with impulse response files
Bricasti M7 impulse response files

2. Technique Tips
• In general, especially if you are mixing with other a full sound without clipping/distortion while also
instruments, record in a dry (non-echoey) space. You maintaining a buffer.
can always add reverb, but you can’t subtract it. • In my opinion a stereo input will always increase the
• If you need more bite in the sound, try a two- depth and clarity of the sound over a mono input.
microphone setup with one mic in front, and one • When possible try to use WAV files (48k/24bit) vs.
behind the bell. However, be careful not to place compressed MP3s.
the second microphone directly in the bell; instead, • If recording with a temp or click track, wear good
move it further back, and off to the side. headphones or earbuds and adjust playback volume
• Check and adjust levels before recording – play the so you cannot hear the click being picked up on the
loudest section and adjust your input gain to achieve microphones.
continued

https://www.facebook.com/Internation- https://www.youtube.com/channel/
al-Horn-Society-45360062965 UCFqyMb5MbzN17grF2HEIb_g

https://www.instagram.com/hornsocietyIHS/ https://twitter.com/hornsocietyIHS

62 The Horn Call - May 2021

 I Technique Tips

Video Recording
When it comes to video recording, there are two main audio product, with the video being an added bonus on
options: 1. Record live video and audio concurrently 2. top. In these instances, have fun with the video! You can
Record and edit audio first, and then record a lip-sync vary dress, background, camera angle, props, expressions,
video afterwards. Most of the high production value videos lighting... let your imagination run wild!
produced today do the latter to ensure the highest quality

1. What do you use?

James Drew
Camera Logitech C920 Webcam GoPro Hero 8
Lighting LED Ring Light (selfie light) LED Ring Light (selfie light)
Capture program Windows camera app & Zoom GoPro Hero 8 imported directly to iPhoto
recording function

2. Technique Tips
• Record in landscape. • Don’t simply mime your playing – play along (don’t
• The best-looking videos have the best lighting. Avoid worry about missed notes since you’ll be muting the
just backlighting; instead, try to find a light that audio from this track), breathe, move your fingers,
illuminates your face and/or body. and try your best to mimic the audio performance that
• Place your camera at eye level, but do not look directly you are trying to match.
into the camera – face slightly to the left or right. • Have your pre-recorded audio playing through
• Use the lowest ISO (if adjustable) without being too speakers or headphones while you record the video.
dark. • If you aren’t comfortable recording yourself, feel free
• For added post-processing fun, record in front of a to make a video showing the music itself (copyright
green screen. depending), nature scenes, home videos, etc.

Editing
Now comes the time to stitch all the elements together and add artistic flair!
1. What do you use?  James: Adobe Premiere Pro   Drew: iMovie 10.1.14

2. Technique Tips
• The use of title cards or video introductions serve as • Consider adding fun/creative elements to break up
nice replacements for physical programs. the program (see Creative Hornist).
• Use the fade or cross-fade tool to smoothly transition • Export your video at 720p or higher, but...
among video selections. • If the export of the final file is too large, experiment
• Be sure to leave space/time (3-6 seconds) between with altering the video bitrate or file type.
pieces to allow for rest and the listeners’ ears to reset.

Distribution
You can share your digital recital on many platforms!
For this particular project, we are going to be uploading For information on how to
our final video to Youtube and using Youtube Premieres, creatively approach a digital
which allows us and our viewers to experience the video recital, check out the
together in real time, with a fun and animated countdown companion article in this issue’s
feature as well as the ability to text chat. This also allows you Creative Hornist column!
to create and send out a link to the event in advance.

James Naigus is the Lecturer of Horn at the University of Georgia. He is also the co-founder of the Cor Moto Horn Duo and co-host of
the podcast “The Complete Musician.” His favorite mode is Lydian and his current favorite spice is cardamom. jamesnaiguscomposer@
gmail.com.

hornsociety.org 63
 Creative Hornist
James Naigus & Drew Phillips, Column Editors

Creating a Digital Recital: The Creative Side

T
he Technique Tips and Creative Hornist columns are elements such as audio recording, video recording, editing,
coordinated in this issue to look at a single topic ‒ and distribution. The two articles are being written as the
creating a digital recital ‒ from two perspectives. In Cor Moto Horn Duo prepares a digital recital for a virtual
this article, the Creative Hornist discusses programming, residency at the University of Central Arkansas in March
how to engage with the audience, and ways to make the 2021.
experience unique and fun, and Technique Tips discusses

What to play? How do we add interest?

When planning any recital, programming is of the After deciding on varied types of works, we thought,
utmost importance. Many recital programs have themes “What are some other ways we can make this interesting?
or common links between pieces. For us, it’s easy: we just Well…how about making it actually interesting looking?”
play all our own music (or arrangements we’ve done). Options for visual aids are present on a digital platform
The more complicated part is that we like to program that aren’t readily available in a live performance. Visual
new music that no one has heard before, because we both representations of music, dancers, art, and other mediums
write frequently and are producing new works regularly. in conjunction with performances opens up many pos-
And how do we rehearse music that we’ve never played sibilities. Camera angles can be different and varied. Who
together before? wants to watch the pianist’s face? The keys moving is
All of these considerations were taken into account the fun part! So we adjusted camera angles to show just
when planning for this performance. When picking music, our hands and the keyboard. It was a challenge to set our
we thought “Should we choose literature that requires a lot video capturing devices in a position to film just the
of communication between the horn player and pianist? keyboard, and then crop to feature just our hands. The
Probably not.” That guiding force helped us make many result was fascinating, and a much different angle than
of our selections. A consistent tempo and not too many most people see. Usually you only see the performer’s face
moments of rubato within the music helped to make more and the hands moving in a horizontal plane. It’s as though
accurate recordings when we recorded our individual the viewer is the pianist, and seeing exactly what we see.
parts on horn and piano. Part of the fun of playing with Another element was stock footage of landscapes and
another person is the musical communication, but digital nature scenes, photoshopped video game images, added
recitals are different. We had to not only learn the horn/ effects that we’ve used before for composition videos but
piano parts to what we were playing, but get comfort- never in live performance. We used different media to
able with the accompaniment sent, which didn’t always enhance the viewing experience, knowing that movement
include a click track to stay in time, or a count-in to help and shifting images that evoke moods are more entertain-
with notes entering after fermatas. ing than just our faces playing our instruments. We took
As we decided what we would program, we also advantage of movies and files online and in the public
decided that it would be less exciting to have just horn domain to create not only a musical experience, but a
and piano on its own for the entire recital. So, we also visual experience as well.
included arrangements and ensemble pieces to offer Original “commercials” was another idea; it stems from
something unique and different from a solo recital. Sure, our podcast, The Complete Musician Podcast. To add levity,
many people try to end with chamber music in solo recitals, we brainstorm and create commercials for fake products
but when you’re the only two people on stage, it’s not that reference music in some way for people to find funny.
easy! We included pieces that feature fun projects we’ve None of these items exist and we added a quickly spoken
worked on in the past year: two horns and piano, two horns tagline at the end of each commercial that sounds like the
and fixed media, solo horn and horn ensemble, and even a end of a car commercial where the announcer quickly spits
19-part horn choir piece where we played every part. out some line about how your rebate will be void after nine
That is one of the things that we embrace as making us months and financing is available over twelve months with
unique, in that we can create music with horn and piano no down payment, etc. The first commercial is of a fictional
works, as well as use technology to create even bigger fast-food restaurant named Ein Heldenburger (props if you
projects. We urge everyone out there to try to become get the joke!) and the second is of a new taxi service called
this varied as well; we all have the capability of becoming RIDE (of the Valkyries). Rather than give away too much,
tech savvy in this time, and digital recitals can be as creative we invite you to listen to these commercials on the Cor
and exciting through programming as you’d like them Moto Horn Duo YouTube page, or watch our recital and see
to be! them mid performance.

64 The Horn Call - May 2021

 I Creative Hornist

How to engage the audience?

Interaction with variety is the name of the game with
technology, and we had several ideas that would make it
feel less formal and more like a conversation. Every piece
is introduced with a short video and notes about how the
piece came into being. Program notes are often included as
part of the performance in concerts now. We introduce the
history, compositional style, and short stories about each
work. It gives a more intimate touch of how we conceived
the work and created it.
Since an online recital is pre-recorded, the performers
are free to interact with viewers as they watch! We decided
that as the music was playing and people were listening,
we would interact with them via a live chat on YouTube
with real time comments. These comments range from
“Can anyone guess how many takes it took me to record
this cadenza movement?” to “This sounds like it belongs in
Disney World…what’s your favorite ride at Epcot?” Music
listened to simply for the sake of hearing is fine, but we as
musicians enjoy being communicative, and conversing in
real time about the music offers a unique opportunity for
both us, the performers, and you, the listeners. Normally
when you listen to recitals, when someone executes a phrase
excellently, don’t you just want to get out of your chair and
yell “That was awesome!”? But we can’t do that in formal
recitals, because it’s distracting. However, we can do that
in a digital space! We can send emojis of clapping hands
and hearts, or answer questions about the pieces as they’re
Wind Music Publications
being played. It’s an entirely different sort of conversation,
Publishers of books & music by
in which we can hear what people think in the moment they
actually hear the notes for the first time. Milan Yancich and Philip Farkas

We’d love to share the recital with you!

Now that you know more about how we put it together,
we’d love to share the recital with you! Find our YouTube
page by searching “Cor Moto Horn Duo” and looking for
the archived livestream of the video! We tried to create a
product that was different from any recital we’ve done
before, and was enjoyable for us to create and for others
to watch and listen to. Let us know what you think of
this format, and we daresay we’ll be doing more of these • Practical Guide to Fr. Horn Playing • Art of Brass Playing
• Method for French Horn, Volume I • Art of Musicianship
projects in the future! • Method for French Horn, Volume II • Photo Study of Virtuoso
• An Orchestra Musician’s Odyssey Horn Players’ Embouchures
• 15 Solos for French Horn
Drew Phillips is the Assistant Professor of High Brass at Liberty
… and more …

University. He is also the co-founder of the Cor Moto Horn Methods by Schantl, Kling, Robinson
Etudes by Barrows, Kopprasch, Schantl, de Grave, Cugnot
Duo and co-host of the podcast “The Complete Musician.” He Solos, Duets & Chamber Music by Mozart, Bach, Spindler, Blanc,
enjoys watching Japanese reality television shows on Netflix and Kenn, Kohler, Hayden, Molbe
currently can deadlift almost two times his weight. aphillips527@
Repertoire by Brahms, Bruckner, Mahler, Strauss, Tchaikowsky

gmail.com Order through your favorite music source or directly from us

w w w . W in d M u s ic Pu b l i ca t io n s .co m
974 Berkshire Rd. NE
Atlanta, GA 30324 USA
(404) 874-7662 phone/FAX

hornsociety.org 65
 Music, Health, and Science: Being Disabled but Still Able
by Jessica Miller

D
ebilitating seizures have made importance to me as a student with a
my life difficult, but have not disability. These teachers have backed
stopped me. I have learned me up and given me opportunities
to overcome them, and playing the despite the challenges I faced. I am
horn has been an important part of grateful to all the horn teachers I have
the process. studied under (James Harwell, Jack
At one year of age, I contracted Masarie, Kristin Olsen, Paul Basler,
meningitis and nearly died. Fortun- Alan Mattingly, and David Pinkow),
ately, my doctor prescribed the right each of whom made a difference in
antibiotic, and I recovered with no their own way.
apparent damage. But when I was I cannot emphasize enough how
in fourth grade, I started having inspiring it was in my developing
seizures. Some of these were petit years to have the horn in my life! Horn
mals, but sometimes I would black playing was my best friend. It gave
out with partial complex seizures. me purpose and enjoyment, building
Enter my saving grace, the horn, which I began play- inner confidence and determination to do what work was
ing at age ten. I had been studying piano since age sev- needed. Plus, it gave me goals to aim for and achieve.
en, so I already had music reading skills, and a good ear, Many opportunities for playing and teaching came to
which allowed me to easily play in tune. Growing up with me during college ‒ Asheville, Greenville, and Spartanburg
several musicians in my family had a positive influence, symphonies, the Boulder Philharmonic and Longmont and
and my band director also encouraged me. Jefferson County symphonies, and summer events such as
I auditioned for All-State Band in sixth grade. I was The Renaissance Festival. I taught at university level while
not accepted, but one of the judges approached me after- doing my graduate studies. So many opportunities! I did
wards; he told me he saw potential and offered to teach me. not allow my disability to discourage me from experienc-
That gave me hope! I was also inspired by the example of ing achievement, and thanks to my teachers, I was able to
my uncle, Eric Halfvarson, who played horn, studying progress.
under Dale Clevenger, but then changed his major to voice I did not realize during those years that the physical
and became a professional opera singer. His success gave tension due to the seizures was contributing to strain that
me hope that I could achieve at a high level too. affected my future playing. I will never forget a key point
Having seizures during my middle school and high two of my undergraduate professors kept repeating: that
school years was not easy. Any time I felt a seizure coming I needed to relax while playing. I was focused on accom-
on, I became afraid, knowing that if I blacked out, I would plishment and too young to pause and think about what
be shunned and made fun of by classmates. It was uncom- they were saying and apply it to my playing.
fortable, embarrassing, and sad. I felt so alone. But the horn During graduate school, the seizures increased in
gave me hope. strength and frequency. No medications worked. I was
With lessons from the judge, James Harwell, progress blacking out four to eight times a month, with milder
really began. From seventh grade through my senior year seizures almost daily. I was not aware that my negative
of high school, I made it every year into All-State Band. reactions when I felt seizures coming gave them poten-
I began to set goals. Also, I attended the Brevard Music tial to be stronger and longer, physically and emo-
Center, in Brevard, North Carolina every summer from tionally. Being under pressure to complete the re-
eighth grade through high school. The doors to horn playing quirements to finish graduate school brought on
kept opening and kept me going. more stress, which increased the
While studying at Brevard "Dedication, determination, discipline, frequency of the seizures.
College under Kristin Olsen, it be- perserverance, and patience: it took I completed all the required
came necessary to change my em- all of these to reach acceptance credits for a master’s degree in
bouchure. This was a challenge, and embrace the condition." Horn Performance at the Uni-
but Professor Olsen offered help- versity of Colorado Boulder,
ful guidance. In the midst of this change, I transferred to but I had a seizure during my final recital and so did not
Western Carolina University to study under Paul Basler. receive the degree. I had the option to return to complete the
He gave me opportunities to perform with him, along with recital, but was not able to because of trembling side effects
encouragement and support, despite the seizure condition. from new medications. I was unable to play with stability
The support of teachers has always been of paramount for the next twelve years, so I did not play at all.

66 The Horn Call - May 2021

 I Music, Health, and Science
Finally it dawned on me: my negative reaction to a that empathy is a blessing that can develop, strengthening
seizure made the seizure worse. At this time, I was taking my desire and ability to help and relate to others who are
five different seizure medications. The side effects wore challenged.
me out and brought on trembling, but it took all of the I have experienced making the transition from being
medications to control the blackouts. The petit mals still a tense, determined, player who felt she had to prove her-
occurred, but at a lower frequency. Now, armed with this self, to becoming a more relaxed person. With continued
new realization, I started working on being calmer and dedication and self-acceptance, I strive to play the horn
more accepting of the seizures when they started. I applied the best I can, which allows me to play at a more carefree,
this approach as best I could each time a seizure started. fulfilling level. The process to reach this point has reduced
(Seizures had been a fact of my life for just under thirty the strength and effects of the seizure condition, making it
years by this time.) Dedication, determination, discipline, easier to play, able to breathe more deeply with better air
perseverance, and patience: it took all of these to reach support, and to achieve a fuller sound and more joy in
acceptance and embrace the condition. I was embracing and playing my horn. With the ability to relax, I have stepped
accepting myself, helping myself move forward. more deeply into the beautiful territory that leaves many of
Improvement became noticeable after working in this us speechless … the love and joy of being a musician.
way for six or seven years. With support from my father and My closing thought is directed to other players who
guidance from my doctor, I was able to cut back on medica- may face an uphill climb due to a disability. First, you are
tions. In another three years, the medications were reduced not alone. Being disabled but still able, do not allow your
enough that the trembling side effects disappeared. By this challenge, whatever it is, to discourage you from setting
time, late 2018, I started playing horn again. Over time, goals or from enjoying making music. Allow it to help you
I found that cultivating a calmer, more relaxed physi- to persevere even more and embrace the condition. Then,
cal, mental, and emotional state to better cope with my you are embracing yourself and bringing about opportuni-
seizures also applied to how I play the horn, playing with less ties to grow. Accept and embrace the condition, so you can
tension and regaining strength, skills, and endurance. I am relax and let joy live in you!
still not at the highest level I can attain, but I continue to
make progress.
Jessica Miller grew up primarily in Tryon, North Carolina,
The frequent act of horn playing while growing up
and currently resides in Longmont, Colorado. Before Covid-19
likely spared me from having even more seizures. Playing
prevented many activities from continuing in March of 2020,
music requires many simultaneous activities. In my case,
she was performing in the Longmont Concert Band horn section.
the meningitis had left minor scarred tissue in the temporal
Jessica is currently Board Treasurer for the Longmont Performing
lobe in the left side of my brain, verified in an MRI in 2017.
Arts Initiative, a non-profit organization dedicated to providing
My right side had no damage. The right side is related to
a new performance venue for the local area. She enjoys singing,
creativity, emotion, and being artistic. That is my stronger
including in her church choir, and being out in nature doing
side. I know that, due to no longer being tense and angry
photography along with curating a collection of family photos
about the seizures, I now have the ability to sustain con-
going back several generations. She also plays piano and composes.
centration and “live in the moment” with a seizure while it
is occurring and still continue a task like horn playing.
Last year, for example, while I was playing in a concert
in Estes Park, Colorado, I felt a seizure coming on but stayed
relaxed and focused on reading the music, playing, watch-
ing the conductor, and blending with the players around
me. This led to the seizure fading away while I was play-
ing. The right side of my brain being so active while that
seizure was occurring, I believe, compensated for the left
side while it was being distracted so that I was still able
to complete the task. I had to make the conscious choice
in the moment to embrace the uneasiness and not worry.
With what I’ve learned over the last four decades of living
with seizures, and from what doctors have said regarding
this theory when I’ve asked for opinions, it makes sense that
my conscious intervention can help.
My firsthand experience of dealing with this condition
has given me empathy for others who struggle with any
kind of disability. A plus side of having such a challenge is

hornsociety.org 67
 COR Values
Ellie Jenkins, Column Editor
A Profile of Gebr. Alexander

I
n 1782, as Mozart was writing ed. Then the musician receives an order
his horn concertos, Franz Am- confirmation with the delivery time. Every
bros Alexander founded what instrument is specially made to order, so we
would become Gebr. Alexander in usually have no stock. The delivery time is
Mainz, Germany. For seven gener- around six months, and it depends on if the
ations now the family Alexander horn player wants to come to Mainz for a
(Gebrüder Alexander translates selection or if they want the finished instru-
to “Brothers Alexander”) has de- ment(s) sent to their home.
voted themselves to building in-
struments, and is most famous for If they come to Mainz, they can choose be-
building beautiful and sonorous tween a minimum of three instruments
horns. Though today there are no Franz Ambros Alexander (sometimes even more). The instruments
(1753-1802)
brothers, the company continues are not polished beforehand, so we can
innovating under the leadership of Philipp Alexander, who make minor changes that the player may
graciously answered questions for this article. Gebr. Alexan- want. After their selection, the instrument
der employs a total of fifty people, including craftsmen, sales will be finished and sent to them around
personnel, and administrators, and includes a piano shop, two weeks later. If we have a dealer in the
which can be found at pianohaus.musik-alexander.de. musician’s home country, it is much easi-
Their reputation built over now more than two cen- er (and cheaper) to order directly with the
turies, Alexander instruments have long been held in high dealer and organize everything with him.
esteem. A “pilgrimage” to the Gebr. Alexander factory Most of the dealers have also instruments to
in Mainz has become almost mythological in the horn choose from.
world. When asked about the ratio of horns sold directly
from Mainz versus those sold via worldwide distributors, "...Alexander instruments have long
Philipp Alexander responded:
been held in high esteem."
This is difficult to say but it could be half James Boldin interviewed one player about his sojourn
and half. Normally (without COVID-19) to Mainz in 2017. You can find that two-part interview at
we have horn players in the house every “James Boldin’s Horn World,” jamesboldin.com.
day to choose their horns. This special ser-
vice is very important for the player, but Gebr. Alexander is guided by attention to the play-
now in COVID-times it is almost impossible ers’ wishes. “We always want to listen to the demands
because of government and travel restric- of the horn players, their thoughts, impressions, ideas
tions. Just next week we can start again about sound, and then we try to translate this into the in-
to make appointments with horn play- strument.” (P. Alexander) In response to the needs of
ers who are anxious to choose their new various players, the company currently offers 12 different
instrument(s). models of double horn, and an additional 13 varieties of
other horns, including singles, natural horns, triples, descants,
If a player is able to trav- and Wagner tubas. Their primary double horn is the famous
el to Mainz to select their Model 103 that “revolutionized the world of horn playing”
instrument, the process is (P. A.) when it was patented in 1909, the first patent for a
quite detailed and lengthy, full double horn. Kruspe had created a double horn in 1897,
allowing the company to but the Alexander 103 was a completely different design
best prepare instruments with a special six-way change valve, giving the horn both
that will meet the needs of a beautiful sound and solid intonation that made it wel-
that particular player. come in professional orchestras.
Players worldwide wax poetic about the gorgeous
The normal process is sound of the 103, and it is the instrument most associated
to contact us first to find with the Berlin Philharmonic, among other great orchestras.
out which instrument and Philipp Alexander attributes the 103’s longterm success to
which specification is need- Philipp Alexander its sound, first and foremost, along with intonation, consis-

68 The Horn Call - May 2021

 I COR Values
tent quality, and continued innovation. “The Model 103 has (Master craftsman), the highest official title of craftsman,
matured through the years, step by step. Still today we are earned after several years of schooling, exams, and experi-
improving the instrument.” ence. Most at Gebr. Alexander specialize in a certain facet of
Most of the horn models are listed on the Gebr. Alexan- the horn building process, but all are fully capable of build-
der website, though the 1106, which is quickly growing in ing the complete instrument, and some do rotate between
popularity, is not. It features a design similar to a Gey- jobs.
er, with the four valves in line and a more open wrap Craftsmen working for Gebr. Alexander (and throughout
than the 103. It is less resistant, which gives it a different Germany) must complete a rigorous training process. The
but still characteristic Alexander sound. “It is a very inter- system is in place for all handwork jobs in Germany, and
esting alternative to Model 103 and especially for any horn is administrated and supervised by the government. Nor-
players who have difficulties with the resistance of the 103.” mally, people start the three-year apprenticeship stage at
Gebr. Alexander is known for its creation of the Wagner about age 16. During this time, they learn all of the basic
tuba under Richard Wagner’s direction. Philipp Alexander skills and the theories behind them. Study includes typical
related a story that, though it cannot be proven, has been subjects like mathematics and German, and more special-
passed down through the generations. When Wagner wrote ized areas including technical drawing, music history, mate-
Das Rheingold, he wanted some kind of instrument that rials science, and acoustics. In addition to their school work,
would sound lower than a horn, but not as low as a tuba. apprentices work in the company every day. Gebr. Alexan-
On a visit to his publisher, Schott Music, also located in der has the great benefit of having one master whose job
Mainz, he stopped in to Gebr. Alexander and described is to supervise and guide the apprentices in all the skills
the sound he was seeking, asking if Alexander could create necessary for building an instrument.
something to produce this sound. As Philipp Alexander After three years of apprenticeship, they build a trumpet
learned the story, “Wagner was already known as a little by themselves as their final exam. If they successfully com-
strange in that time (as are many geniuses…) and therefore plete that exam, they are known as “Geselle” and can offi-
my great-grandfather 'threw' him out of the company and cially begin working in a company. When they have several
told him we didn´t have time for his strange ideas.” Wag- more years of experience, they may apply for the master’s
ner went on his way, and found another shop that built an degree, which involves another two years of schoolwork in
instrument to his description. Ultimately, Wagner was dis- addition to their work for the company. This time, they must
satisfied with that product: build their “masterpiece” for the final examination, a more
complex instrument like a tuba or double horn. Having done
He came back to our company again and so successfully, they have earned the title “Meister,” and may
asked politely if there was not any chance now run their own shop or company and teach apprentices.
we could make a brass instrument that could The rules are quite strict, and are closely supervised.
produce the sound he wanted. Finally, af-
ter some trials, the Wagner tuba in BH and
F came out, and we were the first company
who delivered a complete set (2 x BH, 2 x F) to
the Wagner Festival in Bayreuth.

The company has expanded quite a bit over the years,

and has survived in the face of world wars and now a global
pandemic. Beyond the “brothers Alexander,” the company
employs a total of 37 craftsmen, including 7 apprentices, and
15 “Geselle” (journeymen). The rest hold the title “Meister,”

Though the company’s reputation and instruments are

built on longstanding traditions and skills, Gebr. Alexander
has embraced new technologies and techniques that allow
it to produce instruments that are more consistent from one
to another without sacrificing any of the legendary quality.
Use of 3D scans and printing helps them to develop better
tools and forms that, in turn, improve the instruments. “The
steps to perfection get always a little bit smaller and finer,
but there is always something to improve so that the horn
player gets a nice sounding and secure playing horn.” (P.A.)

hornsociety.org 69
COR Values I
Like every company and person in the world, Gebr. Al-
exander has been significantly impacted by the global pan-
demic. Director Philipp Alexander describes their situation
and reaction:

The pandemic hit us hard in the beginning,

but we were able to quickly change our pro-
duction and adapt ourselves to the needs of
the musicians. Still today (end of February
2021) we have been in total lockdown since
Gebr. Alexander 125th Anniversary, 1907
the middle of December 2020. Of course,
orders were reduced, but thanks to our For a much more detailed account of Gebr. Alexander
employees and their understanding of the history, see the The Horn Call, October 1982, Gebr. Alexander
strange situation, we have come through the under People/Past Horn Greats on the IHS website, and the
pandemic quite well. We also have the help Brass Bulletin’s article from 1988, “Gebrüder Alexander: Bi-
of the German government, which pays a centennial of the Wind Instrument Makers.” In addition, the
certain amount of money to the employees company’s website is available in English as well as German,
during the times we cannot work. and includes information about the Alexander family, the
company’s history, and the various models of horns. A vid-
We think a lot about future developments eo is also available, "Wie man ein Waldhorn baut," for those
and how musical life will be after the pan- who are fluent in German.
demic. And of course we are concerned for In closing, Philipp Alexander sends this message to the
all musicians who are struggling for their horn community: “I hope during the next convention we
livings without concerts and therefore with- can see all our friends from IHS again and chat about the
out any earnings. thing we love most: the horn!”

70 The Horn Call - May 2021

 Teacher Talk
A Pedagogical Interview with Ted Thayer, Part 1
Lauren Hunt, Guest Editor

E
dwin C. “Ted” Thayer (1935-2020) was perhaps best- of eventual publication in The Horn Call. At the time of the
known for his decades-long career as principal horn interviews, Ted had mostly retired from playing and teach-
of the National Symphony in Washington DC; a ing, though he still had four private students. Through-
less-recognized accomplishment was his success as a out these interviews, Ted’s openness and humbleness was
private teacher. Ted taught dozens of high school horn striking; he refused to take any credit for the success of his
players who went on to have successful musical careers. students. However, there is such a clear pattern of success
This sets him apart from many well-known horn teachers; amongst his students that it is valuable to read between
instead of recruiting top students from around the coun- the lines of what he says, to glean what strategies we can to
try to join his college studio, Ted taught whichever high improve as teachers ourselves.
school horn players from the Northern Virginia/Washing- The interview has been edited to make it clear and cohe-
ton DC area wished to study with him. His track record of sive, but my goal in this article is to present Ted’s philoso-
success, despite accepting students of any experience level, phy and approach in as close to his own words as possible.
demonstrates his exceptionalism as a pedagogue. I wish this article to serve as a tribute to Ted upon his
As one of these former students (I studied with him from passing, as a token of gratitude from just one of the multi-
2003 until I graduated high school in 2007), and a college tude of students whose lives he touched. Immense thanks
professor interested in pedagogical research, I conducted a also to Randall Faust for his assistance with editing and
series of interviews with Ted in March 2018 for the purpose providing contextual information for the footnotes.

Lauren Hunt: Let’s start off with the big question: to what do really well with them. Others who can play – you put them
you attribute the success of so many of your students? in a section and they will match, they will play beautiful-
Ted Thayer: They worked hard. They did the work. All I did ly. Can they do an audition? No, it’s hard for them. So, for
was make suggestions. It’s their dedication and what they these people who have gone on, I think it’s a matter of
want to do. When did I work with Greg [Hustis]? When he being in the right place at the right time to pass an audition.
was in high school. When did I work with Jennifer [Mon- If they pass the audition and get in, great.
tone]? In high school. All these kids were in high school.
Zach Smith – same thing, he was in high school. To me, LH: So you treat students the same, but what separates
the people who have been the most successful are the ones those who excel is their own effort. I know in my lessons
who really buckle down and learn, and progress. with you, we spent a lot of time on fundamentals and
tone. What kind of warm-ups do you generally have your
LH: Do you identify students with potential for a career in students do?
music, and teach them differently, or do they just rise out of TT: My warm-up is very basic. I start with breath attacks,
the mix on their own? starting on middle C, up and down an octave. I hold these
TT: I don’t feel like I treat people differently unless they are for about 6 beats each, at MM=60 or so. [see Figure 1] Then,
dedicated, more so than some other people. That’s great, I do one of three warm-ups. Usually I will do Teuber;1 my
it’s a lot of fun for me. It makes me work harder, and that’s kids are responsible for Teuber #1-6 and 9. I do those my-
good! But do I differ? I don’t feel I handle them any differ- self, especially after I’ve laid off for a bit. That gets me
ently from how I handle others, other than maybe how going. I also like Barry Tuckwell’s warm-up, and then, for
quickly I can pass through repertoire. the heavy-duty warm-up, Farkas. Those are my three fa-
vorites, and, for myself, I rotate them around. Yancich does
LH: For your students that have won auditions or other- a good job, too. I like Yancich’s etudes, and there’s a lot in
wise had successful careers, what do you think was the that book, actually. I don’t care as much for what he says
deciding factor? as what Farkas says. Even though I never studied with
TT: How do auditions go? Why do we have auditions? Farkas, I like what he says.
It’s the people – some people can take auditions and do
Figure 1. Breath Attacks

hornsociety.org 71
Teacher Talk I
LH: Is this the same warm-up you give your students? can start in the middle and go up, then all the way back
TT: I choose one each week from Teuber #1-6 or 9 to do in down, and then back up. They learn majors and all three
a lesson, and the student has to learn those seven, because types of minors. In major and minor scales, they should be
I require it. As students get more advanced, I add more able to start on any scale degree. The chromatic scale is the
Teuber to their routines. Most of my students just stick same deal, they need to be able to start on any note. My kids
to Teuber and a little bit of Tuckwell’s warm-up. I get my have to know where the half-steps are, and what a half-step
adult students to do a little Farkas. Especially when we get is. High school kids need to know it too! One of the scale
to a problem and need to figure out that problem, I get the studies I like is [see Figure 2], and starting at the top also.
Farkas book out. I’m still a big believer in what he says. One of the things I try to point out to them is to recognize
parts of scales within the pieces
LH: Other than warming up, what "One of my major gripes nowadays they are playing; you have to know
kinds of scales, arpeggios, or other is that kids are reluctant to learn scales to be able to play a lot of
technical exercises do you do with scales and the fundamentals." them. In Beethoven’s excerpts, he
your students? has scales, he has arpeggios, some-
TT: One of my major gripes nowadays is that kids are times scales and arpeggios at the same time. One of the
reluctant to learn scales and the fundamentals. It drives piano teachers in Richmond I worked with taught only the
me up the wall. I think it’s an absolute necessity. Usually, I scales that were in the pieces. For example, in a Beethoven
assign one scale per week. They have to know that scale sonata, they would only learn the scales present in that
before they get to the next one, then we add on. We don’t piece. It’s ridiculous. In my piano lessons as a child, though
do the new scale instead, we add on, since they need to less in my horn lessons, there was always pedagogical
know them all. stuff like scales, arpeggios, etudes, so I was always doing
I require two octaves minimum. They should be able to a lot of that kind of thing. And a lot of that stuff, I found,
start at the bottom or the top, but less-advanced students I could just transfer over to the horn without much work.

Figure 2. Scale Study

LH: Do you modify your technical expectations for younger of the book are ten grand concert studies that are complete
or less-advanced students? pieces. They’re neat, and not easy! Some of those are in the
TT: Not really, what I told you before is pretty much what I “blue book.”4 I use the Franz method only in addition to
try to do. Marvin Howe does all his scales starting from the other studies; none of my students own that book.
top. In the second book, and the back of book one,2 then he
does up and down. Starting at the top is easier because it’s in LH: What etude books do you typically start with?
the middle range. Those scales are usually one octave, for a TT: What to begin with depends on how advanced they are.
beginner. Advanced students should be able to start higher. In Maxime-Alphonse, I will start with either Book 1 or Book
If students are really struggling with scales and arpeg- 2. Definitely students should learn Book 3. I find a lot of re-
gios, they just need to learn it. I’ll play a scale with them. dundancy in Books 1 and 2, but there are a few differences.
I like the Parès book because there are so many different Generally I’d probably start with Book 2. For college stu-
rhythms within the scales, and it starts on different notes dents, I try to do Book 3 if they can. If they can’t, okay. I have
within the scales, so I use that as an additional crutch, if nec- very few that do Book 6; only a person like Dan Culpepper
essary. Of course, they have to memorize them, but the book has gone through Book 6.
is just to get started.
LH: Do you go through the books in order, or jump around
LH: What method books do you usually use with your to address the student’s specific needs?
younger students? TT: I do jump around between books, and the order of
TT: I mostly use the Marvin Howe method. Getchell and etudes in each book. It mixes things up, for their interest as
Pottag I use as necessary, supplementary to the Howe meth- well as mine. We don’t go in order through the book for most
od. When a student brings one of these with them when they people. I look at what they need and the problems they have,
start lessons with me, we’ll continue to use it. because there are etudes that address most problems. With a
The Franz method – that’s what Mr. Valkenier3 had me more serious student, I go in order because you can.
on. There’s a lot of good stuff in Oscar Franz. At the end

72 The Horn Call - May 2021

 I Teacher Talk
LH: How many etudes do you give students? It can be easy LH: What about solos? Obviously, it depends on the stu-
to overload on etudes since there are so many good ones. dent’s level, but what do you think students should have
TT: I typically assign one or two etudes per week from each studied by the time they go to college?
book. They work on at least three etudes at the same time, TT: I like to look at Virginia Thompson’s repertoire list.6
and we go through one to three each lesson. Level 3 was where to get into college. In lessons, I try to cov-
er the basics: the basic Mozart, the basic Beethoven, and so
LH: What etude books do you work out of most frequently forth. I try to do those with the college students in particular.
with students? With high school students, I have to be more lenient, and
TT: There are so many etudes, and you can just go crazy with frankly I try to stay away from Mozart.
etudes! When I worked at Kendall Betts [Horn Camp], it was A horn pedagogue said Mozart should be saved for
all Kopprasch. I said to Kendall Betts5 in conversation, “What college because intellectually you need to be older to really
do you have against Maxime-Alphonse?” progress on it, and I’m not against that. One of my students
(KB:) “They’re worthless.” played Mozart in sixth grade, and there’s no way! But this
(TT:) “Is it okay to disagree with you?” other kid, when he was in the eighth grade, he really did a
(KB:) “Yes.” good job with Mozart’s 3rd, played it musically. It’s all just
(TT:) “What do you do after Kopprasch?” up to the student. You have to have a Mozart for college au-
(KB:) “Kling.” ditions, and you have to have a Richard Strauss, probably,
So you only learn technique, not style, and only keys of or a Franz Strauss.
F, G, C… However, some Kopprasch – the slow ones in par- One of the things is, you get older and you go back to
ticular – I like, they work. some of your original things. I was delighted that Mr. Valke-
There’s Miersch, and they’re okay. It does get into differ- nier wanted me to learn the Corelli Sonata in F Major. That
ent keys; that’s my gripe with some of these books, they just was one of the first solos I learned with him. I’ve used it and
stay in the key of C major and don’t go into other keys. And used it in a lot of recitals; I did it in church, it works well
for kids, to transpose into these other keys that Kopprasch with the organ.
wants you to, that’s really difficult for them. So, yeah, I like
Maxime-Alphonse, I really do. LH: Do you work on orchestral excerpts with your high
Barboteau, I really like the Barboteau. I use the Lecture-Ex- school students?
ercises for sightreading and with advanced students. Gallay TT: With the advanced students, we get into excerpts right
I use as needed. Kling, Müller, of course. Verne Reynolds, away. High school seniors need them for college auditions,
Schuller, I like their etudes. And Concone, both books – Shoe- so I want them to have some under their belts. Before that,
maker, they’re all Concone. The legato ones [Shoemaker] are just if they’re doing youth orchestra auditions. Anyone
the more difficult ones that work on crossing registers, com- who’s in AYP [a youth orchestra in northern Virginia], defi-
pared to the vocalises [Concone]. Concone are more basic nitely start then because you’ve got to have them. But I can’t
even than Maxime-Alphonse, as far as singing through the do the tough excerpts with many students.
horn is concerned, and trying to get a good sound.
I swear by Concone and that sort of tune to teach phras- LH: How do you structure the study of excerpts?
ing, with lots of dynamic changes. And sometimes I don’t TT: I give them a choice of Labar or Mel Bay.7 I generally like
use the dynamics that Concone suggests. I ask the student, the Mel Bay, but there’s no Strauss in it, unfortunately – I
“What do you think we should do?” because I want them to think that’s because of copyright. But he gives hints on how
make up their mind. I do that most of the time. I tell students to play the particular solo, it really is helpful, whereas for
to think about colors. Tone colors, nature sounds… go play Labar, it’s just the excerpts. I do still stick with the excerpt
in the woods, literally! Here’s the Short Call, describe that as books instead of printing parts off online. I make sure that
a color. Beginning of Ein Heldenleben, some people have said they know that they are all available online, but I don’t ask
purple. Pavane for a Dead Princess, light blue. I say, “Now try anyone to go out and buy David Thompson’s book.8
to create that with your playing, or have that color in your Often I start with Beethoven, and move on from there.
mind,” and the student’s playing seems to go in the right di- I jump around. How many people play the Franck D minor
rection. Colors, the students I have questioned about phras- Symphony now? You almost never hear it. How many peo-
ing understand colors. That’s why I like Concone so much, ple play that wonderful horn solo in the Overture to Mignon?
the lyrical ones. The legato ones [Shoemaker] also have a lot There’s a lot of those excerpts, and I like to deal with those.
of crescendos and decrescendos. I compare a musical phrase Yes, they aren’t played that much nowadays, but one of the
with a verbal phrase – length and inflection. And sometimes first ones I learned a long time ago was from La Gazza Ladra.
I’ll have them play Concone absolutely flat, no crescendo, no My first teacher was a singer, he was a tenor, so he had me
decrescendo; then I get them to do more, and they’re produc- learn some of the solo repertoire that was songs from operas.
ing the sound themselves. That was a great way for me to start doing solos, because the
Farkas and Jones books didn’t exist then.

hornsociety.org 73
Teacher Talk I
Part 2 of the interview will continue in the October 2021 issue of The Horn Call.
Lauren Hunt is the Assistant Professor of Horn at Utah State University, where she has taught since August 2019. Contact her at
[email protected]. See laurenhunthorn.com.

Bibliography of Etudes and Methods Referenced

Alphonse, Maxime. Deux cents études nouvelles mélodiques et Miersch, Erwin. Melodious Studies for French Horn. New York:
progressives pour cor, vol. 1-6. Paris: Leduc, 1925. Carl Fischer, 1969.
Barboteu, Georges. Lectures exercises pour cor: solfege instru- Moore, Richard C. and Eugene Ettore. Mel Bay’s Anthology of
mental de 1 à 80. Paris: Choudens, 2004. French Horn Music. Pacific, MO: Mel Bay, 1986.
Concone, Giuseppe. Lyrical Studies for Trumpet or Horn. Vuar- Müller [or Mueller], Bernhard Eduard. Studies [or Etudes] for
marens: Editions Bim, 2009. French Horn, op. 64. Various publishers and editions.
Farkas, Philip. The Art of French Horn Playing. Evanston, IL: Parès, G. and E. Claus. Daily Exercises and Scales for French
Summy-Birchard Music, 1956. Horn. New York: C. Fischer, 1912.
Farkas, Philip. A Photographic Study of 40 Virtuoso Horn Play- Pottag, Max P. and Nilo W. Hovey. Pottag-Hovey Method for
ers’ Embouchures. Bloomington: Wind Music, 1970. French Horn, vol. 1-2. Los Angeles, CA: Alfred Music,
Franz, Oscar. Complete Method for the French Horn. New York: 1985.
Cundy-Bettoney, 1942. Pottag, Max P. and Albert J. Andraud. 335 Selected Melodious
Getchell, Robert W. First [or Second] Book of Practical Studies Progressive Technical Studies for French Horn, vol. 1-2. San
for French Horn. Los Angeles, CA: Alfred Music, 1985. Antonio, TX: Southern Music Co., 1958.
Howe, Marvin. The Advancing Hornist, Vol. 1: The Singing Schuller, Gunther. Studies for Unaccompanied Horn. Oxford:
Hornist. Macomb, IL: Faust Music, 2001. Oxford University Press, 1962.
Howe, Marvin. The Advancing Hornist, Vol. 2: The Expressive Shoemaker, John R. Legato Etudes for French Horn: Based on
Hornist. Macomb, IL: Faust Music, 2010. the Vocalises of Giuseppe Concone. New York: Belwin Mills,
Howe, Marvin. Method for the French Horn. New York: Remick 1971.
Music Corp, 1950. Reprinted and distributed with per- Teuber, Fred. Progressive Studies in Flexibility and Range for
mission by Faust Music. French Horn. Bellingham, WA: Medici Music Press, 198-?.
Kling, Henri. 40 Studies for Horn. Various publishers and Tuckwell, Barry. Playing the Horn: A Practical Guide. Oxford:
editions. Oxford University Press, 1978.
Kopprasch, Georg. Sixty Selected Studies for Horn, vol. 1-2. Reynolds, Verne. 48 Etudes for French Horn. London: Chap-
Various publishers and editions. pell, 1961.
Labar, Arthur. Horn Player’s Audition Handbook. Miami, FL: Yancich, Milan. A Practical Guide to French Horn Playing.
Belwin Mills, 1986. Rochester, NY: Wind Music, 1971.

1
For a list of the books Ted references in this interview, consult the Ted was a faculty member there for many years. Betts studied at the Curtis
bibliography. Institute of Music, where the use of Kopprasch Etudes was an important
2
Marvin Howe: The Advancing Hornist, vol. 1-2. Ted was a pre- part of the pedagogical legacy. Betts continued that legacy at the camp that
publication consultant on these books, and used them frequently in lessons. he founded. Over time, the interest in the use of Kopprasch has varied
These books are different from Marvin Howe’s Method. See bibliography. among the KBHC faculty members, but he certainly will be remembered
3
Willem Valkenier was principal horn of the Boston Symphony, and for his enthusiasm for the Kopprasch etudes, some KBHC faculty members
was Ted’s private horn teacher when Ted was in high school. Valkenier for their variations on Kopprasch’s concepts, and others for alternative
was elected an Honorary Member of the International Horn Society in studies that they use in their pedagogy. The points of emphasis on good
1971. A profile of him appears in the October 1983 issue of The Horn Call, a fundamentals and tone production that were so important to the late Mr.
memoriam in the October 1986 issue, and a transcription of an interview Betts continue, regardless of the exact study materials used by faculty at
with him can be found in the February 1994 issue. Additional photos of the KBHC.
Boston Symphony Orchestra horn section appears in the April 1988 issue 6
Virginia Thompson was a famous pedagogue who taught at West
of The Horn Call. See also Valkenier’s biography on the HIS website: https:// Virginia University for many years and was awarded the IHS Service
www.hornsociety.org/ihs-people/honoraries/26-people/honorary/69- Medal of Honor posthumously in 2015. You can read more about her at
willem-valkenier. https://www.hornsociety.org/286-people/service-medal-honorees/940-
4
“The blue book” refers to the first volume of Pottag's 335 Selected virginia-thompson-1956-2015.
Melodious Progressive Technical Studies for French Horn (see bibliography). 7
Mel Bay is the publisher; this book is listed under Richard C. Moore
5
Kendall Betts, then principal horn of the Minnesota Orchestra, and Eugene Ettore in the bibliography.
founded the Kendall Betts Horn Camp (KBHC) at Camp Ogontz, New 8
Reference to The Orchestral Audition Repertoire for Horn: Comprehen-
Hampshire, in 1995, with an outstanding faculty of international artists. sive and Unabridged by David B. Thompson.

74 The Horn Call - May 2021

Photo: Steve Flower

hornsociety.org
England’s Finest

75
www.paxman.co.uk [email protected]
76 The Horn Call - May 2021
 Dave Krehbiel's fast-moving memoir,
Through the Door: A Horn-Player's Journey,
relates the adventures of a young musician
who uses his musical talents to cover up his
scholastic shortcomings. In doing so, he finds
himself, miraculously, in the career of his
dreams- playing principal horn for Chicago,
Detroit, and San Francisco symphony
orchestras.

When the door opens for him, he finds himself

in his first job, playing assistant principal horn
for the Chicago Symphony Orchestra where
he faces constant intimidation by its maestro,
Fritz Reiner. He also finds himself plagued by a crippling performance
anxiety so great that on occasion he almost wishes he would be in a
traffic accident on his way to Symphony Hall rather than face perform-
ing that night.

"I'd rather be scared to death than bored to death,"

Krehbiel quips, and with intelligent humor he
inspires us to face, without fear, whatever lessons
are on the other side of the doors the universe
opens to us.

Available Now at Amazon and Barnes & Noble.

ISBN: 978-0-578-73972-4

Six Bach ‘Cello Suites Recordings

Transcribed for the horn in the original keys

K A T Z E N

Bach “Daniel Katzen’s Bach ‘Cello Suites

recording (transcribed for the horn)
is an act of extreme courage and
musicianship. He has accomplished
the impossible. Wow!” – Yo-Yo Ma
Katzen’s Bach ‘Cello Suites are available in a
CD set that includes annotated sheet music:
Any individual CD: 2 Suites; sheet music ...... $12
Students ........................................................... $10

Complete set: 3 CDs; 6 Suites; sheet music ... $50

Students ........................................................... $40
Shipping, free in the US. $ 5 outside the US.
To order CD sets or get more information,
email: [email protected]

CO P Y R I G H T 2 0 21, D K M U S I C . B I Z

hornsociety.org 77
78 The Horn Call - May 2021
hornsociety.org 79
 2020 Composition Contest Results
by Randall E. Faust

I
n 2020, The International Horn Society celebrated the tion between them. That they exhibit this trait is remarkable
41st year since its first Composition Contest. It is one of because all of the works were judged with personal infor-
my long-held beliefs that many of the finest compositions mation removed from the materials submitted prior to the
are works where the composer had a specific performer in judging process! The following works emerged as excep-
mind. Hornists have observed, and benefitted from, these tional compositions for the horn, exhibiting all of the best
relationships dating back to Mozart and Leutgeb, not to qualities of our instrument! I recommend these as significant
mention Beethoven and Punto. Similarly, this year’s win- new additions to the Horn repertoire! In 2020, we had a re-
ning compositions all are works where the composer had a cord number of 88 compositions submitted from 16 different
specific performer in mind, and were born of the collabora- countries.

Judges Featured Division Results

The judges for the 2020 Competition are distinguished The winning composition for the Featured Division
by their compositions for horn: Composer Dr. Margaret is Invocation for Eight Horns by Keaton Marek of Bruce-
Brouwer, Cleveland, Ohio, USA; Dr. Kazimierz Machala, ville, Texas.
Professor at the Chopin University of Music, Warsaw,
Poland; and Ricardo Matosinhos, who is currently teach- Honorable Mentions
ing at the Academia de Música de Costa Cabral and • Guiding Light for Horn Quartet or Four-Part Horn
Choir by Chase Hampton of Hazel Green, Alabama
completing his Doctoral degree at the University of Évora
• Pianto for Horn Quartet by Håkon Guttormsen of
in Portugal.
Copenhagen, Denmark

Mr. Marek has provided the following description of his

Divisions work:
Featured Composition Division: Works of moderate diffi- Invocation is a programmatic piece for
culty for Horn Ensemble (two or more players, all horns) French horn octet that illustrates and
In this Division, the horn parts should be playable by depicts the act of invoking or calling upon
the entire spectrum of hornists within the International a deity or spirit for aid, protection, inspi-
Horn Society: students, amateurs, and professionals. Com- ration, or the like. The work opens with a
positions should have musical content with integrity to brief introduction to set the meditative and
honor the professional hornists – yet within the pitch and introspective atmosphere. Following that,
technical range of student and amateur players. the main invocation is heard three times
before leading into a section of contrast.
Virtuoso Composition Division: Compositions with no This evolves into a passage of inner turmoil,
difficulty limitation and from one of the following instru- strife, and unrest until the call is finally
mentation categories: answered in a climax of affection and
• Solo Horn (alone/unaccompanied) uncontrollable emotion. Following the cli-
max, the piece closes with the same medita-
• Solo Horn featured with large ensemble. (The large en-
tive and reflective tone that began the work,
semble may include any group of electronic, acoustic
except this time, the feeling is more reassur-
instruments and/or voices.)
ing and relieving.
• Horn with chamber ensemble of three or more per-
formers (one horn part only). (The chamber ensemble
may include any combination of electronic instruments, Commentary
acoustic instruments and/or voices.) The first horn part goes up to an a" at the high point.
• Solo Horn and keyboard instrument. (Keyboard instru- However, the composer does not abuse the first hornist.
ments may include piano, harpsichord, organ, electron- The high register duties are spread quite well between the
ic keyboard, or mallet percussion.) first, second, third, and fifth horn parts. The seventh and
• Solo Horn with Vocal Ensemble eighth parts employ bass clef throughout and the eighth
part starts on a pedal F. However, there is nothing in these
parts that would not be playable by a good hornist in any
youth orchestra or community symphony.

80 The Horn Call - May 2021

 I Composition Contest Results
Along with his composition studies with Dr. Scott to listen to the work as they prepared for the recording.
McAllister and Dr. Ben Johansen at Baylor University In addition, Sean Holmes, another hornist and former
in Waco, Texas USA, Marek detailed in a telephone student of Powers at Baylor and Morrell at USC, made the
conversation that the success of this work was also recording.
attributable to the collaboration and support of others at Some of our best compositions are the products of
the university. His horn professor, Dr. Kristy Morrell, had collaborations between hornists and composers. The col-
regular horn ensemble reading sessions so he was able to laboration of all of the above people with the composer was
rehearse multiple times with members of the Baylor Horn a notable element of the success of this project. Invocation
Studio before the composition was recorded. Another is an expressive composition and an excellent work for a
hornist, graduate conducting student Hannah Morrison, recital or at an important ceremony; many IHS members
conducted the rehearsals and performance so he was able will enjoy performing this work.

Composer Biography
Keaton Marek (b. 1998) is a senior music composition Competition and was performed by the brass and percus-
major studying at Baylor University, where he is a mem- sion of the Baylor University Wind Ensemble. Along with
ber of the Baylor Symphony Orchestra, Baylor Wind En- large ensemble works, he has also written several pieces
semble, and Baylor Horn Studio. Marek is currently study- for smaller chamber groups and for solo instruments, as
ing composition with Dr. Scott McAllister and Dr. Ben well as collaborating with film students in creating scores
Johansen. Along with composition, Marek has also studied for their films. After his studies at Baylor, Marek plans to
horn with Mr. Jeffrey Powers, Mr. Paul Capehart, and Mr. earn a master’s degree in composition and then pursue
Alton Adkins, and is currently studying horn with Dr. Kristy a doctorate in composition and music theory. He would love
Morrell. Marek has also studied piano with Dr. Jani the opportunity to be a professor of music composition or
Parsons. One of his more recent works, Procession to the music theory in order to help shape the future generation
Skies, was a winner of the Dallas Winds Brass Fanfare of great musicians.

Virtuoso Division Results

The winning composition for The Virtuoso Compo- when Peter suffered a shoulder injury after
sition Division is I Threw a Shoe at a Cat: Variations for throwing a shoe at a stray cat in an attempt
Solo Horn by Kateryna (Catherine) Likhuta of St. Lucia, to interrupt a fierce catfight. The injury was
Queensland, Australia. so serious that Peter had to go through a
surgery and a rather long recovery period.
Honorable Mentions Normally a very active, full-of-life person,
• Three Pieces for a Newborn for Horn and Vocal Ensem- he had to tune it down while recovering,
ble by Álvaro Artuñedo of Giessen, Germany and everyone around him could sense that
• Legacy Concerto for Horn, Percussion, Timpani, Harp, he could not wait to get back to his normal
and Strings by Aaron Jay Kernis of New York, New York active lifestyle. The piece was written in col-
• Jam and Toast for Solo Horn by Aaron Houston of laboration with Peter; together we decided
Tallahassee, Florida that, though the circumstances that inspired
• Meccanicorno for Horn and Prepared Piano by Theo it were traumatic, it would be best to make
Chandler of Houston, Texas it somewhat humorous (as there was a cer-
tain portion of irony in the whole cat situ-
Dr. Likhuta has provided the following description of her ation). The piece is in four parts: Theme,
work: Waltz, Yazz and Finale. The music in Theme
I Threw a Shoe at a Cat (2017) is a humorous mimics the cat’s apologetic confession
piece for solo Horn and is my 10th piece (shouldn’t have fought). Waltz is a little
featuring this instrument. It was written as dialogue between the cat and its injured
a gift for my dear friend and collaborator human. Yazz (that’s how Peter jokingly
Peter Luff (Brisbane, Australia) and gen- refers to jazz) has a steady and somewhat
erously funded by a grant from Australia lazy ostinato as its base, with short sud-
Council for the Arts. The title refers to the den splashes of fast and energetic bits.
incident that occurred in September 2016 Those represent the human’s attempts to be

hornsociety.org 81
Composition Contest Results I
active at the early stages of recovery, but he Composer Biography
gets constantly reminded that he still needs Catherine Likhuta is an Australian-based composer
to take it easy and hold back. In Finale, the whose music exhibits high emotional charge, program-
human is back to being his witty, fun and matic nature, and rhythmic complexity. Her works have
energetic self, with a friendly little conver- been played throughout the United States, Europe, and
sation with the cat towards the end, reflect- Australia by prominent orchestras (such as Melbourne
ing on their joint endeavor. P.S. Hearing Symphony Orchestra and the University of Georgia Hodg-
horn players in the audience giggle at my son Wind Ensemble), chamber groups (such as Atlantic
cheeky homage to Strauss 1 in the open- Brass Quintet, NU CORNO, US Army Field Band Horns,
ing of Finale is one of my favorite things at and Western Brass Quintet) and soloists (including Peter
recitals. Luff, Andrew Pelletier, Denise Tryon, and Adam Unsworth).
Her pieces have been played at Carnegie Hall (Stern Au-
ditorium/Perelman Stage), Glyndebourne Opera House
Commentary (Organ Room), five International Horn Symposiums, two
This set of variations is a significant addition to the World Saxophone Congresses, the Midwest Clinic, and
literature for solo (unaccompanied) horn. The composer many other festivals and conferences. She was the winner
collaborated with hornist Peter Luff on this work, as well of the 2014 International Horn Society Composition Con-
as with Adam Unsworth on others works. Consequently, test (Virtuoso Division) and the 4MBS Kawai Composition
even though she composes with virtuoso hornists in Contest, as well as the recipient of several awards, includ-
mind, the advanced techniques required are playable and ing two grants from the Australia Council for the Arts for
organically built into the fabric of the musical composition. creation of her music for horn.
The tech-niques required are stopped horn, half stopping, Catherine holds a Bachelor’s degree in jazz piano from
flutter tongue, and many glissandi that have an important Kyiv Glière Music College, a five-year degree in compo-
thematic function. si-tion from Kyiv Conservatory and a PhD in composition
The range is d - b''. However, the composer does not from the University of Queensland. She is an active per-
abuse this range. Most importantly, the hornist must have former, often playing her own music. She was the solo-
a good ear for the interval of the major seventh, which also ist on the premiere and the CD recording of Out Loud, her
has a thematic function throughout the work. This theme piano concerto commissioned by the Cornell University
and variations is both challenging and engaging for the Wind Ensemble, and the pianist on Adam Unsworth’s
hornist and the listeners. It has the potential of becoming a CD Snapshots. Her music can be heard on Albany, Cala,
new standard in our recital repertoire. Equilibrium and Summit Records.

Additional articles about the 2020 Composition Contest will appear in subsequent issues of The Horn Call: the Honorable Mention
compositions and a listing of all the works submitted, with composers’ names and addresses.

https://www.facebook.com/Internation-
al-Horn-Society-45360062965

https://www.instagram.com/hornsocietyIHS/

https://www.youtube.com/channel/
UCFqyMb5MbzN17grF2HEIb_g

https://twitter.com/hornsocietyIHS

82 The Horn Call - May 2021

hornsociety.org 83
 Horn Tunes: Free Music for IHS Members
Drew Horn
Horn TunesTunes
Phillips, Editor
DrewDrew Phillips,
Phillips, Editor
Editor
hornsociety.org/publications/horntunes
Dedicated to hornsociety.org/publications/horntunes
Illiana Martinez from the Cor Moto Horn Duo
hornsociety.org/publications/horntunes
Dedicated
Dedicated to Illiana
to Illiana MartinezMartinez from
from the Corthe Cor Horn
Moto Moto Duo
Horn Duo



  



   
 


    

 
                          
                        






 
   
 

 
    
                     
   


     

   



 

  


        
               


           
   

 



 
  
  
 
         
 

        
     
  
               

                   





 


             






                
      






     
  

 

    



     
                 
       


                      
 


   
  


                


                
    
  

             


            

             

 

            
                 
  

          
   

   

     
                

 
        

 

     
                   





                            


    
   
                             
84 The Horn Call - May 2021
 I Horn Tunes


         
      
                              


   

     


 
              
           

      
             

     
       

 
 
!


                
               
   


      
 
  
 



      

                       


  
     
  
!

          



                      
  
!

                 

 

   
"

     
  
    


           


            
   
       
"
  
   

     

                       

 
 
           


hornsociety.org 85
 Recording Reviews
Lydia Van Dreel, Editor
Send discs to be reviewed to Lydia Van Dreel, School of Music and Dance, 1225 University of Oregon, Eugene OR 97403-1225 USA.
Readers interested in obtaining discs reviewed in this column are urged to place orders with dealers or record stores in their area. If local
dealers are unable to assist, contact one of the reputable suppliers such as Tap Music Sales (tapmusic.com), MusicSource (themusicsource.
org), amazon.com, or distributors or artists listed in the reviews.
Horn & Sound. Sören Hermansson. Sören of Gothenburg harbor, where the steam pipes from the
Hermansson, horn; Dana Johnson, voice; boats sometimes create powerful harmonies. Parmerud is
the composer of each track, electronics. known not only for his innovative electronic composition,
Blue Music Group. but also for interactive video installations, acoustic space,
Contents: Marcus Fjellström, Deanima- and stage design.
tor; Leilei Tian, Om; Jenny Hetne, Calls, Joakim Sandgren’s Bifurcations Simples explores, accord-
Undulating; Per Mårtensson, Define; Åke Parmerud, Dark Har- ing to an interview, “the slowest part of my notated tremolo.”
bour; Joakim Sandgren, Bifurcations Simples; Marie Samuels- The live horn contribution to this piece is not horn tone as
son, I Am – Are You? we typically think of it, rather, sounds made by blowing
Renowned Swedish horn soloist Sören Hermansson has through the instrument to create new timbres and vibrations.
recorded seven pieces for horn and electronics that were Marie Samuelsson’s I Am – Are You? includes a human
written for him. Six of the tracks are world premiere record- vocal component, adding a poetic aspect to this collection.
ings, all exemplary of the genre. Hermansson’s performance This work has a remarkably athletic horn part that Her-
is soulful and extraordinarily detailed. Each piece requires mansson performs with precision and strength. As the horn
tremendous skill and flexibility, especially in terms of range, part increases in its complexity, the voice, overlayed on it-
micro-tonality, and extended techniques. All but one of the self, starts insisting “I am the one with the horn!” Further
composers featured on this recording is Swedish. lines describe the gift, the struggle, and the whole effect is
Marcus Fjellström’s Deanimator is a phenomenal work remarkably perspicacious in terms of the internal chatter
that fuses, in the composer’s words, “something organic that some hornists experience.
with the mechanical, the natural with the artificial, the metal This disc showcases Hermansson’s incredible horn
with the flesh.” He further explains, “I have always been playing and his collaborative work with composers over the
fascinated by the relationship between a human perform- past decades. His contribution to horn repertoire is laud-
er and electronic music in performances, and I wanted to able, and this disc is a must-have for anyone interested in
combine these two in an organic, physical, almost visceral music for horn and electronics. - LVD
way, as the electronics track evokes physical aspects such
as the electric, the mechanical and the metallic, juxtaposed Aquarelles. Alexandre Collard, horn;
with the organic and warm physicality of the French horn Nicolas Royez, piano. Label: Paratay
player.” Indeed, this piece is fascinating; as one hears the 190102.
voice of the live performer communicating with, challeng- Contents: Françaix, Divertimento;
ing, and contrasting the electronic medium, it evokes a Canon à l’octave; Debussy, Ariettes Ou-
great sense of mystery and an ineffable feeling of unknown bliées; Jane Vignery, Sonate, Op. 7; Bozza,
spaciousness. En forêt; En irlande; Chant Lointain; Sur les
Chinese composer Leilei Tian’s Om is music meant to cimes; Entretiens.
express integrated opposites. Titled with the Sanskrit Currently solo horn with the Lille National Orchestra,
syllable Om, the piece reflects the three phonemes that French hornist Alexandre Collard has won numerous com-
make up this syllable, symbolizing beginning, duration, and petitions in recent years, including First Prize at the Prague
dissolution. Spring International Music Competition, The International
Jenny Hetne wrote Calling, Undulating in collaboration Horn Society Prize, and the Radio Free Europa Prize. While
with Hermansson. The piece is reflective of nature and he has recorded chamber music previously, Aquarelles is his
has an emergent melody, Vall-låt från Offerdal, a folk tune first solo CD, released in Fall 2020.
used when grazing the cattle in Jämtland, a region in the This recording explores French music of the Twentieth
north of Sweden. Century for horn. Bookended by two pieces by Françaix for
Per Mårtensson’s Define i s, according to the liner notes, horn and piano, the Divertimento and the Canon, this disc
the first piece in a trilogy. The composer uses pre-recorded includes five pieces by Bozza for horn and piano. Certainly
classical music and alters the music and timbres along with En forêt will be familiar to many readers, but to have all five
the live horn sound in the computer for a transformation in one collection is an opportunity to explore more fully Boz-
of the historical material. Wobbly tone generators, fixed za’s works in this genre. Collard’s interpretation of Bozza
pitch sequences, and looping are used in the live horn part. occasionally reflects the jazz influence that the composer no
Toward the end of the piece, the source material is more doubt encountered in Paris.
easily discernable as the Maurice Ravel Pavane. Jane Vignery’s Sonate is a wonderfully heroic and adven-
Åke Parmerud,’s Dark Harbour is inspired by the sounds turous piece for horn and piano, and one that is getting more

86 The Horn Call - May 2021

 I Recording Reviews
recognition within the last few decades. Vignery a Belgian, what has been missing during this pandemic. Thankfully,
was highly influenced by the French composers of her era, artistic director and founder Kathy Brantigan persevered
and this piece fits perfectly in this collection. in producing this disc in spite of the challenges during this
The most unusual selection is the Debussy, originally a time.
song cycle based on poems by Paul Verlaine. The title of the With lots of fun, familiar tunes and a few tracks that chal-
disc, Aquarelles, is taken from this song cycle and refers to a lenge the listener with their complexity and newness, this
style of painting with transparent watercolors. These tran- is an enjoyable CD and wonderful record of the live concert
scriptions work remarkably well on horn. experience! - LVD
Collard plays with great ease and fluidity, and together
with pianist Nicolas Royez breathes life into these beautiful Sonatas for Horn and Piano. Christopher
works. - LVD Leuba, horn; Kevin Aanerud, piano. La-
bel: Crystal Records CD372
Fascinating Brass. Denver Brass. Su- Contents: John Verrall, Sonata for Horn
san McCullough, Lauren Varley, horn; and Piano; Halsey Stevens, Sonata for
David Artley, Tim Allums, Cami Kid- Horn and Piano; Paul Tufts, Sonata for
well-Dodge, Ryan Spencer, trumpet; Horn and Piano.
Joseph Martin, Jeffrey Craig, trombone The works on this CD were originally included on
and euphonium; Andrew Wolfe, bass Crystal Records LP S372, released in 1977. The remastering
trombone; Michael Dunn, Emanuel Jester III, tuba; Joey of this disc is timely, as Christopher Leuba passed away in
Glassman, percussion; Warren Deck, Conductor. Label: 2019, after a long, illustrious career.
Denver Brass Publications DB8842 Born in 1929, Christoper Leuba played with the Pitts-
Contents: Gershwin/arr. J. Fredericksen/J. Van Hoy, burgh Symphony at the age of 19. He later was principal
Fascinating Rhythm; An American in Paris; Manning Sher- horn of the Minneapolis Symphony Orchestra (later named
win/arr. J. Craig, A Nightingale Sang in Berkeley Square; the Minnesota Orchestra) from 1954-1960 before being
Thelonious Monk/arr. J. Fredericksen, Straight, No Chaser; chosen by Fritz Reiner to succeed Leuba’s teacher, Philip
Steve Wiest, New Seasons; George’s Dilemma; Lalo Schifrin/ Farkas, as principal horn in the Chicago Symphony. Leuba
arr. K. McCarthy, “Mission: Impossible” Theme; various com- resigned in 1962 to return to the Minneapolis Orchestra. He
posers/arr. J. Fredericksen, A Tribute to Frank Sinatra; Tra- also played frequently with the Philharmonica Hungarica,
ditional/arr. J. Fredericksen, Joshua Fit The Battle of Jericho; and made many recordings with that ensemble. He then
Paul Desmond/arr. J. Craig; Take Five; arr. J. Frederick- taught horn at the University of Washington and played
sen, Glenn Miller Medley; Irving Berlin/arr. J. Fredericksen, with the Soni Ventorum Wind Quintet. Leuba is well known
Puttin’ on the Ritz; Prima & Mundy/arr. J. Fredericksen, for many treatises on horn playing and his book, A Study
Sing, Sing, Sing! of Musical Intonation. [Leuba’s obituary appears in the May
Formed in 1981, the Denver Brass has recorded 29 2020 issue of The Horn Call.]
albums. With 13 brass musicians and percussion, the These horn sonatas are by American composers John
ensemble performs arrangements and original works in Verrall (1908-2001), Halsey Stevens (1908-1989), and Paul
many genres, including classical, jazz, Broadway, Latin, Tufts (1924-2004). John Verrall taught composition and
and multi-cultural fusions, and explores new sounds such music theory at the University of Washington from 1948
as brass with bagpipes, steel drums, hand-bells, fiddles, and until his retirement in 1973. His sonata is dedicated to John
voices. This disc was recorded live at the Newman Center for Barrows. Halsey Stevens was a composition professor on
the Performing Arts right before the pandemic shutdown. the faculties of Syracuse University, Dakota Wesleyan
In addition to brass ensemble arrangements of many clas- University, the University of the Redlands, and then the
sic jazz tunes, two new, original works are by Steve Wiest, University of Southern California until his retirement. His
New Seasons and George’s Dilemma. Wiest is a Grammy-nom- sonata is dedicated to George Hyde. Paul Tufts, born in
inated trombonist, composer, author, and cartoonist. For the Seattle, served in the US Army from 1943-1946 and attend-
New Seasons commission, Wiest was asked to write a work ed the Cornish School of the Arts where he was awarded
informed by the Baroque era, and he chose to model the the school’s first diploma in music composition. He then
piece after Vivaldi’s Four Seasons, but to use harmonies more attended the University of Washington and played horn in
associated with Stravinsky, Copland, and the modern jazz the Seattle Symphony from 1950-1960, after which he joined
tradition. George’s Dilemma is a moody tuba solo, inspired the faculty of the University of Washington, teaching music
by Wiest’s childhood and shared birthday with George theory and composition until 1989.
Washington. According to the press release accompanying All three of these works have a similar mid-century
the CD, Wiest felt life-long angst at watching Washington American expressionist style, with angular tonality and
and Lincoln’s birthday holidays rolled into one “President’s muscular sense of phrasing and architecture. While the
Day” holiday. recording quality reflects the limits of technology in 1977,
Listening to a live recording, with audience reaction one can still enjoy Chris Leuba’s liquid tone and lithe
and applause, brings one back to the memory of what live phrasing. - LVD
music felt like and engenders a melancholic yearning for

hornsociety.org 87
Recording Reviews I
Eponymous. Fine Arts Brass Quintet. dozen short motifs on the chalkboard, and assigned stu-
Robert Henderson, horn; Anthony Plog, dents to construct a short musical page out of the fragments.
Russ Kidd, trumpet; John Daley, trom- After the class, he realized that these motifs had musical
bone; Alan Johnson, bass trombone; interest, and they became the basis for this work.
Barbara Bing-Storm, soprano. Crystal This is an excellent collection of great works for brass
Records CD205. quintet, expertly performed by the Fine Arts Brass Quintet,
Contents: Ingolf Dahl, Music for Brass Instruments; and would be a recommended addition to anyone interested
Anthony Plog, Four Sierra Scenes; Robert Linn, Quintet for in the genre. - LVD
Brass Instruments; Donal Michalsky, Fantasia sopra M.F.V.;
Fantasia alla Marcia. Müller Woodwind Quintets. Richards Wind
The Fine Arts Brass Quintet was formed in 1968 by five Quintet. Douglas Campbell, horn; Israel
free-lance brass players in the Los Angeles area. The group Borouchoff, flute; Dan Stolper, oboe; Elsa
was active until 1990, and this recording was originally on Ludewig-Verdehr, clarinet; Edgar Kirk,
Crystal Records LP S205 from 1980. This CD was digitally bassoon. Crystal Records CD252.
remastered and released in 2020. Contents: Peter Müller, Quintet No. 1
Ingolf Dahl’s Music for Brass Instruments is one of the in EH; Quintet No. 2 in C Minor; Quintet No. 3 in A
seminal twentieth-century works for brass quintet. With This recording was originally released on Crystal Re-
its rich sonorities, expressive melodies, and the virtuosity cords LP S252 in 1976, remastered and re-released on CD in
required of the players, this work delights both performers 2020. The Richards Wind Quintet was one of the first resi-
and audiences. According to the liner notes, the fugue sub- dent wind quintets in the United States. Organized in 1948,
ject of the last movement is numerically based on phone the founding members were the faculty at Michigan State
numbers of a close friend of the composer, and the phone University, and the quintet was named for Lewis Richards,
number of the Universal Studios music department. Dahl, the distinguished harpsichordist who founded the MSU
who fled from Nazi Germany first to Switzerland and then Music School in 1926. The group was active until the late
to the US, immediately found employment in the Holly- 1980s, when retirements brought the group’s activities to
wood film studios as a pianist, arranger, and composer. an end.
He served on the faculty of the University of Southern This recording explores the wind quintets of Peter Müller
California from 1945 until his death in 1970. (1791-1877). Müller is mentioned only briefly in English-
Anthony Plog, trumpet player in the quintet, is also a language sources. The most detailed account of his work
prolific composer. His Four Sierra Scenes features sopra- is found in the Hessische Biographern by K. Schmidt, 1919.
no Barbara Bing-Storm. He writes of the work, “My main Müller was born in Kesselstadt near Hanau in 1791 and
intent while writing this work was to convey in music the educated at the University of Heidelberg. While he was
feelings I have experienced many times while camping in a theologian and rector, in 1817 he became the first music
the High Sierras. Some of these feelings have been mag- teacher in the seminary in Friedberg. Here, he composed
nificently expressed in the writings of John Muir, and so choral works, organ preludes, string quintets, and children’s
I have used excerpts from his diary as the text for the songs. In 1839, Müller accepted a pastorship in Staden, but
work. The form of each movement is free and is completely remained active as a composer, writing two operas. It is
dictated by the mood of the prose.” likely that the three woodwind quintets were written here
Robert Linn’s Quintet for Brass Instruments was writ- as well. They were first published by Ruhle in Leipzig in
ten at the MacDowell Artists’ Colony in New Hampshire in 1874, three years before Müller’s death in 1877.
1963. With its roots in jazz, the first movement is in a true The works were likely performed and enjoyed in the
swing style, the second movement hearkens back to a more eighteenth and nineteenth centuries, as they were reis-
classical style, and the third movement returns to a synco- sued by Prager and Meier in Bremen around 1901, but they
pated theme. gradually disappeared from the repertoire after that. In the
Donal Michalsky’s two works, both fantasias, were twentieth century, British bassoonist William Waterhouse
written separately in 1964 and 1965 for the Los Angeles found a set of the Bremen parts in a small Paris music shop,
Brass Society and premiered at the Rare Music Society in and they were eventually reissued by the London music
Orange County, California. Fantasia sopra MFV is based on firm Musica Rara.
the melody of a popular tune that Michalsky couldn’t get Listening to these quintets, it a pleasure to hear Douglas
out of his head. He composed this as an ear-worm exorcism. Campbell’s deft horn playing as he effortlessly navi-
The pop tune provides both melodic and harmonic struc- gates the classical scales and arpeggios in this music. To
ture to the piece, but is obscured by dense dissonances and hear him match the speed and lightness of his woodwind
rhythmic obfuscation. Fantasia alla Marcia began as a com- colleagues is a joy. From the hornists’ perspective, there are
position class assignment for students. Michalsky wrote a some really fun melodic lines and plenty of acrobatic chal-

88 The Horn Call - May 2021

 I Recording Reviews
lenges in these pieces. This music is definitely worth check- Supplemental Review: Eponymous Album. Some
ing out, and this recording represents some of the finest Assembly Required: Justin Stanley, horn; Justin Croush-
quintet playing happening in the US during the 1970s. ore, trombone; Cholong Park, piano; Wolcott Humphrey,
- LVD clarinet; Andrea Baker, bassoon. Label: Odd Pop Records.
Contents: Tyler Kline, Salt Veins; Benjamin D. Whiting,
J.S. Bach – Chorale Preludes. Anneke Formally Unannounced; Ian Wiese, Machinations I; Adam
Scott – Corno da tirarsi; Benedict Preece Schumaker, Click Here; Astor Piazzolla/arr. Some Assembly
– Organ. Plumstead-Peculiars www. Required, Four Seasons of Buenos Aires.
plumstead-peculiars.com In the last issue (Vol LI, No. 2), a work was mistaken-
Contents: J.S. Bach, “Nun freut euch, ly omitted from this review, Ian Wiese’s Machinations I for
lieben Christen g’mein,“ BWV 734; “Jesus Clarinet in BH, Horn in F, Trombone, Piano. This composi-
bleibet meine Freude“ (Jesu, Joy of Man‘s
tion, commissioned by Some Assembly Required, fits in
Desiring) from Herz und Mund und Tat und Leben BWV 147;
well with the album as a whole. Its recurring theme fea-
“Wo soll ich fliehen hin,“ BWV 646; “Herr Christ, der einge
tures upwardly propulsive triads, raucous piano writing,
Gottessohn,“ BWV Anh.55; “Wir Christenleut hab‘n jetzund
generous use of stopped horn, and a reedy clarinet topping,
Freud,“ BWV 710; Fantasia super “Christ lag in Todes Ban-
all of which allude nicely to the sound of a Piazzolla tan-
den”, BWV 695; “Meine Seele erhebt den Herren,“ BWV 648;
“Wachet auf, ruft uns die Stimme“ (Sleepers Awake), BWV go. The slower, sparser development sections include some
645; Fantasia super “Valet will ich dir geben,“ BWV 735. satisfying augmented chordal movements as well as great
Among the most interesting projects to emerge from the use of silence. Overall, Machinations I is a cleverly construct-
musically stifling period of the coronavirus pandemic has ed piece, well-written for this combination of instruments,
been this CD by the ever-resourceful and enquiring Anneke and technically not for the faint of heart!
Scott. The corno da tirarsi is an instrument that appears in - Leander Star, University of Mississippi
several Bach scores doubling the soprano choral lines, but
of which no example survives. The Swiss instrumentmaker Correction: Through Glass: Works from the Other Side
Egger has created a conjectural reconstruction which looks of the Mirror. David Wetherill, horn; Ovidiu Marinescu,
rather like an unholy alliance between a helical horn of cello; Anna Kislitsyna, piano; Gloria Cheng, piano; Gram-
Bach’s time and a soprano trombone. ercy Trio (Sharon Leventhal, violin; Jonathan Miller, cello;
In this recording, in which the two players perforce Randall Hodgkinson, piano); Lukas Klansky, piano; Fran-
worked in different locations, the organist Benedict Preece cesco D’Orazio, violin; Curt Cacioppo, piano; Trio Casals
plays a sampled organ sound from St. Bavo Church, Haar- (Ovidiu Marinescu, cello, Sylvia Ahramjian, violin; Anna
lem. Interesting though the hardware is – as the sleeve note Kislitsyna, piano). Navona Records nv6289.
puts it, “matching a ‘virtual’ instrument with a ‘conjectur- Contents: Ovidiu Marinescu, Rorrim No. 1. A Short
al’ one” – this would be of little more than academic inter- Essay; Bruce Babcock, Alternative Facts; Alla Elana Cohen,
est if the performances weren’t of the highest quality. Which Three Film Noir Pieces; Curt Cacioppo, Trio for Violin, Horn,
they certainly are. The recorded sound is clear and bright and Piano; L. Peter Deutsch, De Profundis Clamavi.
with excellent balance between the two instruments and The reviewer was in error about the absence of liner
the organ sound is a very good match for the corno.
notes. Though there were some general comments on the
Anneke’s playing is a delight, delicately phrased with a
back side, the reviewer didn’t observe a link address at the
warm but projecting tone.
end. Entering that address will give you more informa-
The question of why this early chromatic horn failed to
tion specifically on the works included on the disc. For
take off is a fascinating one, but Egger and Anneke Scott
those interested in more content on the works included,
have certainly made a persuasive case for it in this project,
and I recommend this disk highly, not just to anyone with an visit navonarecords.com/catalog/nv6289. The reviewer
interest in the early history of the horn, but also to anyone regrets the error.
who loves beautiful music beautifully played! - Eldon Matlick, University of Oklahoma
- Simon de Souza, Royal Birmingham Conservatoire

hornsociety.org 89
 Book and Music Reviews
Heidi Lucas, Editor

R
eview copies of books and sheet music should be sent to encouraged (but not required) to send pricing, composer biograph-
Dr. Heidi Lucas, Book and Music Reviews Editor, De- ical information, program notes, and/or representative recordings
partment of Music, Indiana University of Pennsylvania, if available, live or computer-generated. Generally, review copies
Cogswell Hall, Room 103, 422 South 11th Street, Indiana PA and recordings will not be returned, though special arrangements
15705-1071 USA. The Horn Call does not guarantee a review may be made by contacting the Book and Music Reviews Editor.
for every publication received; reviews will be published at the Also, copies of the texts of individual reviews may be requested
discretion of the editorial staff. Only complete printed copies of by writing the Editor at the address above or via email at Heidi.
publications will be reviewed; photocopies or partial copies will [email protected], but no reviews will be available in advance of
not be reviewed or returned. Publishers of musical works are also journal publication.

Books the many incredible sections in which he’s performed), or

Through the Door: A Horn Player’s Journey by David Kreh- that he’s telling you about them over a coffee during some
biel with R.A. Krause. Paperback ISBN: 978-0-578-73972-4, stolen moment where the rest of the world stops, and you
eBook ISBN: 978-0-578-73973-1, 2020, $16.99 (paperback)/ can think about horn-playing and life. He isn’t gossipy
$14.99 (Kindle). or salacious; he tells it like he sees it, and that straightfor-
I tried not to read the buzz, reviews, or comments that ward approach resonates above the noise around us. It
have been wide-spread since the release of David Krehbiel’s doesn’t hurt that he’s had a fantastic life, met and worked
new book, Through the Door: A Horn Player’s Journey. I hoped with some of the figures that seem larger than life to us
to read it with fresh eyes, a mind completely open to what- (though admittedly, he might also fall into that category),
ever might be in the pages, and a neutral baseline. Of course, and he is quick to acknowledge all of this and also to share
this was difficult since there were so many passing com- the experiences, approaches, and advice that have been
ments (raves, really) by colleagues who had already read the useful to him in a variety of settings. He also offers his
book and were excited to talk about it. thoughts on many items that fall outside the music world,
I finished reading the book in two days, purely because and this only extends his credibility; what we read is what
I couldn’t wait to see what was next. At times, I feel that we get, and that includes a full picture of Krehbiel’s life
mentioning the challenges that face us in 2021 will date a to this point.
review, so I’ve tried to steer away from those references. In some ways, reading this book might feel like that
However, I recognize this moment, in this time, and the op- time when you met someone you had admired from a
portunity to read this book, feels, in many ways, fortuitous. distance, and you realized not only were they on your
The current world feels simultaneously more distanced pedestal for all of the reasons you already knew, but in real
and yet more accessible (due to the incessant presence of life, they are also a genuine, down to earth, real human
the synchronous virtual meeting format), so it can be hard being. I’ve never met Dave Krehbiel; I’m certainly aware of
to know where authenticity lies. his achievements and have enjoyed his playing for years,
And yet, here, through Krehbiel’s memoires, we get a but I feel as though this book has introduced him and made
sense, almost as though we lived it in his shoes. The format him a friend. And that kind of connection is exactly what’s
of the book is accessible; it is divided into short vignettes, needed now. -HL
each with its own label, which make it easy to read, put
down, and pick up again, without feeling you’ve missed Horn and Piano
something or need to re-read a full chapter to get reacquaint- Snapshots for horn and piano by Catherine Likhuta. Avail-
ed. Krehbiel and Krause have clearly planned the structure able from the composer: www.catherinelikhuta.com, 2012,
and flow of the book, and it’s well executed. The writing is $20.
clear, direct, and oftentimes laden with dry humor, which Snapshots was commissioned by Adam Unsworth as
when coupled with many of the accounts of pranking, can the title track for his 2013 album of new music for horn.
evoke a chuckle or a burst of laughter. The premiere performance was on April 24, 2012, at the
Appendices at the back of the book go into greater University of Michigan. According to the program notes,
detail about Krehbiel’s approaches, philosophies, ideas, and “Adam requested an over-the-top, bright virtuosic piece – a
tips that he has mentioned throughout the body; it is easy fanfare of sorts.” Likhuta also mentions that her concept for
to navigate to those areas for more detail about the intri- the piece was to use “snapshots of her favorite features of
cacies of the concepts that have shaped Krehbiel’s life and Adam’s playing combined with similar features of her piano
playing. Like the rest of the prose in the book, these are technique and characteristic elements of her compositional
presented in clear, concise language, making it easy to grasp style.”
the concepts and have a plan for how to implement them. This single-movement work is five minutes in length
The index also helps facilitate navigating the text. and utilizes a three-octave range for the horn (written d -
Krehbiel’s accounts offer just the right balance of truth, d'''). The overall feel of the piece is energetic, as notated at
detail, and emotion, so that it’s possible to feel as though the beginning of the piece “with confidence” and an initial
you lived these moments alongside him (perhaps in one of tempo marking of 168. The middle section marked “sneaky

90 The Horn Call - May 2021

 I Book and Music Reviews
and angry” is contrasted by a thinner texture and longer None of the parts of any of these movements is partic-
note values to create an impression of a slower tempo. The ularly inaccessible, though the first horn does have a c''' in
hornist is required to glissando (slide) and flutter tongue, as the first movement and occasionally sits in the mid-upper
well as adequately hand stop in the mid-to-low range (d-a'). register for some passages. The rest of the voicing follows
This is a fascinating piece of music that is challenging, the typical orchestral scoring, with third horn as the other
but it could be achieved by an advanced player. Snapshots high horn and second and fourth as the low horn voices.
would work really well at the beginning of a recital or Schaughency does include moments of bass clef (new
following an intermission. notation) in the fourth horn, but frequently notates the
-Benjamin Lieser, University of Central Florida mid-low range in the treble clef. The fourth horn player
should have a reliable and agile range from c' down to the
notes a fourth or so below C, as it often is given the bass
Horn Quartet voice and asked to dance around a fairly large span rather
Jazztets for 4 Horns Set #3: Moments…, Around…, Blue…,
quickly, in the manner of a string bass.
Graduation… arranged by Steve Schaughency. Phoenix
Schaughency helpfully includes Tips for Performance
Music Publications; www.phoenixmusicpublications.com.
at the beginning of the score. In addition to interpretive
881042, 2020, €19.95.
details and advice, he mentions specific recordings for
In his third set of Jazztets, Schaughency features his
reference. It is easy these days to access specific record-
arrangements of pieces that are diverse in style and char-
ings, and listening to them aids in approaching these
acter. He notes in his preface, “…I strive to present piec-
pieces. Schaughency refers to recordings which inspired his
es in diverse styles which can be categorized as jazz by
arrangements; I also found a recording of his own piece on
today’s somewhat vague definitions.” Of the four pieces,
YouTube, in which he plays all of the parts ‒ and he sounds
“Blue Z4” is the only original Schaughency tune; the rest
great!
are borrowed from other composers: “Moments in a Mirror”
Overall, I found this piece to be lots of fun to read with
by Darmon Meador (with whom Schaughency has collabo-
my students, and we all enjoyed the variety among the move-
rated before), Peter Eldridge’s “Around Us,” and “Gradua-
ments. The set works well as is, as a concert piece, and would
tion Waltz” by Tom Kubis. Schaughency further notes that
provide a variety of challenges to a mid-advanced collegiate
he had planned to publish this set with the subtitle “…with
group. Any of the movements would also add a distinct flavor
a little help from my friends” in deference to the access each
on their own to other performance opportunities.
of these composers has given him in order to make publi-
-HL (with thanks to Kirsten Jenkins and Kristina Andrei)
cation possible. Schaughency closes the preface with this
advice: “…have fun and don’t swing too hard!” perhaps
alluding to the fact that the range of the styles includes Horn Ensemble
swing moments, but also broadens the scope. A quick glance Hard to Argue: Concertino for Horn Choir by Catherine
through the score affirms this, as each movement is visibly Likhuta. Available from the composer: www.catherine-
different from the next in terms of notation (time signatures, likhuta.com, 2014, $45.
rhythms, tempi, etc.). Duration: approx. 10 min.
The most complex for sight-reading is “Moments in a Catherine Likhuta (b. 1981) is an award-winning com-
Mirror,” since it is brisk and the introductory section shifts poser, pianist, and recording artist living in Australia. Hard
between 7/8 and 6/8 before settling into a more extend- to Argue for five-part horn choir was commissioned by Peter
ed 6/8 groove. However, once you’ve wrapped your head Luff and supported by the Australia Council for the Arts.
around the rhythm, it’s quite catchy and dance-like. In Likhuta describes this work as an attempt to “musically
contrast, the second movement is atmospheric and color- anticipate, reflect on, and develop the emotions that arise
oriented; it’s stunningly beautiful, and the sonority of the in the heat of an argument.”
voicing lends itself nicely to the horn quartet. Hard to Argue features many of the traditional elements
Schaughency’s original “Blue Z4, Way Close (bluesy one expects of horn ensemble literature: extreme registers
four-way close)” is marked Medium Swing and includes across the ensemble, interplay or dialogue between the
many articulations, syncopations, tutti rhythms, and voic- voices, group unisons, and chordal passages. The piece is
ings that may seem familiar, as they are evocative of a through-composed and seamlessly transitions among the
number of “head tunes,” yet the movement is still clear- composer’s interpretation of different argument styles. The
ly original; it’s also fun and really grooves! Schaughency rhythmic and melodic virtuosity is reflective of a dynamic
seems to reinforce the pun in the title when he states that and passionate spoken dialogue.
this is “an original, driving blues.” This whimsy helps rein- Adam Unsworth and the Queensland Symphony horn
force the relaxed mindset that is helpful when approach- section premiered this work in 2014. Due to its high level
ing styles that are less familiar; nice touch on Schaugh- of difficulty, successful performances will require similarly
ency’s part. “Graduation Waltz” is a laid-back jazz waltz professional performers. A recording by the above-men-
that features the tight harmonies and tutti rhythms that may tioned ensemble and a downloadable score are available at
be recognizable even to those who are less acquainted with the composer’s website.
the genre. -Jena Gardner, Western Illinois University

hornsociety.org 91
Book and Music Reviews I
Mixed Ensembles
Second Suite for Trumpet and Horn: Ethical Duets, by Rose- Out of the Woods? Toccata for Horn, Violin and Piano by
mary Sugden Waltzer. New City Music; https://rosemary- Catherine Likhuta. Available from the composer: www.
waltzer.com/rosemary-waltzer-composer, 2019, $16.= catherinelikhuta.com, 2011, $38.
Rosemary Waltzer is a teacher and composer who lives Duration: approx. 13 min.
outside New York City. She has written a number of works Out of the Woods? is a toccata for horn, violin, and pi-
that feature the horn in a variety of settings. This collection of ano commissioned by Adam Unsworth. Catherine Likhuta
duets for horn and trumpet is her second set for this instru- describes her efforts to “reflect the spectrum of emotions
mentation; her first was reviewed in the February 2017 issue and actions of a person being chased.” With this virtuo-
of The Horn Call. The Suite contains five short movements of sic trio, Likhuta departs from the most well-known work
varying characters, which can be performed independently for horn trio by Brahms and takes a more contemporary
or in various groupings. stance, possibly influenced by Ligeti’s Horn Trio, Hommage à
“Opening Day” is an energetic movement comprised of Brahms. Performers encounter expressive markings such as
an active melodic line and a slower-moving supporting line diabolically, agitated, aggressive, ominously, suspicious, etc.
that are traded back and forth between the trumpet and horn Out of the Woods? is a challenging work to master for
as the rhythm becomes increasingly more intricate. “Sep- even the most advanced horn player. Of particular note is
tember” features long lyrical lines reminiscent of a smooth, the required versatility across the low and middle regis-
dance-like character. Waltzer incorporates a number of ters of the horn. Despite a contemporary soundscape, the
unexpected moments with more predictable cadential horn player is asked to extend beyond traditional perfor-
points. mance techniques with only the occasional flutter-tongued
In “Tease Tag” the horn and trumpet chase each oth- passage. In addition to the premiere (available on YouTube),
er. The melody itself is quite simple, with several repeated Likhuta (on piano) recorded with Adam Unsworth and
notes, and the overall effect is playful and fun. This move- Gabriel Bolkosky (violin) on the album Snapshots
ment includes the broadest range of notes for the horn: (Equilibrium, EQ111, 2012). Another version of Out of the
B-gK''. Despite this breadth, the more potentially challeng- Woods? was adapted by Likhuta for horn, flute, and piano
ing aspect of the movement lies in the rhythm. That said, in 2012. Reference recordings in addition to the music are
most all of the movements in this suite are quite accessible available at the composer’s website. -JG
to a moderately advanced player (late high school, early
collegiate level) on both horn and trumpet. “Waltzer” (note
the pun, which undoubtedly refers to both the dance-like,
waltz character, as well as the last name of the composer)
features both the lilting quality of a familiar waltz melody
and a graceful interplay between the voices.
The final movement, “Fanfare and Romp,” is the long-
est. It opens with a stately and sustained open-fifth motive
that is offset by a faster-moving triplet, sixteenth, and eighth
note figure that sounds quite percussive. The opening fan-
fare shifts between these two characters before they seem
to move together in alignment, which leads to the faster-
moving “Romp” section. Although Waltzer marks this
section as “Quick” with the half-note designated at 100,
the writing is graceful and light, and fairly consonant with
regard to the leaps. A moment’s respite is designated mid-
way through the movement with a trumpet measure marked
“Slow,” featuring a downward chromatic line that immedi-
ately returns to the “Quick” character. For the most part,
the horn and trumpet move in similar or tutti rhythm. This
movement calls upon the broadest range in the horn, from
A-a''.
All in all, this piece offers contrasts in character and lots
of fun for both the performers and the audience. -HL

92 The Horn Call - May 2021

 Introducing Eli Epstein’s
Horn Playing from the Inside Out Third Edition

Text is illuminated and enhanced by

22 MRI videos, 7 pedagogical videos,
and 6 recordings of Eli Epstein
demonstrating orchestral excerpts.

eBook available from Apple Books

Print book available from
poperepair.com and paxman.co.uk Watch the author’s internal
biomechanics as he plays the
For more information view Eroica trio on the MRI horn!
“Without a doubt the most eliepstein.com
physiologically correct book
ever published on horn playing.”
John Ericson, HornMatters

Crystal Records, Horn CDs – Many more Horn & other Brass CDs at www.crystalrecords.com
New CD: CHRISTOPHER LEUBA, CD372. Horn Sona- JOHN CERMINARO, former principal, N.Y. & L.A. Philharmonics &
tas by Paul Tufts, John Verrall, & Halsey Stevens. Leuba Seattle Symphomy. “One of the great horn players of our time.” Fanfare.
was principal with Chicago Sym., Minneapolis Sym., Port- CD515: Mozart Four Horn Concertos, with the Seattle Symphony
land Opera, & Aspen Festival. He taught at Un. of Washing- CD679: Schumann, Haydn, Kraft, Steiger, and Lazarof.
ton & played with the Soni Ventorum Wind Quintet. These
works, written for Leuba, are now prominent in horn recital CD676: Beethoven, Hindemith, & Bernhard Heiden: Horn Sona-
literature. “Performances are top-notch. The works bub- tas; also Bozza, F. Strauss, Glazunov, Gliere, Faure, & Schmid.
ble with an appealing melodic facility.” Los Angeles Times CD775: Strauss Horn Concerto #1 (stunning live performance)
plus Poulenc, Doppler, Bernstein, Scriabin, & Gliere. “gloriously robust playing,
FRØYDIS REE WEKRE, former solo horn, Norway Symphony — impeccable precision, stupendously rich and varied tone.” Music Web.
CD377: Schumann, Adagio & Allegro; Tomasi, Danse Profane & Chant
Corse; Chabrier; Cherubini; Saint-Saens; Sinigaglia. “spectacular horn GREGORY HUSTIS, principal 36 years, Dallas Symphony —
playing...gorgeous tone” Fanfare • CD678: Andrea Clearfield, Songs CD770: Lyrical Gems for the Horn, by Fauré, Scriabin, Reinecke,
of the Wolf; Madsen, Dream of the Rhinoceros & Sonata; Berge, Horn- Gliere, Nelhybel, Bozza, Francaix, Marais, etc.. “one of the finest
lokk; Plagge, Sonata; Friedman, Topanga Variations • CD396: Gravity recitals I have ever heard..superb interpretation” Fanfare
is Light Today. Frøydis Wekre, horn, with Roger Bobo, tuba & bass horn, & jazz CD512: Treasures for Horn & Trumpet. w/Giangiulio, tpt. L. Mozart:
ensemble. Kellaway: Morning Song, Westwood Song, Sonoro; Tackett: Yellow Bird. Concerto, Horn & Orch.; Saint-Saens: Romances; Beethoven: Sextet.
DOUGLAS HILL, former principal, Madison Sym. & Prof. UW Madison— CD773: Concertos by Ewazen, Beckel, and Sargon. “[You] will
CD373: Rheinberger & Ries Horn Sonatas; Strauss Andante. “Hill plays want to hear the repertoire and Hustis’ commanding playing.” Gramophone
... with the finesse of a fine lieder singer” San Francisco Chronicle CD675: Schubert: Auf dem Strom; Berlioz: Le jeune Patre breton; Strauss: Alphorn;
CD670: Hindemith, Sonata in Eb; Persichetti, Parable for Solo Horn; Hill, also W.F. Bach, Sargon, Nicolai, etc. “utterly gorgeous” American Rcd. Guide
Character Pieces, Laid Back, & Abstractions. Plus Musgrave & Hamilton.
JOSE ZARZO, principal of Spain’s Gran Canaria Philharmonic.
TEXAS HORNS: CD774. 12 horns of the combined Dallas & CD771: Brahms Trio (violin, horn, piano); Reinecke Trio (clarinet,
HoustonSymphonies.Gregory Hustis & Willliam VerMeulen, horn, piano); Duvernoy Trio No. 1 (clarinet, horn, piano). “Wonderful
principals. Beckel, Portraits of the American West; Turner, recording; a pleasure to hear.” Horn Call
Bronze Triptych; John Williams/DiLorenzo, Hooked on Williams;
CD772: Czerny, Grand Serenade Concertante (clarinet, horn, cello, pia-
Barber/Kaza, Adagio; Thad Jones/Meyer, A Child is Born; Phillip
no); Jenner, Trio (clarinet, horn, piano); Duvernoy, Sonatas (horn, cello).
Braham/Meyer, Limehouse Blues; Tommy Wolf/Meyer, Spring
“Artistry is virtuosic...a delightful release.” Gramophone
Can Really Hang You; Sterling Procter, Amazing Grace. “it is
all spectacular...alive with warmth and presence” Horn Call NFB HORN QUARTET— David Kappy, Jay Wadenpfuhl, Ricardo Almeida, Bill Hoyt.
KRISTIN THELANDER, Natural Horn (valveless), prof. University of Iowa — All former students of John Barrows and prominent principals around the world —
CD677: Beethoven, Sonata in F; plus Kuhlau, Oestreich, von Krufft, & Dauprat. CD241: Hindemith: Sonata for Four Horns; Gallay: Grand Quartet, op. 26; Jay
“Thelander is the best natural horn player I have ever heard.” Amer. Rcd. Guide Wadenpfuhl, Tectonica for Eight Horns. “This is a gorgeous disc.” Fanfare
CDs $16.95. FREE U.S. shipping. Other countries $18 per order. FREE CD with each purchase of three (order 4, pay for 3)
CRYSTAL® RECORDS, 28818 NE Hancock, Camas, WA 98607 USA, phone 360-834-7022, email: [email protected]
Order by phone, mail, or online at www.crystalrecords.com • Many more brass recordings • Hear sound samples at www.crystalrecords.com

hornsociety.org 93
 Media Reviews
Matthew C. Haislip, Editor

T
his column regularly reviews online media, including recordings, livestreamed/archived concerts, music videos, extended play
records, research/educational videos, interviews, podcasts, mobile applications, websites, and more. Send submissions of media to be
reviewed to Matthew C. Haislip at Mississippi State University, [email protected].

Music Video: Mozart’s “Turkish Rondo” // Chris Castellanos – French Horn; June 6, 2020. Chris Castellanos, horns. youtu.
be/kPViMb4QBEs
Wolfgang Amadeus Mozart: Turkish Rondo, arranged while the thicker low voicing provides an energized bassline.
for five horns by Chris Castellanos While the arrangement may initially trick the listener
The well-known “Turkish Rondo,” or “Turkish March,” into underestimating its difficulty, as the piece progresses it
as the third movement of Mozart’s Piano Sonata K331 is becomes clear that it requires a high level of skill. An espe-
called, was composed around 1783 in Vienna or Salzburg. In cially tricky moment can be heard in the D section of the
a nod to the taste of his contemporaries, this final movement Rondo with two horns passing the melody back and forth,
of the sonata, titled Alla turca, imitates the style of Turkish challenging the performers to flawlessly exchange the tune
Janissary or Ottoman military bands. without telegraphing that change to the audience.
In this video, we hear a fantastic arrangement by Boston Other references to the original composition come in the
Brass hornist, arranger, and co-owner Chris Castellanos. embellishments in the lower voices to emulate rolled chords
This arrangement for five horns does an excellent job of in the return of the C section. Castellanos’s playing is exem-
staying true to the lightness and style inherent in the orig-in- plary, the recording quality is crisp and clear, and this video
al piano voicing while restoring the Rondo to its Janissary has the effect of inspiring a longing to perform this challeng-
roots through the brassiness of the horn color and character. ing and rollicking work with one’s own horn ensemble – a
We hear this perfectly illustrated in Castellanos’s writing for sure sign of both an excellent arrangement and performance.
the high and low parts. The upper voices remain light and -Jenna McBride-Harris, Saint Olaf College and
free flowing in a similar style to the original piano voicing, College of Saint Benedict/St. John’s University

Podcast: Music on the Rocks; hosted by Chris Castellanos. Available at: podcasts.apple.com/us/podcast/music-on-the-
rocks/id1525311889, Apple Podcasts, or Spotify Podcasts.
Chris Castellanos has been interviewing musical friends interview, and the sense of eavesdropping on old friends
who are mostly, though not exclusively, horn players since catching up is palpable.
July 2020. I have to admit that the podcast revolution has Perhaps inevitably to a listener from this side of the
rather passed me by (I’m an old-fashioned BBC radio sort Atlantic, the feel of the whole show is very “American.”
of chap here in the UK), so when Matthew Haislip invited I had to resort a few times to Google to understand some
me to review Music on the Rocks, my interest was piqued. references, while some of the acronyms defeated even
The format centres on Chris having a loosely formed that search engine. Nonetheless, I found many fascinating
chat with friends, with the punning title referring to the insights into musical life in America and inspiring tales of
drink (not, as Chris is at pains to point out, necessarily musicians overcoming the odds. Dan Grabois’s description
alcoholic!) each is refreshing themselves with. Even the of his journey into electronic music and how he managed
most dyed-in-the-wool horn geek might find a full hour or to win a grant of over $100,000 for studio equipment was
more devoted exclusively to horns to be too much of a good inspiring!
thing, but under Chris’s benevolent direction, the conversa- Inevitably, Chris’s choice of interviewee is centred on his
tion is wide ranging and covers the subject’s background, home country and friends, but it is to be hoped that as time
their route into music, experiences in the profession and, goes by, he might look further afield. In short, while you may
under pandemic conditions, hobbies, television watching not find many life-changing technical details about horn
habits, and other interests. playing, these podcasts certainly make a relaxing and enjoy-
One of the most revealing questions is, “What might able way to spend an hour in the company of musicians of
you have done if not music?” Who would have expected the highest order and with an interesting and well-rounded
Michelle Baker of the Metropolitan Opera to confess to hav- view of the world.
ing dabbled with being a professional boxer, for instance? -Simon de Souza, freelance horn player and
In the episodes I’ve heard, the willingness of the subjects to specialist horn tutor at Royal Birmingham
talk fluently and freely certainly makes for easy listening. Conservatoire and Wells Cathedral School
Chris keeps only the lightest hand on the direction of the

94 The Horn Call - May 2021

 I Media Reviews
Music Video: Salonen – Concert Etude/A Hat’s Journey; July 5, 2018. Johanna Lundy, horn; Shiang Hwang, animated illus-
tration, “A Hat’s Journey.” youtu.be/7V5p78ojb7Y
Esa-Pekka Salonen: Concert Étude for Solo Horn The combination of Lundy’s expressive and engaging
Esa-Pekka Salonen, accomplished composer, current San performance with Hwang’s whimsical chiaroscuro-like ani-
Francisco Symphony music director, and former hornist, mation aesthetic is the perfect vehicle for taking the view-
wrote his Concert Étude for unaccompanied horn in 2000 er on a journey in pursuit of a hat snatched by the wind.
as a competition piece for the Lieksa Brass Week, a large Since the Concert Étude was written as a competition piece, it
brass festival in his native Finland. Fast-forward to 2018, and showcases all that seems impossible on the instrument,
hornist Johanna Lundy embarked on a mixed media project though a layperson might not guess the difficulty based on
to commission various artists to create films to accompany the ease of Lundy’s playing. She easily soars with ringing
several works for unaccompanied horn from her album, clarity to both the heights and depths of the horn’s range,
Canyon Songs: Art, Nature, Devotion, released that year on and effortlessly maneuvers through an obstacle course
the MSR Classics record label. Lundy, who is both Assistant of extended techniques. One wonders if such flawlessly
Professor of Horn at the Fred Fox School of Music at the executed polyphonics, bends, and see-saws between open
University of Arizona and Principal Horn of the Tucson and stopped notes in rapid movement while double-tongu-
Symphony Orchestra, commissioned artist and anima- ing come as easily to her as playing her BH concert scale.
tor Shiang Hwang to bring visual art to Lundy’s virtuosic Inspired playing and a charming storyline make this film
recording of the Concert Étude, creating the short film “A an excellent candidate for both edification and enjoyment.
Hat’s Journey.” This project culminated in live performances To view other films from the 2018 project, visit Johanna’s
in tandem with the various films, and audience members website at www.tucsonhorn.com/media/.
found “A Hat’s Journey” to be the favorite of the event. -JMH

Online Course: Training in Thirds; 2021. Created, developed, and coached by Jeff Nelsen of Fearless Performance and Katy
Webb of Musician’s Playbook. Available for US $295, three payments of US $99, or a limited-time offer of twelve-monthly
payments of US $27 ordered from the website. optcollective.com/traininginthirds.
Horn virtuoso and teacher Jeff Nelsen is not content effectively and beautifully communicate their story each
to simply teach students the ins and outs of vibrating air time they perform.
through a brass tube and then send them off to the stage The goals of this course are practically worked out
to battle out their nerves. Instead, he has devoted much of through activities that are self-paced, and they consist of
his career to helping musicians achieve something more. small tasks, workbook activities, exercises in self-care, care-
He possesses a record of successfully coaching numerous ful planning, work with a supportive online community,
musicians to overcome their doubts and learn to tell their and training with the course coaches, Nelsen and Webb.
story beautifully with his Fearless Performance training There are over six hours of coaching in the curriculum, and
and method. Professor Nelsen has teamed up with Katy there are numerous course modules within each category
Webb, one of his doctoral students at Indiana University, of the training. The material is presented alongside a posi-
and herself similarly driven to inspire and assist musi- tive and engaging workbook. It is clear that there has been a
cians through her company, Musician’s Playbook, to cre- considerable amount of time, energy, and creative thought
ate a brand-new online interactive course called Training put into producing this course.
in Thirds. Horn players will find this course to be unlike Our music world can be a lonely and terrifying place
anything ever seen in horn pedagogy. Training in Thirds is where fear-based performance is so often the default mode.
a beautifully crafted and endlessly useful online train- This course can help fill a gap in support for many who are
ing program that will surely prove to be a life-changing struggling. If you find yourself continuously frustrated with
resource for many musicians. a lack of consistency from the practice room to the audition
The basic idea of Training in Thirds is working towards stage, or if your musical growth seems to have hit a wall,
performing more consistently and comfortably by dividing you should consider taking this course. You would be hard-
training into three areas: building, sharing, and being. Build- pressed to find a more supportive resource that you could
ing involves building one’s knowledge and skills using take advantage of from the comfort of your home. The
time-proven methods. Sharing is comprised of exploring coaches are so confident in the process that they offer a full
story-telling strategies by sharing the knowledge and skills refund within thirty days if you do not feel that the training
that have been built with other people for their creative is helping you. Thank you for your tireless work to inspire
feedback. Finally, being involves learning to exist in this and support our community, Katy and Jeff!
state of sharpened knowledge and skills so that one can -MCH

hornsociety.org 95
 INDEX OF ADVERTISERS
Gebr Alexander Mainz.............................................................................................Outside Back Cover
Beck Brass Works............................................................................................................................... 35
Kendall Betts Horn Camp................................................................................................................... 70
Birdalone Music................................................................................................................................. 56
Marcus Bonna Cases.......................................................................................................................... 12
Brass Journals..................................................................................................................................... 27
Tony Brazelton/Salzburger Echo........................................................................................................ 39
ChopSaver.......................................................................................................................................... 14
Chop-SticksTM................................................................................................................................... 65
Classified Ad......................................................................................................................................... 8
Clebsch Strap...................................................................................................................................... 10
Crystal Records, Inc............................................................................................................................ 93
dkmusic.biz......................................................................................................................................... 77
Dürk Horns........................................................................................................................................... 9
Eli Epstein........................................................................................................................................... 93
faustmusic.com.................................................................................................................................... 8
Finke Horns........................................................................................................................................ 16
Gianni Bergamo Classic Music Award................................................................................................ 14
Hornswoggle........................................................................................................................................ 7
Houghton Horns, LLC................................................................................................................... 15, 78
IHS 50th Anniversary Book................................................................................................................ 76
IHS Online Music Sales....................................................................................................................... 27
53rd International Horn Symposium.................................................................................................. 79
Join the International Horn Society................................................................................................... 39
David Krehbiel.................................................................................................................................... 77
Ricco Kühn.......................................................................................................................................... 10
S. W. Lewis Orchestral Horns....................................................................................Inside Front Cover
Rafael Mendez Virtual Brass Institute............................................................................................... 83
Dieter Otto......................................................................................................................................... 11
Paxman Musical Instruments............................................................................................................. 75
Phoenix Music Publications................................................................................................................ 10
Rimskys-Horns.................................................................................................................................... 77
Engelbert Schmid GmbH.................................................................................................................... 12
Richard Seraphinoff............................................................................................................................ 48
TrumCor..................................................................................................................... Inside Back Cover
Chuck Ward Brass Instrument Restoration........................................................................................ 17
Wichita Band Instrument Co., Inc...................................................................................................... 24
Wind Music, Inc.................................................................................................................................. 65
Woodstop Mutes................................................................................................................................. 6
Yamaha Corporation of America........................................................................................................ 13

96 The Horn Call - May 2021

hornsociety.org 97
 Why is everybody searching for
the famous Alexander-sound,
if it can be found so easily?
brass wind instruments from Gebr. Alexander
Legendary sound - hand made since 1782

NEW BACK??

The new album of the berlin

Philharmonic Horn Quartet.
Now available on iTunes and
at Gebr. Alexander.

DAS HORNQUARTETT DER BERLINER PHILHARMONIKER

BERLIN PHILHARMONIC HORN QUARTET

F/bb double horn, model 103

Here shown: limited special
edition model to the centenary
of the patented instrument
d by
ente
�res

Four Corners! Stefan Dohr Fergus McWilliam

Gebr. AlexAnder · rhein. Musikinstrumentenfabrik GmbH

98 The Horn
bahnhofstrasse 9 · 55116 Mainz · Germany Call - May 2021
· www.Gebr-Alexander.de