The
Horn Call Index 1971 - 1995
by Phillip Michael Sehmann
From the Editor
Greetings! It is my pleasure to introduce to you this
online index of The Horn Call encompassing Volumes I-XXV,
1971-1995, as well as The Horn Call Annual Numbers 1-6
(1989-1997) by Phillip Michael Sehmann.
This index originally appeared on pages 18-60 of The Horn
Call Annual Number 7 (1995), which volume also includes
several additional indexes and useful cross-references. For
the sake of space on this website, we present the contents
of these issues with their original annotations. This
clearly serves two functions here-- one, to provide this
index electronically for research purposes, and two, to
help those interested in obtaining specific back issues of
our journals.
A word of warning: this is not a database, so your best bet
for searching is to do a text/word search. Happy hunting!!!
Jeffrey L. Snedeker, Editor.
From the Editor
(excerpt from the original publication, 1995)
Although I am usually hesitant to make predictions, I will
take a chance this one time: this issue of The Horn Call
Annual, No. 7, will be the most frequently used publication
of the International Horn Society to date. "Horn Call
Index, 1971-1995," by Phillip Michael (Mick) Sehmann, was
originally the dissertation for his 1990 doctorate at the
University of Iowa. It has been revised an updated for The
Horn Call Annual to serve as a complete index of the first
twenty-five volumes of The Horn Call and the first six
volumes of The Horn Call Annual. Mick is currently the horn
professor at Eastern Kentucky University.
The Horn Call Index is divided into several chapters or
sections: an Introduction, which serves as a description of
the project and the index; an annotated bibliography of all
the articles for the first twenty-five volumes (fifty-two
issues) of The Horn Call; an annotated bibliography of the
first six issue of The Horn Call Annual; an index of
articles by author; an index of articles by subject; and an
index of literature reviews by medium (i.e., horn and
piano, horn in chamber music, etc.) and composer/author.
Readers will find Mick's index to be an invaluable aid in
locating articles and literature reviews that have been
published in The Horn Call since its first issue in
February 1971....Special thanks should go to Mick Sehmann
for sharing with all of us the fruits of what must have
been Herculean labor...
Johnny L. Pherigo, Editor
Horn Call Index, 1971-1995
Phillip Michael Sehmann
Introduction (excerpted)
Since its inception in June of 1970, the International Horn
Society has served as the primary medium for the exchange
of knowledge and insights for players and teachers of horn.
Article II from the Constitution of the International Horn
Society states that "the purpose of this Society shall be
to establish contact between horn players of the world for
the exchange and publication of ideas and research into all
fields pertaining to the horn." With these goals in mind,
the International Horn Society began publishing a biannual
journal in February of 1971, The Horn Call. A refereed
journal, The Horn Call Annual, was added in 1989 and is
issued annually. In 1994 a third issue of The Horn Call was
added, creating, along with The Horn Call Annual, a
quarterly publication. Although the publication has
periodically printed indexes of the major articles
contained in selected volumes or groups of volumes, it has
never issued a complete index of articles, nor has it
included annotations with any of these volume indexes.
The purpose of this monograph is to increase the usefulness
and accessibility of The Horn Call and The Horn Call Annual
by providing an annotated bibliography that will allow
readers easy reference to the contents of all issues
through Volume XXV, No. 3. Annotations are provided for
each article...
The annotations have been kept as short as possible while
still conveying the essential focus of the article. Each
annotation is accompanied by one or more abbreviations that
correspond to the subject headings of the subject index
(see Table 1). This provides users with a general idea of
the primary emphasis of the article...
Limitations
Every attempt has been made to keep the annotations as
objective as possible while still conveying the article's
intent. A conscious attempt has been made to refrain from
criticizing the articles or making editorial comments.
Many of the articles from the early volumes include short
biographical sketches of the author following the article.
Due to the large number of these and their tendency to be
quite short, they are not listed. It is recommended that
users of this bibliography who need biographical
information on these authors use the author index to locate
articles where these biographies might appear. The short
biographical sketches, such as the "In Memoriam" features,
which appear separately from other articles are listed but
not annotated. Lengthier biographies, profiles, and
interviews are annotated when deemed appropriate. Entries
in the biographies category are listed alphabetically by
the person being profiled, unlike the other subject
categories, which are listed alphabetically by author.
Articles which contain biographical information on more
than one individual are listed alphabetically by author.
Summaries of International Horn Society workshops,
financial statements, etc., have not been annotated if the
title of the article clearly states the article's focus. If
the title fails to convey clearly the article's focus, a
short annotation is included. Personnel lists, such as
those under the title "Orchestras around the world," which
contain listings of players but have no accompanying text,
have been included but not annotated. The regular articles
by Christopher Leuba and John Dressler which feature
recordings have been included but have not been annotated
unless they include listings of special significance.
Regular columns such as "News Notes of Members and Clubs,"
"Coming Events," and "Letters to the Editor" are important
features but are quickly out of date, and because of their
eclectic nature are difficult to annotate; therefore they
have not been included. The collections of humorous short
anecdotes, which have appeared under such titles as
"Memorabilia," "Smile," "Afterbeats," or which are
untitled, have also been omitted, as well as photographs,
poems, recital and concert programs, indexes of articles
from The Horn Call, and advertisements. Any entries of the
aforementioned categories containing information considered
to be of particular interest or relevance have been
included. The spellings of names and places used within the
annotations have been kept consistent with those used in
the article being annotated. This has caused a number of
inconsistencies (e.g., Leutgeb vs. Leitgeb, Cologne vs.
Köln). Obvious misspellings have been corrected if
possible.
Category Abbreviations:
Accuracy Acc
Acoustics Acou
Auditions Aud
Bibliographies Bib
Biographies Bio
Breathing Brea
Discographies Disc
Embouchure Emb
Ensembles Ens
Equipment and Modifications Eqmt
Health Hea
History Hist
Humor Hum
International Horn Society IHS
Jazz and Popular Styles Jz
Maintenance and Repair Mnt
Mouthpieces Mthpc
Muting and Stopping MtSt
National Styles and Trends NtSty
Natural Horn NtHn
Pedagogy Ped
Personnel Lists Prsnl
Range Rng
Recording Techniques Rec
Repertoire Study Rep
Technique Tech
Tone Tn
Transposition Trns
Tuning and Intonation Tun
Valves Vlv
Warm-ups Wmup
Workshops, Clinics, etc. WkSh
Miscellaneous Misc
Annotated Bibliography of Horn Call Articles
by Volume and Number
The Horn Call February 1971 Volume I, Number 1
Stevens, Patrick. "A Firm Foundation." 8-12.
Stevens stresses the importance of the fourth horn to the
section's overall tone, intonation, and rhythm and offers
possible solutions to some of the inherent problems of this
position. Among his suggestions are the placing of the
third and fourth players behind the first and second,
learning to play slightly ahead of the beat to compensate
for the tendency of low notes to speak late, and a slight
forte-piano style attack to help emphasize the beginnings
of the notes. A brief discussion of the treatment of the
fourth horn by a number of composers is also included.
(Ens, Rng)
Fox, Fred. "The Key to High Notes on the Horn." 13-14.
Two basic principles are stressed by Fox: the importance of
tightening the middle lip muscles (those used when saying
"mmm") when ascending, and the movement of the tongue from
the low range "aw" to the high range "ee" position. One lip
slur exercise is given that is intended to help strengthen
the middle lip muscles and aid in accuracy and endurance.
(Rng)
Schweikert, Norman C. "Victor Pelissier, America's First
Important Professional Hornist." 15-18.
Although little is known of the hornist Pelissier,
Schweikert is able to piece together a sketchy biography of
this composer, arranger, and professional hornist who was
active in the United States between the years 1792-1817.
(Bio, Hist)
Mead, Allen W. "Holding Device Used by Allan W. Mead."
18-19.
Mead's holding device replaces the little finger hook with
a leather loop. It allows the player to support the horn
with the part of the hand between the thumb and the first
finger, permitting all of the fingers to move unrestricted.
(Eqmt)
Hoss, Wendell. "Gadgets and Gimmicks (as Aids to Playing
the Horn)." 20-22.
A variety of common horn playing tricks are detailed by
Hoss. While many of these will be familiar to experienced
players, this article should be useful for less seasoned
players. A few of the gimmicks listed include amplifying a
metal stop mute with the hand, adding a rolled up paper to
lower the pitch of non-tunable mutes, and tricks for
efficiently emptying water from the horn. (MtSt, Tech)
Mayer, Abby. "Summer Horn Teaching." 23-27.
Mayer describes his approach to teaching at a summer music
camp and discusses ideas for master classes, private
lessons, brass sectionals, and theory classes. (Ped, WkSh)
Schweikert, Norman C. "In Memoriam: Max P. Pottag." 38-39.
(Bio)
The Horn Call May 1971 Volume I, Number 2
Schweikert, Norman C. "In Memoriam: Guy Gibbs." 12. (Bio)
Meek, Harold. "Recordings." 13. (Disc)
Gerstenberger, Richard. "A Teflon-Rim Mouthpiece." 14-18.
Testing was performed to ascertain the viability of using a
teflon mouthpiece rim. Three primary characteristics made
this an attractive choice: it is a low friction (slippery)
material, there is no threat of it causing allergic skin
reactions (which does occasionally happen with standard
rims), and it has low thermal conductivity, making it feel
warmer to the touch than standard mouthpieces. In testing
against a normal, identical rim, it proved to be superior
in a variety of temperatures and produced smoother and
easier lip slurs. Dry lip arpeggios were much easier,
except in the low range, and wet lip arpeggios were
improved in all registers. Tone color was perceptibly
darker and fuller. Gerstenberger ascribes this to the
teflon's ability to produce weak harmonics at a stronger
level than the standard rim. (Mthpc)
Meek, Harold. "The Horn!" 19-20.
Meek strongly advocates using the term "horn" rather than
"French horn." (Misc)
Saxton, S. Earl. "Singing on the Horn." 22-35.
The technique of letting the vocal folds vibrate
sympathetically with the primary vibrations of the
embouchure is advocated by Saxton. This is said to add
resonance to the sound as well as reduce the amount of air
required for a good tone, thus enabling the player to
reduce mouthpiece pressure and increase endurance. Saxton
also discusses his theories on the need for a 2/3-1/3
mouthpiece placement and his concept of breathing being
supported from the legs and feet. (Brea, Emb, Tech, Tn)
Uggen, Stuart J. "Simple Study to Help in Transition from
Single F Horn to Double Horn." 39.
Uggen provides a simple exercise intended to get students
accustomed to using the thumb valve. (Ped, Tech)
Robinson, William C. and Joseph A. White. "Formation of the
International Horn Society." 40.
A brief background on the June 1970 founding of the
International Horn Society is provided. (IHS)
Schweikert, Norman C. "Profiles: Arthur David Krehbiel."
43. (Bio)
Schweikert, Norman C. "Profiles: Dale Clevenger." 43-44.
(Bio)
Schweikert, Norman. "Gumpert, not Gumbert!" 45-46.
Using a variety of sources, Schweikert concludes that the
spelling Gumbert, used on all of the great horn teacher's
published works, is incorrect and should read Gumpert.
(Bio, Hist)
Cecil, Robert. "Comrades." 46-47.
The author reminisces about a chance encounter with a
European horn player and discusses the common bond between
all hornists. (Misc)
Grieve, Alexander. "A Letter from Dennis Brain." 48-49.
Grieve shares a letter from February 1953 in which Brain
describes his Raoux horn. A photograph of the horn is also
included. (Eqmt, Misc)
Fox, Fred. "Playing a Simple Crescendo-Diminuendo on Middle
'g'!" 50-52.
Fox discusses a simple eight-count crescendo-diminuendo,
listing common problems encountered (excessive brassiness,
uneven sound quality, etc.) and some possible solutions.
(Ped, Tn)
Pyle, Robert W., Jr. "A Theory of Hand-Stopping." 53.
Pyle, an amateur horn player and an engineer at the
Acoustics Research Laboratory at Harvard University,
briefly explains his theory of the acoustics of
hand-stopping. (Acou, MtSt)
The Horn Call November 1971 Volume II, Number 1
Leuba, Christopher. "Recordings." 13-17.
Intended as an addendum to Brisbin's Compendium of Horn
Literature, Leuba provides a list of recordings that is
organized by composer and includes label and record
numbers, as well as the performing artist. (Disc)
Paul, Ernst. "Hunting Music in Austria." 32-39.
This is a reprint from Österreichische Musikzeitung and
includes both the original German and a translation by
Bernhard Brüchle. The author traces Austrian hunting music
from its beginnings to the 1950s looking at such things as
the hunting treatises of the fourteenth century and various
instruments, including the alphorn. Local and regional
differences in signals are discussed, and a number of
musical examples are given. The evolution of hunting music
from signals to the fanfares of the many Waldhorn-clubs of
the late nineteenth century is described as are the pre-
and post- World War II attempts to preserve pure Austrian
hunting music. (Hist, NtHn)
Schweikert, Norman C. "Profiles: Lorenzo Sansone." 40.
(Bio)
Schweikert, Norman C. "Profiles: Harold Fricke." 41. (Bio)
Klinko, Albert. "Using the 'A' Horn." 42-45.
The author discusses the benefits of using the B-flat/A
horn and includes a fingering chart and a number of helpful
hints. (Eqmt, Tech)
McConathy, Osbourne. "Virtuosity." 46-48.
McConathy explores the concept of virtuosity, warning
against a return to the virtuosity-for-its-own-sake of the
early nineteenth century, stating that "true virtuosity is
based on a beautiful tone and true musical expression."
(Hist, Misc)
Strucel, George. "Maintenance of the Horn." 49-53.
This article briefly describes the basics of horn
maintenance. It deals primarily with finish and rotors, but
does briefly touch on the problem of loose slides and
cleaning, both home and commercial. (Mnt, Vlv)
Tuckwell, Barry. "The Horn Week at Pomona College." 54-55.
Tuckwell highlights the activities at the "horn week" at
the Third Claremont Music Festival at Pomona College.
Included is a description of the testing of twelve
different makes of horns. (Acou, Eqmt, WkSh)
Henderson, Malcolm C. "The Horn Tests at Pomona: Some
Results." 55-57.
Results of the testing of twelve different makes of horn
are presented in table form and briefly discussed. (Acou,
Eqmt)
Jaenicke, Bruno. "The Horn." 58-60.
In this humorous look at the horn and horn playing,
Jaenicke discusses its history and the many difficulties
encountered by hornists. (Hum)
Jones, Carlberg. "The Horn Player's Right Hand." 61-68.
The author discusses the history, mechanics, and acoustics
of right hand use. Jones explores both viewpoints
concerning whether stopping raises or lowers the pitch,
concluding that it shortens the tube, thus raising the
pitch. He speculates that the gradual lowering of pitch as
the hand is inserted and the subsequent jump upwards is
caused by the hand's movement through the various muting
positions as it approaches the fully-stopped position. This
fully-stopped position, he believes, is the only one that
truly shortens the tube, and thus raises the pitch. (Acou,
Hist, MtSt)
Mayer, Abby and Lloyd Mayer. "Better Breathing." 69-72.
The authors, one a doctor and the other a hornist, describe
"diaphragmatic breathing." Included are illustrations and a
number of exercises intended to either strengthen the
abdominal muscles or teach proper breathing techniques and
increase lung capacity. (Brea)
Meek, Harold. "Horn Personnel in Orchestras around the
World, 1971-1972." inside front and back cover. (Prsnl)
The Horn Call May 1972 Volume II, Number 2
Brieglieb, Arthur and Wendell Hoss. "Music Available for
Ensembles of Horns." 11-18.
Organized by ensemble size, this list gives author, title,
and publisher as well as the addresses of the publishers.
While not a complete list, it does give 250 works or
collections of works. (Bib, Rep)
Meek, Harold. "Horn Personnel in Orchestras around the
World, 1971-1972." 20-21. (Prsnl)
Schweikert, Norman C. "In Memoriam: Anton Horner." 22-23.
(Bio)
Briscoe, Mary and Nancy Corporon. "A Guide to Orchestral
Horn Playing." 34.
This humorous article supplies horn players with a variety
of excuses to use when they miss a note. (Hum)
Decker, James. "Double or Nothing: How Tight Money in
Hollywood is Popularizing Deskants and Tuben." 36-41.
Decker looks at the trend towards using these alternative
instruments in Hollywood studio recordings. This movement,
begun in the early 1960s, offers composers a wider variety
of sounds but forces players to become adept at doubling on
more than one instrument. (Eqmt, Jz, Rec)
Erlenbach, Julius. "The Lower Register and the Young Horn
Player." 44-46.
Erlenbach looks at the often neglected low range of young
horn players, advocating its use as a way to develop
improved breath support, proper embouchure, clean attacks,
full tone, and increased high range. Included are three
short low range exercises. (Ped, Rng)
Seiffert, Stephen L. "The Technique of Hand Stopping."
47-51.
This article emphasizes the importance of using the
harmonic series when determining stopped fingerings,
pointing out that hand-horn tutors give hand positions for
specific harmonics regardless of crook length. The varying
views of Coar, Gregory, and Blaikley are investigated as
well as those of a mechanical engineer who specializes in
the action of gases in a partially closed tube. Also
included is a B-flat fingering chart for stopped notes and
a description of a simple experiment which suggests that
"when the pitch is lowered through occlusion of the bell,
the amount of lowering possible is determined by the spot
where the occlusion takes place and by the harmonic being
lowered." (Acou, MtSt)
Dunn, Richard. "Linguistic Notes on Brass Technique."
52-53.
Dunn looks at the practice of using speech as a guide for
proper articulation, tone color, or embouchure formation.
The article focuses mainly on the consonant sounds, such as
t and d, and their use in articulation. (Ped, Tech)
Schweikert, Norman. "Horns Across the Sea." 54-59.
The Chicago Symphony's first-ever European tour, a
forty-one day trip which began August 26, 1971, is
chronicled. (Ens)
Trenner, Franz. "Franz Strauss." 60-65.
This is a reprint of a 1955 article which appeared in Neuen
Zeitschrift für Musik. Although very short, it is a fairly
detailed introductory biography of this great hornist and
composer. Included is a bibliography of his works for horn
and a facsimile of one of his horn quartets. (Bib, Bio,
Hist, Rep)
Dalrymple, Glenn V. "The Stuffy Horn Syndrome: One Cause
and Its Cure." 66-70.
When the author's horn suddenly develops two stuffy, nearly
unplayable notes, neither he nor several repairmen can
discover the cause. The mystery is solved when an X-ray of
the horn reveals a pocket knife lodged inside the tubing.
(Acou, Mnt)
Janetzky, Kurt. "Metamorphoses of Possibilities." 78-88.
Janetzky traces the evolution of the horn in terms of the
changing aesthetic perception of its tone quality and the
resultant compositional use of the instrument. The
transitions from the Baroque clarino style to Classical
style, and hand horn to valve horn are discussed, as is the
re-mastering of the high range during the twentieth
century. (Hist)
Leuba, Christopher. "Recordings." 89-92.
Recordings featuring Kurt Janetzky are discussed and a list
of forty-five different recordings, primarily of chamber
music, is given. (Disc)
The Horn Call November 1972 Volume III, Number 1
Bate, Philip. "In Memoriam: Reginald F. Morley-Pegge."
18-19. (Bio)
Brüchle, Bernhard. "An Unknown Work for Horn by Richard
Strauss." 21-23.
The "Andante" movement of an unfinished sonata for horn and
piano from 1888 is presented. Facsimiles of the title page
and first page of the manuscript are included. (Hist, Rep)
Winter, James. "Erewhemos and Erewhemos Revisited." 24-52.
A brief description is given of the Fourth Annual IHS
Workshop in Bloomington, Indiana and the Horn Week at
Claremont (Pomona College). Schedules of each are included.
(WkSh)
Balmuth, Jerry. "An Interview with Domenico Ceccarossi."
53-58.
Ceccarossi discusses his approach to playing and teaching,
his recording career, and his current and future projects.
(Bio, Disc, Ped)
Henderson, Malcolm C. "The 1971 Horn Tests at Pomona:
Further Results." 59-61.
A computer analysis of the results of the "double blind"
horn tests (see HC II/1 p. 55) is partially presented. The
two questions dealt with in this article are: 1) is there a
detectable difference between horns made of brass vs.
silver? (results indicated no), 2) can one identify a
particular make of horn by its sound? (results indicated
somewhat). (Acou, Eqmt)
Henderson, Malcolm C. "Random Impressions: Bloomington
& Claremont." 62-64.
Henderson shares his thoughts on events at these two horn
workshops. (WkSh)
Leuba, Christopher. "Recordings." 66-71. (Disc)
The Horn Call May 1973 Volume III, Number 2
Brockway, Oliver. "Mozart and Haydn: Some
Mis-Attributions?" 16-23.
Brockway discusses clues to the true origins of two works:
the Sinfonia Concertante for Winds attributed to W. A.
Mozart and the Concerto in E-flat for Two Horns and
Orchestra attributed to Joseph Haydn. While his research
seems to support the authenticity of the Mozart work, it
casts many doubts on the true composer of the two-horn
concerto. (Hist, Rep)
Dunn, Richard. "Horror Story." 24-25.
Drawing on the recent experience of having his horn stolen,
ransomed, and recovered, the author offers suggestions to
prevent instrument theft and to aid in recovery if theft
occurs. (Misc)
Hoss, Wendell. "Musical Building Blocks (in Excerpts for
the Horn)." 26-27.
Hoss compares musical notation to written language and
demonstrates how music can be broken down into short,
syllable-like groupings, often consisting of only two or
three notes. He stresses that while these groupings should
not be separated in performance, an awareness of their
existence can help add clarity and meaning to the overall
phrase. (Ped, Rep)
Paul, Ernst. "The Viennese Horn-Style." 33-36.
This reprint from the December 1969 issue of
Österreichische Musikzeitschrift traces the development of
the Viennese orchestral sound from its origins to the
present day. The author looks at factors such as the
development of the instrument, choice of crook, composers'
treatment of the instrument, range, and tone color. Both
the original German and a translation by Oliver Brockway
are included. (Hist, NtHn, NtSty)
Saxton, S. Earl. "Do You Blow or Do You Sing on Your Horn."
37-44.
Saxton further explores the concept of singing on the horn
begun in his previous article (HC III/2). Many sources are
cited that advocate the use of a singing style when playing
and the practice of vocalizing to aid in the teaching of
proper breathing, musical phrasing, and sense of pitch.
Also described is Saxton's "Five Categories of Using Air to
Produce Tone," an air-sound experiment developed to show
the relationship between singing/playing and blowing. (Ped,
Tech)
Meek, Harold. "Orchestras around the World." 45-53. (Prsnl)
Leuba, Christopher. "Recordings." 54-57.
Twenty-two various recordings of interest to horn players
are listed, as well as a discography of the Melos Ensemble
(Neil Sanders, horn). (Disc)
The Horn Call Autumn 1973 Volume IV, Number 1
Valkenier, Willem A. "Reflections and Perceptions." 15-18.
Valkenier, former principal horn with the Berlin State
Opera and Boston Symphony, gives an autobiographical sketch
of his life and presents his thoughts on teaching, the
evolution of the instrument, and conductors. (Bio, Ped)
Howe, Marvin C. "Stopped Horn." 19-24.
Howe's article, as well as a letter from Dr. Malcolm C.
Henderson, argues that stopping the horn lowers the pitch
to a new pitch a half-step above the next lower member of
the harmonic series. Howe includes a chart and an exercise
to illustrate his point. (Acou, MtSt, Tun)
Henderson, Malcolm C. "Thinking about Stopping: New
Thoughts on a Horny Subject." 25-29.
The author, a university physics professor, contradicts the
ideas which he supported in Howe's article from this same
issue of the Horn Call. He now argues in support of the
theory that stopping the bell shortens the tube length by
approximately six and one-half inches, thus raising the
pitch by a half-step. (Acou, MtSt)
Leuba, Christopher. "Recording the Horn in the Wind
Quintet." 30-33.
The difficulties of obtaining a clear, balanced, yet
realistic sounding recording are explored. Leuba cites two
key factors, recording environment and microphone
placement, and provides suggestions (with diagrams) for
solving possible problems. (Rec)
Winter, James H., ed. "St. Paul Chamber Orchestra." 34-35.
The purpose and activities of this ensemble are briefly
discussed. (Ens)
Thévet, Lucien. "The F/B-flat Horn with Ascending Third
Valve." 38-41.
Thévet points out the advantages of the ascending third
valve, which has been popular in France for many years.
These advantages, including a more secure high range and
improved intonation on certain pitches, are illustrated
with charts and musical examples. A photo of the author and
his horn are also included. (Eqmt, Vlv)
Pease, Edward. "Performing the Brahms Horn Trio." 44-51.
The author presents an in-depth exploration of manyof the
interpretive and technical problems of this composition.
The areas of balance, articulation, phrasing, and tempo are
discussed in each movement, complete with measure numbers.
(Rep)
Fako, Nancy. "In Memoriam: Carl Geyer." 52-54. (Bio)
Winter, James H. "Claremont: Workshop V." 55-60. (WkSh)
Janetzky, Kurt. "Two Interesting Double Concerti." 66-70.
Johann Beer's Concerto for Posthorn, Jagdhorn, 2 Violins
and Continuo and Michael Haydn's Adagio and Allegro molto
for Horn, Trombone and Small Orchestra are examined. (Hist,
Rep)
Leuba, Christopher. "Recordings." 71-72. (Disc)
Winter, James H., ed. "Orchestras around the World." 77-78.
(Prsnl)
The Horn Call Spring 1974 Volume IV, Number 2
Schweikert, Norman. "Concert Review." 16.
The American premiere of the Concerto Bucolica for Horn and
Orchestra by the Hungarian composer Istvan Lang is
reviewed. Ferenc Tarjani is the soloist and the Budapest
Symphony Orchestra, led by Geza Oberfrank, accompanies in
this performance in Orchestra Hall in Chicago. (Rep)
Rosenthal, Irving. "New Zealand, Music, and the Horn."
17-19.
The state of brass playing in New Zealand, particularly the
lack of adequate horn playing and teaching, is examined.
Causes of this situation are discussed and some possible
corrective measures are proposed. (NtSty)
Rosenthal, Irving. "Music in 'Down Under' Land." 19-21.
The active musical culture of Australia is profiled, from
its eight high-caliber orchestras to its many new opera and
concert halls. Also discussed are the shortage of good
brass teachers and the playing style of the country's
hornists. (NtSty)
Wilder, Alec. "In Memoriam: John R. Barrows." 22-25. (Bio)
Dunn, Richard. "Physical Stress in Horn Playing." 26-28.
This article details the ongoing research of Dr. Steven M.
Horvath, Director of the Institute of Environmental Stress
at the University of California at Santa Barbara. In
response to previous testing which suggested that "the
significantly younger age at death observed in wind
instrument musicians may be attributable in part to the
many years of instrument playing and their inability to
adapt to the severe circulatory stresses," EKG testing was
done on seventy-five subjects at the Fifth IHS Workshop at
Claremont, California. While the results did show signs of
stress, a detailed analysis had not yet been prepared when
this article was written. (Hea)
Seyfried, Erharch. "Meet the Wiener Waldhornverein." 29-30.
This fifty-member ensemble, formed in 1931, draws on the
century-old tradition of Austrian hunting-horn choirs.
Dedicated to preserving the sound of the Vienna F-horn,
they perform works from all eras, using both hunting and
modern horns. (Ens, NtSty)
Wise, Ronald. "Horn Warm Up." 33-34.
Wise stresses the importance of being able to warm-up
quickly. He also encourages players to put the time and
endurance wasted in long warm-up sessions to more
advantageous use. (Wmup)
Seiffert, Stephen L. "Tuning the Double Horn: A Practical
Approach." 35-39.
The author presents a simple, step-by-step method for
tuning the standard double horn which he says can be
utilized by anyone able to play the horn "even in a modest
way." (Tun)
Aebi, Willi. "Stopped Horn." 40-41.
This is a short companion to the article "TheIinner
Acoustics of the Horn" which follows in this issue. Aebi
briefly explains his findings on the question of what
acoustically occurs when the horn is stopped. His research
and experiments support the theory that full stopping
shortens the horn's acoustical length, thus raising the
pitch a half-step. (Acou, MtSt)
Aebi, Willi. "The Inner Acoustics of the Horn." 50-57.
This detailed, tri-lingual article, first published in the
Brass Bulletin, focuses on the acoustical occurrences that
take place when playing the horn. Aebi discusses the basic
acoustics of open, muted, stopped, and partially stopped
horn, and includes a number of charts and diagrams. (Acou,
MtSt)
Leuba, Christopher. "Recordings." 63-64.
A discography of twenty-six recordings featuring John
Barrows is listed. (Disc)
Winter, James H., ed. "Orchestras around the World." 65-68.
(Prsnl)
The Horn Call Autumn 1974 Volume V, Number 1
Winter, James. "Workshop VI." 18-19. (WkSh)
Meek, Harold. "In Memoriam: Max Gustav Hess." 40-42. (Bio)
Schweikert, Norman. "Playing Assistant First Horn." 43-50.
Schweikert offers guidelines for effectively utilizing the
assistant principal hornist. He gives a detailed list of
the duties of the Chicago Symphony Orchestra's assistant
horn and then discusses each of these in detail, complete
with illustrative musical examples. Points to consider when
hiring an assistant are also discussed. (Ens)
Winter, James. "Workshop VII." 51-53. (WkSh)
Hill, Douglas. "The Warm-up as a Complete Session." 54-55.
The author proposes using the warm-up session as both a
true warm-up and a time for building strength, endurance,
technical skills, and confidence. What to include in a
session of this type and the importance of proper pacing
are discussed, and some additional equipment which may be
helpful is suggested. (Wmup)
Leuba, Christopher. "Recordings." 61-62.
Nineteen recordings are listed as well as an addenda to the
John Barrows discography that appeared in the preceding
issue. (Disc)
The Horn Call Spring 1975 Volume V, Number 2
Henderson, Malcolm C. "Musical 'Middletown' Revisited."
12-15.
The author highlights the events at the Sixth International
Horn Workshop held at Ball State University in Muncie,
Indiana. (WkSh)
Stevens, Patrick. "A Dream Come True." 16-25.
Stevens present details of the October 1974 London Horn
Reunion, which honored five of the most influential players
and teachers of the British horn world. Organized by Alan
Civil, Jim Brown, and Ian Harper, this reunion paid tribute
to Francis Bradley, Alan Hyde, Charles Gregory, Sydney
Coulston, and Frank Probyn. Biographical sketches of the
five honorees are also included. (Bio, WkSh)
Grieve, Alexander. "Craftsmanship." 26-28.
The author stresses the importance of gaining a knowledge
of not only music, but also related arts such as painting.
(Misc)
MacDonald, James. "Leutgeb's Legacy." 29-35.
The relationship between Mozart and horn virtuoso Ignaz
Leutgeb is explored. MacDonald examines Leutgeb's life,
playing skills, and influence on Mozart's chamber and solo
works for horn. These works are discussed and a number of
questions concerning dates, origin, and the player for
which each was intended are covered. A chronological list
of Mozart's compositions for Leutgeb and a bibliography is
included. (Bio, Hist, Rep)
Riggio, Suzanne. "You Say You Married a Horn Player?"
36-38.
As an aid to spouses of hornists, Riggio presents humorous
definitions of common horn playing terms. (Hum)
Mansur, Paul. "Hullabaloo in a Horn Bell or the Dilemmas of
a Horn." 39-44.
In an attempt to clear up the confusion over whether
stopping raises or lowers the pitch, Mansur looks at the
differences between stopped horn, echo horn and muted horn.
While he argues that full stopping raises the pitch a
half-step he points out that half-stopping or "echo-horn"
lowers the pitch by a half-step. This, he feels, has given
both sides of this controversy convincing evidence to
support their beliefs, both of which he believes are
partially correct. If there are indeed two "regimes" as
pointed out by Henderson (HC IV/2), then the question may
be merely one of semantics. As an interesting sidelight,
Mansur includes a description and drawing of a
non-transposing stop-mute. (Acou, Eqmt, MtSt)
Merewether, Richard. "The Question of Hand-Stopping."
45-59.
This highly detailed article attempts to give a definitive
answer to the question of what acoustically occurs when
playing the horn, both stopped and open. The author begins
with a thorough look at the harmonic series and then
discusses notes produced from end-blown tubes and pressure
patterns formed in end-blown tubes. The importance of the
bell is discussed and many tables and illustrations are
included. The final section investigates right-hand
technique and its importance in both open and stopped
playing. An experiment is described which demonstrates the
importance of proper hand position when playing in the
upper register. In answer to the question of whether
stopping raises or lowers the pitch, the author argues that
full stopping cuts off tubing and thus raises the pitch.
(Acou, MtSt, Rng)
Leuba, Christopher. "'Stopped' Playing on the Horn." 60-64.
Leuba agrees with the basic ideas proposed by Howe (HC
IV/1) although he cites other factors for their cause. He
argues that stopping lowers the pitch but that "the higher
one goes up the harmonic series, the less the hand affects
the frequency of the open tone." This lowering of pitch, he
believes, is caused by an increase of pressure, or air
density, which causes the vibrations to become slower and
the pitch to become lower. (Acou, MtSt)
Winter, James H., ed. "Orchestras around the World." 65-74.
(Prsnl)
Leuba, Christopher. "Recordings." 75.
Two recordings by hornist Guelfo Nalli are listed. (Disc)
The Horn Call November 1975 Volume VI, Number 1
Leuba, Christopher. "Inserts in the Horn." 12-14.
The practice of placing objects inside the tubing of a horn
to improve response on certain notes is briefly examined.
Although he states that more investigation is needed, Leuba
believes that this practice may alleviate turbulence at
nodal points, increasing stability on certain pitches. The
technique of placing one or two fingers across the bell to
aid the high range is also discussed. (Acc, Acou, Eqmt,
Rng, Tech)
Chesebro, Gayle. "Horn-lokk: An Analysis and Commentary."
15-16.
Sigurd Berge's Horn-lokk for unaccompanied horn is
examined. Chesebro includes an analysis and a number of
performance suggestions. (Rep)
Farkas, Philip and Lawrence Sansone, Jr. "In Memoriam:
Lorenzo Sansone." 17-18. (Bio)
Saxton, S. Earl. "In Memoriam: Malcolm Colby Henderson."
19-20. (Bio)
Schweikert, Norman. "Veteran Hornist Joseph Mourek
Retires." 21.
This short biographical sketch details Mourek's
forty-six-year career with the Chicago Symphony Orchestra.
(Bio)
Leuba, Christopher. "Recordings." 24-27. (Disc)
Wahlström, Ake. "Impressions from the Scandinavian Horn
Workshop." 30-31. (WkSh)
Page, Malcolm. "Scandinavian Horn Workshop." 32-33. (WkSh)
Riggio, Suzanne. "Workshop VII." 42-50. (WkSh)
Matsubara, Chiyo. "Horn Situation in Japan." 51-56.
In this transcript of an address presented at the Seventh
International Horn Workshop, Matsubara discusses the
history of horn playing in Japan, the country's orchestras,
and important players and teachers. (NtSty)
The Horn Call May 1976 Volume VI, Number 2
Barboteu, Georges. "The Evolution of the Horn in France and
Its School." 33-40.
Transcribed from a speech given at the Seventh Annual Horn
Workshop, Barboteu begins with a brief history of the horn
and its development in France. He then examines the
twentieth-century French style from its beginning, marked
by the introduction of vibrato by the virtuoso player and
teacher Devémy, to the present. Instrument types, tone
color and concept, and the importance of exposure to other
styles are discussed, and the discrimination against the
French style by many eminent conductors and musicians is
examined. Barboteu concludes with a section entitled
"Technique" in which he details the French manner of
teaching, both before and during study at the Conservatory.
(Eqmt, Hist, NtSty, Ped, Tn)
Roberts, B. Lee. "Some Comments on the Physics of the Horn
and Right-Hand Technique." 41-46.
Roberts discusses the pressure waves in a horn in terms of
the Schrödinger form of the Webster horn equation and shows
that when stopped, the wavelength is increased, lowering
the pitch. He also shows that proper placement of the right
hand in the bell improves overall intonation and
strengthens high range. (Acou, MtSt, Rng, Tun)
Aebi, Willi. "Stopped Horn." 47-49.
This extension to his previous article (HC IV/2) attempts
to reconcile the differences between his theories and those
of Marvin Howe (HC IV/1). (Acou, MtSt)
Agrell, Jeffrey. "An Indexed Bibliography of Periodical
Articles on the Horn (Part 1)." 51-54.
Subject headings include: 1) accuracy, 2) articles briefly
covering several topics, 3) articulation, 4) beginners, 5)
the B-flat horn (vs. the F horn). (Bib)
Cowan, Thomas. "Profile: Interview with Norman Schweikert."
56-61.
Schweikert discusses a wide range of subjects dealing with
horn playing and the life of a professional musician. (Bio,
Ped, Wmup)
Leuba, Christopher. "Recordings." 73-75.
Fifteen miscellaneous recordings plus discographies of
Domenico Ceccarossi and Hermann Baumann are listed. (Disc)
Winter, James H., ed. "Orchestras Around the World." 76-78.
(Prsnl)
The Horn Call November 1976 Volume VII, Number 1
Hoss, Wendell. "Drills and Devices in Playing the Horn."
9-10.
Hoss suggests a number of daily exercises and variations of
common drills. (Ped)
Root, Rebecca. "The Psychology of Brass Playing." 11-14.
The author discusses many of the psychological games which
are played by brass players. Goals such as being better
than other hornists, attaining perfection, looking good
when playing, or playing so that you can be with your
friends are each discussed and dismissed as being
misdirected. She instead stresses the need for avoiding
over-analysis while striving to attain the most musically
satisfying performance possible. (Hea, Ped)
Riggio, Suzanne. "An American in Switzerland." 18-19.
A series of observations about the First International
Brass Congress and the Eighth Annual Horn Workshop at
Montreux is presented. (WkSh)
Hardin, Burton E. "Tracking the Wild Horn." 20-24.
Hardin tells of his experience recording the LP "Burt
Hardin Plays it All" on which he plays all the parts on a
number of horn ensemble pieces. The difficulties of
multi-track recording are highlighted and many helpful
hints are offered to aid others who may wish to undertake
similar projects. (Rec)
Merewether, Richard. "'Bad Notes' in Horns." 26-27.
In response to Leuba's article on inserting objects into
the horn to fix problem notes (HC VI/1), Merewether points
out that this practice was common early in the twentieth
century when unsatisfactory instruments were in wide use,
but that with today's improved horns, these inserts are no
longer necessary and should be avoided. (Acc, Acou, Tech)
Merewether, Richard. "Even More about Open and Stopped
Horns." 28.
The author attempts to clarify points made in his previous
article (HC V/2) and answer questions raised by Aebi (HC
VI/2). (Acou, MtSt)
Bradley, Mary E. "The Establishment of Performance Practice
for the Horn." 29-31.
The following two questions are analyzed in this article:
1) When did players begin using the right hand to alter
pitches? 2) Why is the modern horn fingered with the left
hand? Bradley theorizes that using the hand in the bell to
manipulate pitches probably originated long before Hampl's
alleged discovery of this method. She also believes that
the traditional manner of holding early horns with the bell
to the player's right led to the adoption of the right hand
for use in the bell and, subsequently, the left for
operating the valves. (Hist, NtHn)
Mansur, Paul. "International Brass Congress I." 32-34.
The gathering at Montreux of the IHS, T.U.B.A.,
International Trumpet Guild, and International Trombone
Association is described and analyzed. (WkSh)
Larkey, Amy. "Gustav Heim and the Waldhorn Quartette."
34-41.
This group, made up of the horn quartet and principal
trumpet of the Boston Symphony Orchestra, was active in the
years around 1900. Reviews of performances, a list of their
repertoire, and a biographical sketch of each player is
included. (Bio, Ens, Hist)
Brophy, William R. "The Use of Third Valve Fingerings on
the Horn." 41-44.
Brophy discusses two general categories where the use of
third valve alone may be beneficial: 1) facilitating
smoothness or ease of fingerings, such as certain grace
notes, valve trills, or quick notes; and 2) improving
intonation. (Tech, Tun)
Agrell, Jeffrey. "An Indexed Bibliography of Periodical
Articles on the Horn (Part II)." 45-51.
Subject headings include: 6) bibliographies of books and
articles on the horn, 7) breathing and breath control, 8)
discographies, 9) the double horn, 10) embouchure, 11) high
register, 12) history, 13) horn chords, 14) horn ensembles,
15) horn players, 16) jazz & rock, 17) lip trills, 18)
low register, 19) maintenance and repair, 20)
manufacturers, 21) methods and studies, 22) mouthpiece, and
23) music for horn. (Bib)
Ceccarossi, Domenico. "Phrasing." 53-54.
Ceccarossi presents a brief history of the art of phrasing
and then laments current players' interpretive skills while
championing his own. (Hist, Tech)
Cowan, Thomas. "Profile: Interview with Charles
Kavalovski." 62-67.
Kavalovski, principal horn with the Boston Symphony
Orchestra, discusses his background and education, both in
music and nuclear physics (in which he holds a doctorate).
He also talks about his concept of horn sound, equipment,
teaching, and his approach to daily practice. (Bio, Ped,
Tn)
Leuba, Christopher. "Recordings." 68-72.
A discography of works for horn and piano compiled by
Douglas Hill is presented. Organization is by composer with
performers and label numbers provided. (Disc)
The Horn Call May 1977 Volume VII, Number 2
Hynninen, Mikko. "Hornplaying in Finland." 12-15.
The state of horn playing in Finland is briefly described
and topics such as the country's orchestras, types of horns
used, and the nation's musical heritage are discussed.
(NtSty)
Tuttle, William. "How I Saved $20.00, Freshened My Room and
Made a Mute." 16.
The process of turning a Renuzit Solid Air Freshener into a
brass transposing mute is described. (Eqmt, MtSt)
Murray, Thomas. "The Four Mozart Horn Concertos." 18-20.
The author looks at the lighthearted relationship between
Mozart and the hornist Leitgeb. He also discusses the two
versions of the fourth concerto, the original and an
elongated version from 1886. (Hist, Rep)
Duskin, Joel W. "The Genius and the Hornist." 20-22.
The friendship of Mozart and the hornist Leutgeb is
discussed. Many of the comments directed towards Leutgeb in
Mozart's manuscripts are included. (Hist, Rep)
Mansur, Paul M., ed. "Orchestral Personnel Performance
Standards and Achievement Criteria." 23.
This is a humorous look at the personalities of the various
sections of the orchestra. (Hum)
Gregory, Robin. "The Horn in Beethoven's Symphonies."
25-31.
Beethoven's use of the horn in his symphonies and his role
in re-establishing it as a melodic instrument is analyzed
in this reprint from the October 1952 issue of Music and
Letters. His choice of crooks, frequency of stopped notes,
voicings, and range requirements are examined, both in his
overall style, and in each of his nine symphonies. (Hist,
NtHn, Rep)
Chesebro, Gayle. "An Analysis of Bujanovski's Sonata for
Horn Solo." 32.
Chesebro presents an analysis of this four-movement work
composed in 1974. Excerpts are shown and some fingerings
are recommended to aid the performer. (Rep)
Earnest, Christopher. "The Horn: Stopped, Muted, and Open."
34-46.
This thorough and well organized article attempts to clear
up confusion about the acoustics of the horn in its
stopped, muted, and open states. A review of the basic
physics of sound waves and standing waves leads into a
discussion of open and closed pipes and wave reflections.
Muted and stopped horn are then discussed, with the author
stating that hand-stopping shortens the tube, raising the
pitch by a half-step. The concluding section explains some
of the mathematics used to reach these conclusions. (Acou,
MtSt)
Agrell, Jeffrey. "An Indexed Bibliography of Periodical
Articles on the Horn (Part III Concluded)." 48-55.
Subject headings include: 24) muting and stopping, 25)
national styles, 26) performance practice, 27) recording
techniques, 28) right hand use, 29) scoring for horn, 30)
terminology: 'horn' vs. 'French horn', 31) tone, 32)
transposition, 33) tuning and intonation, 34) type or make
of horn, 35) valves, 36) warm-ups, 37) workshops and
clinics, 38) miscellaneous, and 39) unclassified. (Bib)
Byrne, Joan S. "Moldau Journey." 65-67.
A mother describes her feelings as her son, a sixth grader
with braces on his teeth, plays Smetana's The Moldau in a
youth orchestra in which the other three hornists are high
school seniors. (Misc)
Leuba, Christopher. "Recordings." 69-72.
Leuba discusses the difficulties of recording an accurate
horn sound and lists nine recordings of varying types.
(Disc, Rec)
The Horn Call November 1977 Volume VIII, Number 1
Riggio, Suzanne. "Insights in F." 22-30.
Riggio chronicles the events of the International Horn
Workshop IX in Hartford, Connecticut. (WkSh)
Orval, Francis. "Lecture at I.H. Workshop IX." 36-39.
Orval speaks of the importance that phonetics may have in
the articulation and expression of musical diction. He
advocates use of the vocal technique of pronouncing
syllables and vowels and then transferring this to horn
playing. (Ped, Tech)
Kirby, Percival R. "Horn Chords: An Acoustical Problem."
40-42.
The technique of producing chords by playing one pitch
while singing another is described. The appearance of
additional notes (sum and difference tones) is explained
and examples of possible chords are given. (Acou, Tech)
Agrell, Jeffrey. "A Tentative Bibliography of Masters'
Theses and Doctoral Dissertations." 44-47.
Agrell lists forty masters' theses and eleven doctoral
dissertations. (Bib)
Leuba, Christopher. "Recordings Section." 48-51. (Disc)
Lauriston, Michael. "New Leadership in the I.H.S.: Douglas
Hill." 52-53.
Incoming IHS president Douglas Hill is profiled and his
thoughts on the direction the IHS will take are discussed.
(Bio, IHS)
Chesebro, Gayle. "Music in Manuscript." 56-58.
Compositions or arrangements available from the following
composers are reviewed: Christopher Leuba, Robert Hall
Lewis, Gordon Stout, Eugene Bozza, Randall Faust, and Erwin
Chandler. (Rep)
Cowan, Tom. "Profile: Interview with Philip Farkas for Horn
Call." 60-68.
Farkas discusses his background, playing and teaching
career, conductors and teachers who were influential in his
career, his philosophy of horn sound, and his thoughts on
warm-up and practice. (Bio, Eqmt, Ped, Tn, Wmup)
Conti-Entin, Carol. "Two Teaching Aids for Horn." 70-73.
The author presents a fingering chart based on the harmonic
series that shows all available fingerings and their pitch
tendencies. She also includes a partial index for the
Pottag-Andraud Selected Melodious Progressive and Technical
Studies for French Horn (blue and red books). (Ped, Tech,
Tun)
Farkas, Philip. "Conquering Nervousness or 'Stagefright'."
74-78.
This reprint of a chapter from Farkas's book The Art of
Musicianship details his ideas on overcoming stagefright.
By repeatedly practicing a passage which has already been
mastered he believes that the mind can be programmed to
help insure performance success. He also proposes
concentrating on relaxation during performances and taking
every available opportunity to perform in public so that
the feeling caused by performance situations become more
familiar and less frightening. (Hea, Ped)
Winter, James H. "Pills and other Medicaments: Caution!"
86-87.
After experiencing the effects of an antihistamine which
caused his upper lip to become severely swollen, the author
recommends always inquiring about possible side-effects
when medications are required. (Hea)
The Horn Call May 1978 Volume VIII, Number 2
Kilpinen, Eero. "Condition of Teeth and Periodontium in
Male Wind Instrument Players in the City of Helsinki."
17-18.
This study of the teeth and their supporting tissues used
214 male subjects, all of whom were members of Helsinki
orchestras. It concludes that there were very few dental
problems caused by wind instrument playing and that those
problems seen were very slight. (Hea)
Irving, David. "Instrumental Wind Playing and Speech
Production." 19-27.
Irving looks at the similarities between the processes used
in correct speech production and wind instrument playing.
The basic fundamentals of both (breath control, relaxation
of the neck, shoulders, and throat, and use of the mouth)
are discussed, and the views of leading authorities in the
instrumental, vocal, and speech fields are compared
concerning these fundamentals. (Brea, Ped)
Beach, Robert F. "A Search for Better Intonation." 28-37.
The author presents a mathematical analysis of the horn's
intonation tendencies relative to the tempered scale.
Tables are included which show the percentage of difference
between the frequencies of the harmonics of the F/B-flat
horn and the corresponding notes of the tempered scale.
Based on this, he recommends ratios of lengthening for each
valve and their combinations. After concluding that the
horn, even when properly tuned, needs much help from the
lip and hand to achieve correct intonation, the author
presents a useful fingering chart showing tendencies (in
percentages) of standard fingerings and then recommends
alternate fingerings for problem notes. Also included is a
fingering system for the five-valve B-flat horn, which the
author recommends as an excellent alternative to the
standard double horn. (Acou, Tech, Tun)
Saxton, Earl. "The Infinite Power of Self-Determination."
38-41.
The necessity of possessing an inner self-determination is
stressed in this article, which encourages teachers to
avoid categorizing students as "smart" or "slow." Teachers
should instead strive to aid students in formulating
positive self-determination. (Ped)
Leuba, Christopher. "The Horn Concertos of Franz Anton
Rossler ('Rosetti')." 42-49.
Leuba presents the main themes from each movement of
Rosetti's nine known concertos for horn and five known
concertos for two horns. Published editions of each are
listed and recordings, with label number and artist, are
given. (Disc, Ped)
Hill, Douglas. "Selected Published Materials for the
Development and Utilization of a Contemporary Horn
Technique." 50-56.
Etudes, unaccompanied solos, and solos with piano that
utilize contemporary techniques are presented. Each
category is organized by difficulty, with all entries
listing the publisher. Entries for etudes and unaccompanied
solos also include short annotations. (Ped, Rep)
Mende, Emily "The Hunting Horn in Europe." 58-64.
This is a two-section article. The first, entitled "The
development of the hunting horn," gives a brief history of
the horn from antiquity to the eighteenth century. The
second, "Hunting horns today in Switzerland," covers the
present day use of hunting horns. Examples of the style of
music played and instruments used are shown, and the
growing popularity of this "hobby" is detailed. (Hist,
NtHn)
Leuba, Christopher. "Recordings." 70-73.
A number of diverse recordings, as well as a partial
listing of jazz and commercial recordings featuring Peter
Gordon, is listed. (Disc, Jz)
Mansur, Paul. "Which is the Properest Horn to Play?" 74-78.
This article addresses the difficulties of selecting a
horn, especially when choosing among the American
manufacturers. Mansur includes a chart which shows the many
similarities between American makes and discusses the
manufacturers' unwillingness to offer optional features. In
response to this, players now routinely customize their
horns, further blurring the distinction between
instruments. This situation is in stark contrast to the
European market, where makers routinely offer a wide array
of options. (Eqmt)
Scharnberg, William. "The Manuscript Katalog Wenster
Litteratur I/1-17b." 79-83.
This important manuscript from the late eighteenth century
includes eighteen works featuring the horn. Composers
represented include Scheibe, Quantz, Förster, Graue, Graun
(who may be the same composer as Graue), Knechtel, Röllig,
Reinhart, Gehra, and possibly Hampel. Scharnberg discusses
the history of the manuscript and theorizes about its date
and place of origin. (Hist, Rep)
The Horn Call November 1978 Volume IX, Number 1
Hopkins, John. "Visit to Melbourne by Hermann Baumann." 18.
Baumann's two week stay as artist-in-residence at The
Victorian College of the Arts is highlighted. (WkSh)
Seiffert, Elaine. "What I Would Like to Tell My Friends
about Workshop X." 20-24. (WkSh)
Damm, Peter. "On the Articulation Marks in Mozart's Horn
Concerti." 37-45.
The decision-making process leading to the proper choice of
articulations in the Mozart concertos is analyzed. The
author points out questionable markings in currently
popular editions and suggests a more appropriate use and
playing style of the various articulations called for by
Mozart. (Hist, Rep, Tech)
Hardin, Burton E. "Komm, Süsser Tod." 47-49.
The score of Hardin's arrangement of this work for eight
horns is presented. (Rep)
Busancic, Dusan. "First Seminar of Horn Players in
Yugoslavia." 50-51.
This one-week seminar was held in Belgrade and featured
Hermann Baumann as its lecturer and conductor. (WkSh)
Seiffert, Elaine. "The Tenth Dream." 52.
Seiffert reminisces about her experiences at past
International Horn Workshops. (WkSh)
Hill, Douglas. "The IHS and Its Progress." 58-60.
Some of the many projects discussed by Hill include
election of new officers, induction of honorary members,
Walter Lawson's instrument improvement committee, the
establishment of workshop performance scholarships, and
improved communication between horn players throughout the
world. (IHS)
Gardner, Gary. "The Selmer Double Horn, No. 77." 68-70.
In this review and on-the-job analysis of Selmer's new
horn, Gardner praises every aspect, proclaiming it to be
"one of the world's finest orchestral horns available."
(Eqmt)
Agrell, Jeffrey. "An Indexed Bibliography of Periodical
Articles on the Horn (Part III Concluded)." 48-55.
Subject headings include: 24) muting and stopping, 25)
national styles, 26) performance practice, 27) recording
techniques, 28) right hand use, 29) scoring for horn, 30)
terminology: 'horn' vs. 'French horn', 31) tone, 32)
transposition, 33) tuning and intonation, 34) type or make
of horn, 35) valves, 36) warm-ups, 37) workshops and
clinics, 38) miscellaneous, and 39) unclassified. (Bib)
Byrne, Joan S. "Moldau Journey." 65-67.
A mother describes her feelings as her son, a sixth grader
with braces on his teeth, plays Smetana's The Moldau in a
youth orchestra in which the other three hornists are high
school seniors. (Misc)
Leuba, Christopher. "Recordings." 69-72.
Leuba discusses the difficulties of recording an accurate
horn sound and lists nine recordings of varying types.
(Disc, Rec)
The Horn Call November 1977 Volume VIII, Number 1
Riggio, Suzanne. "Insights in F." 22-30.
Riggio chronicles the events of the International Horn
Workshop IX in Hartford, Connecticut. (WkSh)
Orval, Francis. "Lecture at I.H. Workshop IX." 36-39.
Orval speaks of the importance that phonetics may have in
the articulation and expression of musical diction. He
advocates use of the vocal technique of pronouncing
syllables and vowels and then transferring this to horn
playing. (Ped, Tech)
Kirby, Percival R. "Horn Chords: An Acoustical Problem."
40-42.
The technique of producing chords by playing one pitch
while singing another is described. The appearance of
additional notes (sum and difference tones) is explained
and examples of possible chords are given. (Acou, Tech)
Agrell, Jeffrey. "A Tentative Bibliography of Masters'
Theses and Doctoral Dissertations." 44-47.
Agrell lists forty masters' theses and eleven doctoral
dissertations. (Bib)
Leuba, Christopher. "Recordings Section." 48-51. (Disc)
Lauriston, Michael. "New Leadership in the I.H.S.: Douglas
Hill." 52-53.
Incoming IHS president Douglas Hill is profiled and his
thoughts on the direction the IHS will take are discussed.
(Bio, IHS)
Chesebro, Gayle. "Music in Manuscript." 56-58.
Compositions or arrangements available from the following
composers are reviewed: Christopher Leuba, Robert Hall
Lewis, Gordon Stout, Eugene Bozza, Randall Faust, and Erwin
Chandler. (Rep)
Cowan, Tom. "Profile: Interview with Philip Farkas for Horn
Call." 60-68.
Farkas discusses his background, playing and teaching
career, conductors and teachers who were influential in his
career, his philosophy of horn sound, and his thoughts on
warm-up and practice. (Bio, Eqmt, Ped, Tn, Wmup)
Conti-Entin, Carol. "Two Teaching Aids for Horn." 70-73.
The author presents a fingering chart based on the harmonic
series that shows all available fingerings and their pitch
tendencies. She also includes a partial index for the
Pottag-Andraud Selected Melodious Progressive and Technical
Studies for French Horn (blue and red books). (Ped, Tech,
Tun)
Farkas, Philip. "Conquering Nervousness or 'Stagefright'."
74-78.
This reprint of a chapter from Farkas's book The Art of
Musicianship details his ideas on overcoming stagefright.
By repeatedly practicing a passage which has already been
mastered he believes that the mind can be programmed to
help insure performance success. He also proposes
concentrating on relaxation during performances and taking
every available opportunity to perform in public so that
the feeling caused by performance situations become more
familiar and less frightening. (Hea, Ped)
Winter, James H. "Pills and other Medicaments: Caution!"
86-87.
After experiencing the effects of an antihistamine which
caused his upper lip to become severely swollen, the author
recommends always inquiring about possible side-effects
when medications are required. (Hea)
The Horn Call May 1978 Volume VIII, Number 2
Kilpinen, Eero. "Condition of Teeth and Periodontium in
Male Wind Instrument Players in the City of Helsinki."
17-18.
This study of the teeth and their supporting tissues used
214 male subjects, all of whom were members of Helsinki
orchestras. It concludes that there were very few dental
problems caused by wind instrument playing and that those
problems seen were very slight. (Hea)
Irving, David. "Instrumental Wind Playing and Speech
Production." 19-27.
Irving looks at the similarities between the processes used
in correct speech production and wind instrument playing.
The basic fundamentals of both (breath control, relaxation
of the neck, shoulders, and throat, and use of the mouth)
are discussed, and the views of leading authorities in the
instrumental, vocal, and speech fields are compared
concerning these fundamentals. (Brea, Ped)
Beach, Robert F. "A Search for Better Intonation." 28-37.
The author presents a mathematical analysis of the horn's
intonation tendencies relative to the tempered scale.
Tables are included which show the percentage of difference
between the frequencies of the harmonics of the F/B-flat
horn and the corresponding notes of the tempered scale.
Based on this, he recommends ratios of lengthening for each
valve and their combinations. After concluding that the
horn, even when properly tuned, needs much help from the
lip and hand to achieve correct intonation, the author
presents a useful fingering chart showing tendencies (in
percentages) of standard fingerings and then recommends
alternate fingerings for problem notes. Also included is a
fingering system for the five-valve B-flat horn, which the
author recommends as an excellent alternative to the
standard double horn. (Acou, Tech, Tun)
Saxton, Earl. "The Infinite Power of Self-Determination."
38-41.
The necessity of possessing an inner self-determination is
stressed in this article, which encourages teachers to
avoid categorizing students as "smart" or "slow." Teachers
should instead strive to aid students in formulating
positive self-determination. (Ped)
Leuba, Christopher. "The Horn Concertos of Franz Anton
Rossler ('Rosetti')." 42-49.
Leuba presents the main themes from each movement of
Rosetti's nine known concertos for horn and five known
concertos for two horns. Published editions of each are
listed and recordings, with label number and artist, are
given. (Disc, Ped)
Hill, Douglas. "Selected Published Materials for the
Development and Utilization of a Contemporary Horn
Technique." 50-56.
Etudes, unaccompanied solos, and solos with piano that
utilize contemporary techniques are presented. Each
category is organized by difficulty, with all entries
listing the publisher. Entries for etudes and unaccompanied
solos also include short annotations. (Ped, Rep)
Mende, Emily "The Hunting Horn in Europe." 58-64.
This is a two-section article. The first, entitled "The
development of the hunting horn," gives a brief history of
the horn from antiquity to the eighteenth century. The
second, "Hunting horns today in Switzerland," covers the
present day use of hunting horns. Examples of the style of
music played and instruments used are shown, and the
growing popularity of this "hobby" is detailed. (Hist,
NtHn)
Leuba, Christopher. "Recordings." 70-73.
A number of diverse recordings, as well as a partial
listing of jazz and commercial recordings featuring Peter
Gordon, is listed. (Disc, Jz)
Mansur, Paul. "Which is the Properest Horn to Play?" 74-78.
This article addresses the difficulties of selecting a
horn, especially when choosing among the American
manufacturers. Mansur includes a chart which shows the many
similarities between American makes and discusses the
manufacturers' unwillingness to offer optional features. In
response to this, players now routinely customize their
horns, further blurring the distinction between
instruments. This situation is in stark contrast to the
European market, where makers routinely offer a wide array
of options. (Eqmt)
Scharnberg, William. "The Manuscript Katalog Wenster
Litteratur I/1-17b." 79-83.
This important manuscript from the late eighteenth century
includes eighteen works featuring the horn. Composers
represented include Scheibe, Quantz, Förster, Graue, Graun
(who may be the same composer as Graue), Knechtel, Röllig,
Reinhart, Gehra, and possibly Hampel. Scharnberg discusses
the history of the manuscript and theorizes about its date
and place of origin. (Hist, Rep)
The Horn Call November 1978 Volume IX, Number 1
Hopkins, John. "Visit to Melbourne by Hermann Baumann." 18.
Baumann's two week stay as artist-in-residence at The
Victorian College of the Arts is highlighted. (WkSh)
Seiffert, Elaine. "What I Would Like to Tell My Friends
about Workshop X." 20-24. (WkSh)
Damm, Peter. "On the Articulation Marks in Mozart's Horn
Concerti." 37-45.
The decision-making process leading to the proper choice of
articulations in the Mozart concertos is analyzed. The
author points out questionable markings in currently
popular editions and suggests a more appropriate use and
playing style of the various articulations called for by
Mozart. (Hist, Rep, Tech)
Hardin, Burton E. "Komm, Süsser Tod." 47-49.
The score of Hardin's arrangement of this work for eight
horns is presented. (Rep)
Busancic, Dusan. "First Seminar of Horn Players in
Yugoslavia." 50-51.
This one-week seminar was held in Belgrade and featured
Hermann Baumann as its lecturer and conductor. (WkSh)
Seiffert, Elaine. "The Tenth Dream." 52.
Seiffert reminisces about her experiences at past
International Horn Workshops. (WkSh)
Hill, Douglas. "The IHS and Its Progress." 58-60.
Some of the many projects discussed by Hill include
election of new officers, induction of honorary members,
Walter Lawson's instrument improvement committee, the
establishment of workshop performance scholarships, and
improved communication between horn players throughout the
world. (IHS)
Gardner, Gary. "The Selmer Double Horn, No. 77." 68-70.
In this review and on-the-job analysis of Selmer's new
horn, Gardner praises every aspect, proclaiming it to be
"one of the world's finest orchestral horns available."
(Eqmt)
Damm, Peter. "Did Mozart Really Compose Only Four Horn
Concertos?" 23-24.
Damm concludes that Mozart conceived at least seven horn
concertos. These include the three complete E-flat major
concertos, the two movements which have been combined to
make the D major concerto, fragments of a first movement
from a concerto in E-flat major (K. 370b) with which the
Rondo, K. 371 was probably paired, and a fragment of the
first movement of a concerto in E major (K. 494a). (Hist,
Rep)
Champion, Anthony. "Horn Sections in Northern Ireland,
Wales and England (outside London)." 30-31. (Prsnl)
Lanzky-Otto, Ib. "Is a Beautiful Horn Sound Really of Any
Importance?" 35-37.
The author argues that "the treatment of the tone" is more
important than the actual tone itself. Rather than spend
endless hours attempting to achieve an ideal horn sound,
the student should master attacks and releases,
flexibility, timbre changes, and other areas which
influence how the tone is perceived. (Tn)
Brown, Tom. "The Hunting Horn and the Classic Style."
38-51.
Brown concentrates on pointing out the contrasting styles
of horn treatment between Baroque and Classical era
composers. The areas of the crescendo, technique, and
sonority are each discussed in detail with the author
including many musical examples. Changes in range and
instrument design, as well as the horn's relationship to
the Enlightenment concept of thought are also covered.
(Hist, NtHn)
Blandford, W. F. H. "The Fourth Horn in the 'Choral
Symphony'." 52-59.
The primary focus of this reprint from the Musical Times of
January 1, 1925 is the distinction between cor alto and cor
basse, and the treatment of the cor basse by Classical
composers. Blandford discusses the solo in the "Adagio"
movement, and he attempts to shed some light on why it was
given to the fourth horn and whether this instrument was a
hand or valve horn. (Hist, NtHn, Rng, Rep)
Seiffert, Elaine. "Forum: The First Note." 68-69.
After investigating common beginning method books, the
author concludes that middle C (written) is usually
considered to be the proper first note for the beginning
player. She theorizes that beginning instead with third
space C might be more beneficial, encouraging the early
development of the upper range. (Ped)
Leuba, Christopher. "Recordings." 71-75. (Disc)
Chesebro, Gayle. "Music in Manuscript." 81-83.
Compositions by David Deason, Zsolt Durko, Kalmar, Istvan
Lang, and Miklos Kocsar are reviewed. (Rep)
Mansur, Paul, ed. "Report on the 1979 IHS Composition
Contest." 84-86.
A complete list of entries, the names of the judges, and
winning compositions in each division (I. horn, voice, and
piano, II. horn and strings, III. multiple horns) are
given. (IHS, Rep, WkSh)
Chesebro, Gayle. "Review of Winning Compositions in
Division I." 87-88.
Chesebro discusses La Noche en la Isla for baritone, horn,
and piano by Donald Grantham, and Death be not Proud for
soprano, horn, and piano by Donald Busarow. (Rep, WkSh)
Hill, Douglas. "Review of Winning Compositions in Division
II and III." 88-89.
Horn Players' Retreat and Pumping Song by David Stanhope,
and Pastiche by Steven L. Winteregg are reviewed. Both of
these works are from Division III, works for multiple
horns. No winner was chosen from Division II, works for
horn and strings. (Rep, WkSh)
The Horn Call October 1980 Volume XI, Number 1
Thelander, Kristin P. "A Musical Tour of the People's
Republic of China." 14-15.
The University of Minnesota Wind Ensemble's tour through
China is briefly detailed and the interaction between the
two nations' hornists is described. (NtSty)
Mansur, Paul, ed. "British Horn Trust Festival." 17-19.
Events of this gathering of 500 hornists, hosted by the
British Horn Society, are highlighted. (WkSh)
Seiffert, Elaine. "Twelfth Night Revisited." 20-23.
Seiffert describes Workshop XII, held at The University of
Indiana. (WkSh)
Mansur, Paul. "The First European Horn Symposium." 24-32.
(WkSh)
Pizka, Hans. "In Memoriam: Fritz Huth." 35. (Bio)
Linder, Waldemar. "In Memoriam: Wendell Hoss." 36. (Bio)
Schweikert, Norman. "Wendell Hoss." 36-51.
This detailed biography of Hoss (1892-1980) traces his
playing, teaching, and conducting career, as well as his
association with the Los Angeles Horn Club and
International Horn Society. Also included are listings of
his many compositions and arrangements, and his various
writings about the horn and horn playing. (Bib, Bio, Disc,
IHS, Rep)
Lawson, Walter. "The Effect of Screw Bell Alloy on the
Acoustic Input/Output Characteristics of a French Horn."
53-56.
The set-up and procedure of this study is explained but no
results or conclusions are included. (Acou, Eqmt)
Whipple, James F. "A Five-Valve Double Horn with Hybrid
Third Valve." 57-62.
Whipple describes his horn, a standard F/B-flat double horn
with an ascending third valve on the F side and a
descending half-tone fifth valve. Advantages cited include
intonation, weight, ease of fingering, alternate
fingerings, and stopping valve. (Eqmt, Vlv)
Greenberg, Norman C. "Anthropology and the Horn." 64-74.
The relationship of the horn to other aspects of western
culture throughout history is discussed. The subjects of
anthropology, sociology, and the history of Europe as it
affected the growth of the instrument are all briefly
touched upon. (Hist, Misc)
Toeplitz, Uri. "The Two Brothers Lewy." 75-76.
Two early masters of the valve horn, the brothers Eduard
Constantine Lewy (1796-1846) and Josephe Rudolphe Lewy
(1802-1881), are briefly profiled. (Bio, Hist, Vlv)
Leuba, Christopher. "Recordings." 78-83. (Disc)
Faust, Randall E. "Guest Record Review." 84-85.
Faust reviews hornist James MacDonald's recording Pieces
for Solo Horn, issued by Music Gallery Editions (MGE 21).
(Disc)
Chesebro, Gayle. "Music in Manuscript." 86-88.
Manuscript works by Jeanne Singer, Ruth Schonthal, Randall
E. Faust, Jeffrey R. Ching, Jim Collorafi, and Nan Schwartz
are listed and reviewed. (Rep)
The Horn Call April 1981 Volume XI, Number 2
Anderson, Paul. "A Review of IHS Activities." 16-18.
Anderson reviews the purposes and aims of the IHS and
describes its major projects. (IHS)
Mansur, Paul, ed. "300 Years of the French Horn in
Bohemia." 19.
This report from the Music Information Center of the Czech
Music Fund details the events held to commemorate the 300th
anniversary of Spork's introduction of the horn to Bohemia.
(Hist, WkSh)
Secon, Morris. "A Response to David Irving on the Use of
'Daon' as First Suggested by Punto." 21-24.
In answer to Irving's article (HC VIII/2 p. 19), Secon
agrees that the syllable "daon" was, and still can be, a
legitimate and useful articulation. He proposes that the
addition of the French "n" at the end of notes will add a
touch of resonance and life to the sound. This he uses to
help achieve his concept of each sound being three
interconnected parts: birth (attack), life (sustain), and
infinity (note end). (Hist, Ped, Tech)
Pyle, Robert W., Jr. "The Effect of Lacquer and Silver
Plating on Horn Tone." 26-29.
The author, in conjunction with Walter Lawson and Robert
Osmun, conducted a series of controlled tests on horn
bells, which concluded that lacquer can slightly darken
horn tone but silver plating has no effect on timbre. A
detailed description of the set-up and procedure is
included, and charts of the spectra for both bells, with
and without silver plating or lacquering, is shown. (Acou,
Eqmt, Rec, Tn)
Gaubert, Henri. "Trompes de Chasse." 31-35.
Gaubert presents thirteen standard hunting calls, many in
use since the seventeenth century. A short explanation of
the use and meaning of each call is given. (Hist, NtHn,
Rep)
Mende, Emily. "In Memoriam: The Rev. Dr.h.c. Wilhelm
Bernoulli." 36. (Bio)
Spearman, Andrew. "In Memoriam: Herbert E. Holtz." 37.
(Bio)
Allen, Edmund. "An 8-D Ascending Horn." 38.
Allen presents photos and a description of the procedure
and kit for converting a Conn 8-D to an ascending third
valve system. (Eqmt, Vlv)
Baumann, Hella. "The Horn as a Symbol." 40-48.
The author explores the symbolism of the horn, seen
throughout history in areas such as religion and
literature. (Hist, Misc)
Tritle, Thomas. "On Playing Horn in Brazil." 50-53.
Tritle, a former professional hornist in Brazil, profiles
the country's musical activity. The orchestras, their
hiring practices and repertoire, the country's musical
heritage, and the experience of life in a foreign country
are among the many subjects touched upon. (NtSty)
Becknell, Nancy. "Louis François Dauprat." 55-57.
The life and works of this nineteenth-century hornist,
teacher, and composer are briefly discussed. His preference
for the terms "Cor alto" and "Cor basse" is stressed, and
the increasing popularity and availability of his
compositions is mentioned. A discussion of some of his
works that are currently available is also included. (Bio,
Hist, Rep, Rng)
Faust, Randall E. "Electronic and Compositional Techniques
Used in Horn Call." 58-61.
The techniques and equipment called for in this 1976
composition by Faust are described and his compositional
techniques and intentions are explained. He also includes
helpful performance suggestions and a diagram of the
electronic equipment patch. (Rec, Rep)
Lessing, Murray. "A Response to Whipple's Hybrid Third
Valve." 62-63.
Lessing points out many differences between his own
experiences with an ascending third valve and those
described by Whipple (HC XI/1). (Eqmt, Vlv)
Fox, Fred. "Bull's Eye!" 65-66.
Fox maintains that if the air stream is aimed directly at
the center of the mouthpiece, power, clarity of tone, and
accuracy can all be significantly improved. (Acc, Ped,
Tech, Tn)
Braun-Seiffert, Elaine. "Forum." 68-69.
Responses to the question of which is the best note tofirst
introduce to beginners (HC V/2) are detailed and the author
asks for answers concerning the best all-around horn.
(Eqmt, Ped)
Leuba, Christopher. "Recordings." 70-74.
Among the many recordings listed is a discography of
compositions by Richard Strauss that have been recorded by
the Dresden State Orchestra. (Disc)
Faust, Randall E. "Guest Record Review." 74-75.
Peter Schickele's Pentangle, five songs for horn and
orchestra, as performed by hornist Kenneth Albrecht and the
Louisville Orchestra, is reviewed. (Disc, Rep)
Caldicott, Stephen. "The First European Horn Symposium."
80-83. (WkSh)
The Horn Call Fall 1981 Volume XII, Number 1
Chenoweth, Richard. "The Barry Tuckwell Symposium for
Brass." 16-19.
Panelists Tuckwell, Robert Elworthy, Philip Farkas, and
Michael Hatfield discuss instrument manufacture and
improvements, tone quality, and the trend towards shorter
length horns in this partial transcript of the symposium.
(Eqmt, Tn)
Mansur, Paul. "In Memoriam: James Buffington." 21. (Bio)
Braun, Elaine. "Profile: Ifor James." 22-29.
James discusses his training and career, thoughts on
playing and teaching, his recordings, and future plans.
(Bio, Ped, Tn, Wmup)
Janetzky, Kurt. "A Closer Look, Past and Future, at the
Re-Enlivening of the Clarin Register for Horn Music from
1720-1780." 31-35.
Janetzky begins with a profile of Bach's trumpeter,
Gottfried Reiche (1667-1734), as well as histories of his
portrait (painted by E. G. Hausmann) and the instrument he
is shown holding in it. Two modern instruments, based upon
the design of Reiche's horn, but with the addition of
valves, are shown. These instruments are enabling current
players to once again perform works which ascend into the
extreme clarin range. (Bio, Eqmt, Hist)
Leuba, Christopher. "Stravinsky's F Sharp." 42-43.
The difficulty of obtaining a comfortable f# in bar two of
the opening solo in the final movement of Stravinsky's
Firebird is analyzed. (Rep)
Kierman, Sean. "Horn Workshop in South Africa." 45-46.
(WkSh)
Braun, Elaine. "Lucky #13." 48-56.
The week's events at the thirteenth International Horn
Workshop at Potsdam, New York are chronicled. (WkSh)
Johnson, Bruce Chr. "Richard Strauss's Horn Concerti:
Signposts of a Career." 58-67.
Strauss's two concertos, written sixty years apart, are
compared and contrasted. The history of each work is
examined, and areas such as orchestration, form, melody,
key relationships, rhythmic usage, ranges, and tonal
language are discussed. A bibliography of twenty sources is
also included. (Rep)
Champion, Anthony. "The First Northern Horn Seminar of the
British Horn Society, 4th July, 1981." 69-70. (WkSh)
Chesebro, Gayle. "Composition Contest Report 1980." 72-73.
Entries for the second annual Composition Contest sponsored
by the IHS are listed, and the contest is briefly
discussed. (IHS, Rep, WkSh)
Chesebro, Gayle. "Review of Winning Compositions in the IHS
Composition Contest 1980." 74-75.
Works reviewed include Fancies and Interludes III for horn
and percussion by Raymond Luedeke, and What if a Much of a
Which of a Wind for horn and chorus by Marshall Bialosky.
(Rep)
Leuba, J. Christopher. "Recordings." 77-81. (Disc)
Chesebro, Gayle. "Music in Manuscript." 83-84.
A work for horn, percussion, and tape by Eric David
Chasalow, and reconstructions made from fragments of three
incomplete Mozart horn concertos by James Collarafi are
reviewed. (Rep)
The Horn Call April 1982 Volume XII, Number 2
Collorafi, Jim. "On Reconstructing Mozart's Unfinished Horn
Concerti." 13-17.
Details of Collorafi's investigative and decision-making
process are described, and passages from the fragments are
compared to other Mozart works written in the same styles.
(Rep)
Iervolino, Antonio. "Breathing Technique." 19-25.
The author maintains that immediately after inhaling, the
thorax cavity should be compressed to increase the air
pressure within the cavity. This is done by elevating the
diaphragm and contracting the abdominal muscles. He
believes that this compressed air has more capacity for
converting the air current to kinetic energy, thus
improving high range and increasing volume. (Brea)
Moulton, Kenneth E. "The Yogi Complete Breath." 35-38.
Moulton applies techniques explained in Yogi Ramacharak's
booklet Science of Breath to brass playing. This "complete
breath" is explained and a number of exercises are
suggested. (Brea)
Greene, Gary A. "Response to Johnson's Article Concerning
the Strauss Concerti." 40-41.
Greene points out a number of discrepancies between his
research and Johnson's (HC XII/1), and offers some
additional insights into the two concertos. (Rep)
Jensen, Svend Kragelund. "Portrait of Ingbert Michelsen."
42-43.
Michelsen, professor at the Royal Conservatory of Music in
Copenhagen and former principal horn (for twenty-seven
years) of the Danish Radio Symphony, is profiled. (Bio)
Hill, Douglas. "The People's Republic of China and Western
Music [mostly horn]." 45-49.
Hill's month-long trip to the conservatories of Beijing and
Shanghai is highlighted, and his playing and teaching
experiences are described. Isolated from foreign teachers
since 1955, the country's orchestras, players, instruments,
and available repertoire all lag well behind those of most
Western nations. With the aid of outside teachers and the
increasing availability of the standard repertoire, this is
now rapidly changing. (Eqmt, IHS, NtSty)
Mansur, Paul. "Czechoslovakia's Three Hundredth Anniversary
Horn Symposium." 50-59. (WkSh)
Braun, Elaine. "Forum." 60-62.
Responses are printed to the question of what players
prefer in a horn (bore size, metal type, etc.), and readers
are invited to respond with their thoughts about criticism,
analysis, and negativism in performance reviews. (Eqmt,
Misc)
Leuba, Christopher. "Recordings." 64-67. (Disc)
Gaska, E. Leslie. "Orchestras in the United States and
Canada." 79-87. (Prsnl)
Opitz, Günther. "Horn Activities in Leipzig." 89-91.
Activities of The Leipzig Symphony Orchestra horn quartet
are described. (Ens, NtSty)
The Horn Call October 1982 Volume XIII, Number 1
Dunn, Richard. "Mozart's Unfinished Horn Concertos." 16-26.
This article, written in the early 1960s, examines Mozart's
"fifth and sixth" concertos. The question of properly
ordering the fragments from the first movement of the
E-flat "fifth concerto" is considered, and the author's
conclusions are shown in a reassembled version of the work.
Questions about the fragment of the E major concerto are
also explored. Its intended size and scope, the unusual
choice of key, and the identity of the player for whom it
was written are all discussed. Also included is a
"Formtabelle" which compares the forms of the opening
movements of the six concertos. (Hist, Rep)
Dutlenhoefer, Marie. "Gebr. Alexander, Mainz 1782-1982."
28-35.
The author chronicles the history of this instrument
manufacturer, tracing its evolution from a small
manufacturer specializing in woodwinds to its present
position as a world famous maker of horns. (Eqmt, Hist)
Braun, Elaine. "The XIV Annual Horn Workshop." 38-42.
(WkSh)
James, Eric D. "The Horn in Ensemble-Some Alternatives."
44-47.
James suggests some alternatives to the horn's standard
chamber ensembles of woodwind and brass quintets. These
include wind octets (Harmonies), horn ensembles, and
various mixed groups. (Rep)
Worsan, Patrick and Koen Cools. "Horn Summer Course in
Belgium." 48-49.
The general schedule and contents of this course, taught by
Arthur (David) Krehbiel, is briefly summarized. (WkSh)
Johnson, Eric A. "How to Survive as an Amateur Horn Player
in the Wilderness." 52-53.
The author, a high school music teacher, offers his
insights into the art of maintaining playing skills with
limited practice time. (Ped)
Champion, Anthony. "The British Horn Society Visits York,
27th June, 1982." 54-55. (WkSh)
Chesebro, Gayle. "Composition Contest Report, 1981." 58-59.
Winners of this contest, chosen by a panel of three judges
from a total of twenty-nine entries, are announced. They
are as follows: Category I: Horn and Tape, The Everlasting
Voices by Francis Chan; Category II: Horn and Wind
Ensemble, Caprice by Robert Lichtenberger; Category III:
Multiple Horns, Sextuor by Charles Deschamps. (IHS, Rep,
WkSh)
Mansur, Paul, ed. "Entries for the Composition Contest
1981." 60-61.
The twenty-nine entries are listed, with each composer's
address given. (IHS, Rep, WkSh)
Scharnberg, William. "A Colonial Slave Horn Player." 62-63.
This brief article tells of John Marrant, a black musician
born in New York in 1755. (Bio, Hist)
Chesebro, Gayle. "Review of Winning Compositions in the
1981 Composition Contest [Category II and III]." 65-66.
Chesebro reviews Caprice for horn and wind ensemble by
Robert Lichtenberger and Sextuor for six horns by Charles
Deschamps. (Rep)
Leuba, Christopher. "Recordings." 77-80. (Disc)
Winter, James. "Recordings-Guest Review." 82.
Two recordings featuring hornist Caswell B. Neal are
reviewed: Virtuoso Romantic Horn Pieces (Desto DC 7199) and
Paul Hindemith Two Sonatas for Horn and Piano and Bernhard
Heiden Sonata for Horn and Piano (Desto DC 7206). (Disc)
Blake, Curtiss. "Jazz Discography by Player." 83-88.
Blake lists 571 recordings featuring 120 different
hornists. (Disc, Jz)
The Horn Call April 1983 Volume XIII, Number 2
Wogram, Klaus. "The Acoustical Properties of Brass
Instruments." 19-31.
Wogram reports on testing done at the Laboratory for
Musical Acoustics of the Physikalisch-Technische
Bundesanstalt in Braunschweig. Topics discussed include
sound generation; resonance and natural tone; measurement
of tuning errors; influence of mouthpiece, taper, and hand
hold; influence of the material and the surface finish;
calculation and correction potential; and directional
dependence of the sound radiation. The experiments are
explained in detail, and many graphs and photographs are
included. (Acou)
Hokanson, Ruth. "Financial Statement, June 30, 1982
International Horn Society." 33-34. (IHS)
Djambasow, Wladimir. "Baumann Tour to Bulgaria." 36. (WkSh)
Pedersen, Thor Johan. "International Music Seminar-Weimar."
37-38.
The horn course taught by Peter Damm as part of this
seminar is described. (WkSh)
Mishori, Yaacov. "Horn Playing in Israel." 40-44.
A brief overview of horn playing in Israel is presented,
from the founding of the Israel Philharmonic Orchestra to
the present. Included are a number of anecdotes about Horst
Salomon, the Philharmonic's first principal horn, and the
"Philharmonic Horn Quartet." (Bio, Ens, NtSty)
Leuba, Christopher. "Recordings." 46-51. (Disc)
Dressler, John. "Audition Repertoire: An Update." 51-52.
Dressler presents the results of a survey of repertoire
that was requested at the horn auditions announced in the
International Musician during 1982. (Aud, Rep)
Wekre, Frøydis Ree. "After a Music Review." 54.
Wekre argues in favor of performing works from memory.
(Ped, Misc)
Thomas, Brian and Seth Orgel. "Auditioning for a Horn
Position in the United States." 56-60.
The authors present a fundamental approach to auditions by
means of a general overview of techniques and basic
audition preparation. The importance of a thorough
knowledge of the repertoire, as well as accurate rhythm and
intonation, is stressed, and common audition procedures are
explained. Also included is a repertoire survey compiled
from material found on forty-one audition lists. (Aud, Rep)
Huckeby, Ed. "The Fourth Horn Part of the Adagio Cantabile
Movement of Beethoven's Symphony No. 9 (Op. 125) in D
Minor." 72-75.
Huckeby presents a brief background of the personal and
social conflicts taking place in Beethoven's life at the
time of the Ninth Symphony's composition, and discusses the
question of whether the fourth horn part was intended for a
hand or valve horn. He also includes a bibliography of
fifty-nine sources. (Bib, Hist, NtHn, Rep)
Braun, Elaine. "Forum." 80.
Michael Hoeltzel and James Winter respond to Braun's
question concerning the purpose served by critiques and
reviews. (Ped, Misc)
The Horn Call October 1983 Volume XIV, Number 1
Watson, Catherine. "Fabulous Fifteen, the XVth Annual
International Horn Workshop." 17-23. (WkSh)
Chesebro, Gayle. "1982 Horn Composition Contest Report."
25-30.
The thirty-one entries are listed and the winning
compositions are announced and reviewed. Winners include:
Category I: Works for Horn and Organ, Romance by William
Albright; Category II: Works for Horn in a Chamber
Ensemble, Partita for violin, horn, and piano by Dan
Welcher; Category III: Works for Multiple Horns, Suite for
8 Horns by Gordon Ring; Honorable Mention, Bakery Hill
Rising for solo horn and 8 accompanying horns (either live
or pre-recorded) by Vincent Plush. (IHS, Rep, WkSh)
Kearns, Andrew. "The Virtuoso Horn Concertos of Franz Xaver
Pokorny." 33-46.
Kearns examines the life and works of the Bohemian composer
Pokorny (1729-1794), specifically looking at his five horn
concertos and two double horn concertos. Form, melodic and
harmonic styles, and Pokorny's treatment of the solo
instrument are examined and a thematic index is included.
The period of transition from clarino style to hand-horn
style, both of which can be seen in Pokorny's concertos, is
discussed in some detail. Many musical examples are
included. (Bio, Hist, NtHn, Rep)
Hill, Douglas. "Horn Playing, a Balancing Act." 47-49.
Hill presents his ideas of the basic concepts of horn
playing. Covered in this discussion are posture,
embouchure, breathing, mental aspects of performance, and
art in balance. (Brea, Emb, Ped)
Yancich, Milan. "Willem A. Valkenier-A Profile." 51-55.
Yancich highlights the career of the hornist Valkenier (b.
1887), principal horn in the Boston Symphony Orchestra from
1923-1953, and his relationships with such personalities as
Richard Strauss and C. F. Schmidt. (Bio, Eqmt)
Kampen, Paul. "Trans-Pennine Horns." 57-59.
The British Horn Society's activities in the North of
England during the 1982-83 season are detailed. Included is
the Manchester Horn Festival, the North East Coast
Mini-seminar, and the Northern Horn Seminar. (WkSh)
Kaza, Roger. "Taking Your Horn into the Wilderness." 60-62.
The author encourages readers to take their horn on
backpacking, rafting, biking, or other similar trips into
the wilderness. Tips on what to take, how to pack, and what
to play are offered, and the question of why one should go
to the trouble of taking a horn is addressed. (Misc)
Schweikert, Norman. "Jonathan Boen Premiers Jan Bach's Horn
Concerto." 64-69.
Bach's new work is discussed, with each of the three
movements described in detail. Included are program notes
by the composer explaining the background and intent of the
piece, as well as excerpts of reviews by critics from the
Chicago Tribune and Chicago Sun-Times. Schweikert also
offers his own impressions of the work and includes
biographical sketches of Jan Bach and Jonathan Boen. (Bio,
Rep)
Winter, James. "Greetings from the President." 71. (IHS)
Mansur, Paul, ed. "Kaemika Corni." 72-73.
This horn quartet, made up of members of the Janacek
Philharmonic, is profiled and its concert repertoire is
listed. (Ens, Rep)
Braun, Elaine. "Horn Camp Review." 74-75.
Activities and events at the IHS Summer Horn Camp at
Shenandoah Conservatory in Winchester, Virginia are
described. (IHS, WkSh)
Howe, Marvin C. "Thoughts Triggered by 1983 IHS Convention,
Charleston, Illinois." 75-76.
Howe briefly discusses a number of topics such as tone
color, tuning, and warm-ups. (Ped, Tech, Tn, Tun, Wmup)
Leuba, Christopher. "Recordings." 76-80. (Disc)
Girati, Luigi. "Brass Seminar Reggio Emilia." 81-82.
Girati describes the activities at the First International
Seminar for horn, trumpet, and trombone held at Reggio
Emilia, Italy. (WkSh)
Kappy, David. "The Woodwind Quintet: Challenges and Rewards
for the Horn Player." 83-84.
Kappy, hornist with the Soni Ventorum woodwind quintet,
suggests techniques to help achieve a better overall
ensemble blend. He feels that accurate intonation is
imperative and that tuning to A=440 or below will help give
a darker sound. The importance of being able to change
timbre through the use of alternate fingerings, hand
position, or horn position is stressed, as is the necessity
of utilizing a narrower dynamic range. (Ens)
Leuba, Christopher. "Audition by Video-Tape: Commentary."
84-85.
Leuba shares his apprehension about the increasingly common
practice of auditioning by video-tape. Problems mentioned
include the lack of pressure during the audition, the fact
that the candidate's appearance may be a factor (since the
audition is not behind a screen), the advantage for players
having access to professional quality recording equipment,
and the difficulty of achieving a true representation of
tone when recording. (Aud)
The Horn Call April 1984 Volume XIV, Number 2
Bracegirdle, Lee. "The New York School; Its Development and
Its Relationship with the Viennese Style." 16-24.
This school of playing is traced back to the great Leipzig
hornist Friedrich Gumpert, whose student Anton Horner
helped establish the "New York style" while playing in the
Philadelphia Orchestra during the first half of the
twentieth century. Characterized by a dark, rich tone
quality, a wide dynamic range, and the use of a large horn
and mouthpiece, this style was then passed on to Horner's
student James Chambers, principal horn of the New York
Philharmonic from 1946-1969. Bracegirdle relates this style
to the current Viennese style, pointing out similarities in
tone quality, extensive use of the F-horn, and the
willingness to take risks when playing. (Bio, Eqmt, Hist,
NtSty, Tn)
Mansur, Paul. "International Horn Symposium Wien." 27-40.
(WkSh)
Watson, Catherine. "An Interview with William Karl Ver
Meulen." 41-44.
Ver Meulen, age 22 at the time of this interview, discusses
his training, playing career, favorite works, and choice of
equipment. (Bio)
Mansur, Paul. "Thoughts and Observations on Vienna and
Vienna Horns." 45-47.
The relative merits and weaknesses of the Vienna horn are
pointed out and considered. While this instrument produces
a highly desirable tone quality similar to that of a true
waldhorn, it is much less secure than a standard double
horn, causing most players to disregard it as a viable
option when choosing an instrument. (Eqmt, NtSty, Tn)
Kleucker, Malinda. "The Finke Triple Horn-A Review." 49-51.
Kleucker, principal horn in the Zealand Symphony Orchestra
in Copenhagen, Denmark, gives this horn a very positive
review. Among the most desirable qualities of this
instrument, made by the north German maker Helmut Finke, is
excellent intonation, even response throughout all
registers, ease in producing smooth "liquid" slurs, and
light weight (achieved in part through the use of low
maintenance fiberglass valves). Readers interested in
Robert Osmun and Walter Lawson's less than enthusiastic
response to this review should see HC XV/1, p. 92. Other
letters can be found in HC XV/2, p. 13-14. (Eqmt)
James, Eric. "Who is Carl Oestreich and Why is He Important
to Horn Players?" 53-58.
James presents a short, sketchy biography of this hornist
and composer of the early nineteenth century. Included is a
list of Oestreich's horn-related manuscripts currently in
the Stadt- und Universitätsbibliothek in Frankfurt am Main.
(Bio, Hist, Rep)
Hancock, John M. "The Horns of the Stearns Collection."
60-71.
This collection of musical instruments, assembled
byFrederick M. Stearns (1831-1907), contains over 2,000
instruments. Now owned by the University of Michigan, the
collection contains not only the vast number of non-Western
instruments for which it is best known, but also many
historically significant Western instruments. Among these
are the eight horns pictured and described in this article.
They include a parforce horn, cor de chasse, orchesterhorn,
cor d'orchestre, a two-valved cor a pistons with detachable
valves, and a three-valved orchestral horn. Also included
is a short history of the collection and a brief biography
of Stearns. (Bio, Eqmt, Hist, NtHn)
Leuba, Christopher. "Recordings Section." 73-78.
Leuba lists a variety of recordings, including a
discography of recordings of Dukas's Villanelle by
seventeen different artists. (Disc)
Stout, Louis, Jr. "Symphonies by F. J. Haydn." 91-94.
Stout lists the horn requirements for each of Haydn's
symphonies: number used, crookings, and in many cases high
range requirements. Excerpts from Symphony No. 48 "Maria
Theresia" and Symphony No. 51 are included. (Rep)
Pizka, Hans. "A Curious Gem from My Archive." 94-97.
Pizka shares a letter from the conductor Hans Richter to
the hornist Karl Steigler dated 1908. He also includes
photographs of the horn quartet of the Johann Strauss
orchestra from 1869 and Josef Schantl's horn quartet from
1882. (Hist)
Scharnberg, William. "Upon the Retirement of Clyde Miller."
98-100.
This profile of Miller, principal horn of the Dallas
Symphony from 1948-1963 and professor of horn at North
Texas State University from 1963-1983, details his early
career and lifetime of accomplishments. (Bio)
The Horn Call October 1984 Volume XV, Number 1
Coghill, Gene. "My First Teacher Arcady Yegudkin-'The
General'." 15-19.
Coghill relates a number of often humorous anecdotes about
this long time Eastman horn professor. Details about his
"system" of teaching is described, especially his
infatuation with the importance of "Dem diaphragm." This
system, which employed a smiling embouchure and great lower
lip pressure, is blamed for the ruination of most players
subjected to Yegudkin's tutelage. The teeth were also an
area in which he claimed expertise. Coghill describes how
he would sometimes go so far as to recommend that students
file them down or, to facilitate articulation, have the
membrane under the tongue snipped. Letters responding to
this article from Christopher Leuba and Evans Lantz can be
found in HC XV/2, p. 10-12. (Bio, Brea, Emb, Hist, Ped)
Watson, Catherine. "Brass Valhalla-IBC2." 21-23.
Events at the Second International Brass Congress at
Indiana University are detailed. (WkSh)
Winter, James. "A Message from the President." 25.
Winter reports on the general activities of the I.H.S.
during the past year. (IHS)
Kampen, Paul A. "British Horn Society in the Regions."
27-28.
Events of the horn seminars at Birmingham and York are
chronicled. (WkSh)
Merewether, Richard. "The Vienna-Horn-And Some Thoughts on
Its Past Fifty Years." 31-35.
The author reminisces about the Vienna-horn, its players
(particularly Freiberg), and memorable performances of the
past. Descriptions of the instrument and its workings, type
of mouthpiece used, and its relative merits and drawbacks
are included. (Eqmt, Hist, Mthpc, Vlv)
Secon, Morris. "Who's Sitting in That Empty Chair?" 37-40.
Secon recounts how he initiated the drafting of a letter
and petition protesting the inability of Soviet trumpet
virtuoso Timofei Dokschitzer to attend the Second
International Brass Conference due to the political
situation between the U.S. and Soviet Union. (WkSh, Misc)
Gross, Steve. "Taped Orchestra Auditions-A Report." 41-43.
Gross, a hornist with the Atlanta Symphony, discusses the
pros and cons of using taped preliminary auditions. His
observations are based on the experience of serving on a
selection committee that used this method during the 1983
Atlanta Symphony auditions for fourth horn. He concludes
that taped auditions, while not perfect, should be utilized
as a standard method of selecting candidates for a second
round of live auditions. Included are several suggestions
to aid players making audition tapes and committees
listening to these tapes. (Aud, Rec)
Mayes, Martin. "International Competition for Horn and
Tuba, Markneukirchen, German Democratic Republic 11-18
May." 44-46.
Mayes describes this little-known contest, which this year
saw Czechoslovakian hornist Jindrich Petràs win over
thirty-eight other hornists from thirteen countries. (WkSh)
Dressler, John C. "On the Cadenzas in Mozart's Horn
Concerti." 47-51.
As an aid in writing historically and stylistically correct
cadenzas, Dressler suggests studying the cadenzas written
by Mozart for his piano concertos. Of particular usefulness
is the K. 449 piano concerto which, like the two horn
concerti calling for cadenzas, is in the key of E-flat
major and features a first movement cadenza. It also dates
from near the time of the horn concerti. Using this study
as a starting point and combining this information with
thematic elements from the horn concerti, Dressler presents
a cadenza suitable for either the K. 447 or K. 495 horn
concerti. (Hist, Rep)
Hokanson, Ruth. "Statement of Financial Condition 30 June
1984." 52-54. (IHS)
Farkas, Philip. Jeffrey Agrell, ed. "Horn Excerpts Clinic."
55-57.
Farkas discusses the opening solo of Till Eulenspiegels
lustige Streiche by Richard Strauss. (Rep)
Lockwood, Ralph. "Taking a New Stance." 58-62.
This article presents a number of ideas on choosing a stage
set-up which will yield the optimum sound quality. Methods
for determining a room's acoustical tendencies are
mentioned, and possible set-ups are discussed and shown for
horn and piano, brass quintet, woodwind quintet, and piano
quintet. Lockwood also suggests reversing the order of the
orchestra horn section to help the players more easily hear
each of the four parts. Also included is an excerpt from
"The Woodwind Quintet" by Miroslav Hosek which diagrams the
main directions of the horn's sound radiation at various
frequencies. (Acou, Ens)
Braun, Elaine. "Horns-And All That Brass." 63-65.
Braun describes the events at the second International
Brass Congress held at Indiana University in Bloomington,
Indiana. (WkSh)
Leuba, Christopher. "Recordings Section." 67-70. (Disc)
Uustalu, U. "Recalling Prof. Jann Tamm (1875-1933)." 82-86.
This great Russian hornist's playing, teaching, and
administrative career is recalled by Uustalu. Highlights
include his rise from a herdsboy to a student at the St.
Petersburg Conservatory, his twenty years of service with
the Imperial Court Orchestra (now the Leningrad
Philharmonic), and his twenty-three years as a professor at
the St. Petersburg Conservatory. Several photographs are
also included. (Bio, Hist)
Watson, Catherine. "An Interview with Richard Merewether."
87-89.
Renowned horn designer Richard Merewether discusses his
playing career in Australia and London, his association
with Bob Paxman and Paxman Musical Instruments Ltd., and
his thoughts on the future of horn design. (Bio, Eqmt)
Baker, James. "Horn Players Guide to Work in Mexico City
and Taluca." 90-91.
This is a brief overview of the situation in the five
full-time orchestras in Mexico City and Taluca, Mexico.
Baker lists what he feels are the pros and cons of playing
there and discusses hiring practices, pay and contract
norms, rehearsal length, and standard repertoire. (NtSty)
The Horn Call April 1985 Volume XV, Number 2
Chenoweth, Richard. "The Twenty-Eighth Season of the Santa
Fe Opera." 19-27.
Formed in 1956, this summer opera company has been an
important force in the world of opera, presenting
twenty-three American and five world premieres. The author,
second hornist for the past twelve seasons, discusses the
company's history and profiles its current horn section. He
presents and discusses excerpts which illustrate specific
techniques called for in operatic playing. Works discussed
include Zemlinsky's Eine florentinischel Tragodie,
Korngold's Violanta, Mozart's The Magic Flute, Cimarosa's
The Secret Marriage, Strauss' Intermezzo, and Henze's We
Come to the River. An appendix listing all the horn players
who have performed with the Santa Fe Opera since 1958 is
also included. (Bio, Ens, Prsnl, Rep, Tech)
Hill, Douglas. "Composition Commissions through the I.H.S."
29-30.
Four new works featuring horn have been completed since
1977 as a result of this project. Hill reports on these as
well as seven pieces which were in progress at the time of
this article's writing. (IHS, Rep)
Decker, Richard. "Thoughts on Auditioning." 31-32.
Decker offers suggestions on audition preparation, writing
an effective resume, and do's and don'ts to consider during
the audition. (Aud)
Dressler, John. "The IHS Archive: Source for Historical
Research." 34-35.
Dressler presents a partial list of the Archive's holdings
and suggests that interested parties should consult Dr.
Fred Ehnes' thesis A Guide to the Archive of the
International Horn Society 1969-1977 at the Alexander M.
Bracken Library, Ball State University, Muncie, Indiana
(THESIS DA E335). (Hist, IHS)
Kimple, Wilbert K. "The Holton H-200 Double Descant, a
Diamond in the Rough." 35-41.
Kimple's favorable review cites the horn's high quality at
a low cost as its primary strength. He suggests a number of
minor changes to further improve what he feels is already
an excellent horn. (Eqmt, Mthpc)
Seifert, Gerd. Jeffrey Agrell, ed. "Horn Excerpts Clinic."
43-46.
Seifert discusses the Siegfried "Long Call." (Rep)
Myers, Philip. "The Inherent Drive of Rhythm." 49-52.
Myers views rhythm as having two basic focuses: "a
vertically weighted unit and a forward driving sub-unit."
His concept of using subdivision to move through a phrase
is discussed and illustrated using the opening of
Schubert's "The Great" C Major Symphony. (Ped, Rep)
Kirschen, Jeffrey. "Five Minutes..." 53-55.
Kirschen tells of his experience preparing for and
participating in the American Horn Competition. (Aud, WkSh)
Walshe, Robert C. "The Autograph of Richard Strauss's First
Horn Concerto." 57-61.
Differences between the autograph score and modern editions
of this work are identified and discussed. Various ossia
passages, most of which are not included in the modern
edition, are shown, as are differences in articulation and
accompaniment. An appendix listing each of the many
discrepancies is also included. (Hist, Rep)
Brockway, Oliver. "Specialist Publications for Horn: A
British Contribution." 62-64.
Brockway lists and discusses music and recordings available
from his small publishing business, Oliver Brockway Music,
which specializes in music featuring horn. Of particular
historical interest are 3 Sonatas for 2 Horns by Otto
Nicolai and 12 Studi per Corno da Caccia by Gustavo
Rossari. (Disc, Hist, Rep)
Leuba, Christopher. "Rossini's E." 66.
An error which appears in the solo from Rossini's Barber of
Seville in Orchestral Passages, Volume 1 edited by Max
Pottag is identified and corrected. Leuba includes excerpts
from Rossini's manuscript to illustrate his point. (Richard
Merewether's observations on this matter appear in HC
XVI/2, p. 18.) (Rep)
Watson, Catherine. "A Profile of Morris Secon." 67-72.
This anecdotal profile highlights Secon's career and
relates many of his thoughts on horn playing and teaching.
(Bio, IHS, Tn, WkSh)
Leuba, Christopher. "Recordings Section." 74-78. (Disc)
Pizka, Hans. "Jubilee with the Siegfried Call." 79-80.
This article salutes Gerd Seifert's fiftieth performance of
the Long Call at the Bayreuth festival. Pizka discusses
past players who have performed the Calls and announces the
discovery of the first performance parts of many of
Wagner's operas, a number of which were signed by the
original and subsequent performers. (Bio, Hist, Rep)
The Horn Call October 1985 Volume XVI, Number 1
Agrell, Jeffrey. "1984 IHS Composition Contest Report."
12-15.
Composers from seven nations entered a total of twenty-five
works with the following results: Category I: Two Horns and
Keyboard, no awards given; Category II: Horn in Chamber
Ensemble, Trio for Horn, Violin and Piano, Op. 27 by
Hans-Günther Allers, Honorable Mentions went to Seven L.
Winteregg's Divertimento for flute, horn and double bass
and Jana M. Skarecky's Et Intarnatus Est for horn, piano
and voice; Category III: Horn Ensemble, Honorable Mention
was awarded to Johanes H. E. Koch for his 5 Stücke für 6
Hörner. Each of the winning compositions is described and a
complete list of entries is given. (IHS, Rep, WkSh)
Winter, James. "A Message from the President." 17-19.
Winter updates members on the following items: the
Composition Contest; the Commissioning Project, which in
addition to commissioning new repertoire is working to add
arrangements of standard horn literature for solo horn and
wind ensemble; plans for the 1986 Workshop in Detmold,
Germany; progress of the West-East Project; and various
retirements and appointments. (IHS)
Schweikert, Norman. "A History of the Organized Horn
Ensemble in the United States." 20-32.
This article covers the period from the first organized
horn ensembles (c. 1850) through World War I. Schweikert
has managed to organize a large amount of fragmented
information into a well documented chronology. He includes
reviews of early performances, photographs, and information
about many of the players. Covered in more detail are
sections on "The Echo Club," which was made up of the
leading New York players around the year 1900, as well as
two Boston-based quartets from the early twentieth century,
the "Waldhorn Quartette" with cornetist Gustav F. Heim, and
the "Boston Symphonic Horn Quartet." (Bio, Ens, Hist)
Seyfried, Erhard. "Concerning the Article by Richard
Merewether: The Vienna-Horn-And Some Thoughts on Its Past
Fifty Years." 34-35.
Seyfried, a long-time Vienna hornist, adds to or disputes a
number of points made by Merewether (HC XV/1). He stresses
the importance of the horn's conical shape to its tone
quality, and points out the existence of Vienna double
horns and horns that have Vienna-horn dimensions, but use
rotary instead of "pumpen" valves. The use of a funnel
shaped mouthpiece which he says "is in essence only a
conical extension of the leadpipe" is recommended as
producing the best tone. Merewether responds in HC XVI/2,
p. 43. (Eqmt, Mthpc, Vlv)
Leuba, Christopher. "Performing the Brass Quintets of
Victor Ewald." 36.
Leuba proposes using two flugelhorns, E-flat alto horn,
euphonium, and an E-flat or F tuba when performing these
works. (Rep)
Winter, James. "Additional Thoughts on Notation and
Transposition." 38-39.
Winter responds to a letter by Hamilton M. High, Jr. (HC
XV/2, p. 6), which questioned why publishers continue
issuing horn parts in keys other than F, often omit key
signatures in favor of accidentals, and sometimes use "old
notation" in bass clef passages. Winter looks at these
questions in a historical context, especially stressing the
importance of having an awareness of the characteristic
tone qualities of the various crooks when interpreting a
work. (Hist, NtHn, Rep, Tn, Trns)
Songer, Lewis. "Contest Winners: One Viewpoint." 40-41.
The author conveys his disdain for many of the "modern"
compositional techniques heard on the recital of
composition contest winners heard at the IHS workshop. He
offers his opinions on each of the following works: What if
a Much of a Which of a Wind for horn and chorus by Marshal
Bialosky, Romance for Horn and Organ by William Albright,
Trio for Horn, Violin, and Piano by Hans Gunther Allers,
Partita by Dan Welcher, Sextour by Charles Deschamps, Suite
for Eight Horns by Gordon Ring, and Caprice for Horn and
Wind Ensemble by Robert Lichtenberger. (Rep)
Kampen, Paul A. "British Horn Society-Regional Roundup."
42-43.
A synopsis of events at the second Manchester Horn Festival
is provided. (WkSh)
Watson, Catherine. "Spectacular Seventeen." 45-49.
Events at the Seventeenth Annual International Horn
Workshop, held at Towson State University in Baltimore,
Maryland, are summarized. (WkSh)
Braun, Elaine. "Workshop Review." 51-52.
The Seventeenth Annual International Horn Workshop, held at
Towson State University in Baltimore, Maryland, is
reviewed. (WkSh)
Watson, Catherine. "What They Thought of the Workshop."
53-56.
The following people offer their comments on the
Seventeenth Annual International Horn Workshop: Gregory
Hustis, Kirsten Dimmer, Robert Paxman, Charles Waddell,
Georges Barboteu, Wilbert Kimple, William Robinson, Herman
Jeurissen, Ross Gershenson, Hans Pizka, Robert Atkinson,
Michele Jamison, and Daniel Bourgue. (WkSh)
Ward, Chuck. "The Work Bench, Rotary Valves." 57-59.
Ward, Design Engineer for King and Benge musical
instruments, discusses the operation and care of rotary
valves. Common problems and their causes and cures are
covered. Those mentioned are valve wear, end play,
recurrent valve sticking, frozen valves, and scratchy
valves. He also includes a diagram and step-by-step
instructions on how to properly string a rotary valve.
(Mnt, Vlv)
Leuba, Christopher. "Recordings Section." 61-65. (Disc)
Schwarzl, Siegfried. "The Wiener Waldhornverein at the
International Symposium for Brass Instrument Players'
Chamber Music in Hungary (Barcs-Brass)." 79-84.
Courses in brass instrument chamber music have been taught
at Barcs, Hungary since 1979, and in this year (1984) an
ensemble competition was also held. In addition to covering
the details of the daily proceedings, a concert program by
the Wiener Waldhornverein is included and a complete
schedule of events is listed. (Ens, WkSh)
Hardin, Burton E. "Valve Port Dimensions Effect on Playing
Qualities of Horns." 88-89.
The importance of having the area (size) of the
cross-section of a horn's valve ports equal to the area of
the cross-section of the bore of the tubing is stressed.
Horns designed with valve ports smaller than the tubing
will tend to "back-up," or feel constricted, when the
valves are used. (Eqmt)
The Horn Call April 1986 Volume XVI, Number 2
Mansur, Paul, ed. "In Memoriam: Richard Merewether." 13-16.
Bob Paxman, James Winter, Barry Tuckwell, B. Lee Roberts,
Dale Clevenger, Burton E. Hardin, John Wates, and Helen
Ghiradella each contribute a reminiscence about Merewether
(1925-1985). (Bio)
Merewether, Richard. "Varying National Usages in the Music
of Rossini." 18.
In response to Leuba's article on "Rossini's E" (HC XV/2,
p. 66), Merewether offers his observations concerning the
various opinions about this particular note, as well as
other questionable passages from the orchestral repertoire.
(Rep)
Kampen, Paul A. "Profile: Farquharsen Cousins." 19-23.
(Bio)
Agrell, Jeffrey. "Jazz Clinic." 25-27.
Agrell addresses the problems of hornists attempting to
learn the art of jazz improvisation. He suggests beginning
with the play-along record series of Jamey Aebersold, and
he lists and briefly discusses the contents of many of the
thirty-seven volumes. The importance of texts and reference
books is stressed, and eight of Agrell's favorites are
listed. Also included are brief sections on playing with
and listening to other players. (Bib, Jz, Ped)
Decker, Richard. "A Tribute to Richard Moore." 29-41.
Decker highlights Moore's forty-two-year playing career
with New York's Metropolitan Opera and includes brief
anecdotes contributed by many of his colleagues (including
a longer letter of tribute from Gunther Schuller, who
served as co-principal with Moore at the Met). His teaching
philosophy is also discussed, and a discography of
recordings featuring Moore as principal horn is included.
(Bio, Disc)
Merewether, Richard. "A Little on Horn Design." 43-49.
Merewether attempts to clarify and expand upon points from
his article "The Vienna Horn-and some Thoughts on its Past
Fifty Years" (HC XV/1, p. 31) that were questioned or
commented upon by Erhard Seyfried (HC XV/1, p.34). (Acou,
Eqmt, Mthpc, Tn, Vlv)
Block, Nancy Cochran. "Ensemble Etiquette." 51-53.
Cochran lists many of the "unwritten rules" of ensemble
etiquette, organizing them into four categories: rules for
all ensembles, small chamber ensembles, large ensembles
(orchestras or bands), and guidelines for working with a
conductor. (Ens)
Pignéguy, John. "Notes from London." 55-56.
Pignéguy reports on recent horn activities and
performances. (Ens, Misc)
Walshe, Robert C. "Hand Technique and the Hand Horn."
57-61.
The history of hand technique is traced, and its impact on
the Classical horn repertoire is examined in this short
article. Included are a "handering" chart, and a list of
notes to avoid in the low register of the hand horn. (Hist,
NtHn)
Collorafi, Jim. "Schubert's C." 62-63.
In response to Philip Myer's article "The Inherent Drive of
Rhythm" (HC XV/2, p. 49) which discusses the opening of
Schubert's Ninth Symphony, Collorafi makes the following
points: 1) despite all printed editions showing a 4/4 time
signature, Schubert's manuscript shows a C time signature,
2) this fact, coupled with the presence of accents on the
downbeat of each of the first six bars, confirm that this
excerpt should be felt in one-measure pulses, 3) the
missing C has led conductors to traditionally take this
openingAndante far too slowly and to add an unwritten
accelerando leading into the following Allegro ma non
troppo (which traditionally has been too fast). (Hist, Rep)
Leuba, Julian Christopher. "Orchestral Excerpt Clinic."
64-67.
Leuba discusses the "Andante cantabile" from Tchaikovsky's
Fifth Symphony. (Rep)
Leeson, Daniel N. "Whatever Happened to the Sinfonie
Concertante?" 68-74.
Leeson traces the history of this work which, after its
discovery in 1869, many attributed to Mozart. Now generally
considered to be inauthentic, Leeson looks at its rapid
fade from the standard repertoire and Robert D. Levin's
attempt to "reconstruct" the original Mozart work. In this
reconstruction Levin reworks the orchestration and replaces
the solo clarinet, which appears in the standard version,
with a flute, restoring Mozart's original instrumentation.
The author also uses this article to advocate the use of
intellect as the primary basis for musical interpretation,
rather than relying entirely on tradition and emotion.
(Hist, Rep)
Gross, Steve. "American Horn Competition, Inc." 75.
Winners announced are Lowell Greer in the Professional
Division, Richard Deane in the University Division, and
Stephanie Furry in the High School Division. (WkSh)
Leuba, Christopher. "Recordings Section." 89-95.
Along with his usual variety of recordings, Leuba includes
a discography, supplied by R. Wayne Shoaf, of recordings of
the Quintet, Op. 26 by Arnold Schoenberg. (Disc)
The Horn Call October 1986 Volume XVII, Number 1
Scharnberg, William. "William C. Robinson, Founder of the
IHS, Retires." 13-15.
The author profiles Robinson's playing and teaching career
and includes Robinson's own account of the birth of the
International Horn Society. (Bio, IHS)
Farnsley, Stephen H. "Gunther Schuller's Concerto for Horn
and Orchestra: an Unpublished, Youthful Masterpiece."
17-23.
The only performance of this concerto, written in 1945, was
at its premiere, with the composer as soloist. Although the
middle "Nocturne" movement was available until 1980 through
Mills Music, the outer two movements have never been
published. Farnsley details the history of the work and
includes excerpts from two reviews of the premiere. A
detailed analysis of the work along with numerous excerpts
are also included. (Rep)
Walshe, Robert C. "The Transition from Hand Horn to Valve
Horn in Germany." 25-26.
Walshe looks at a number of works from the nineteenth
century which clearly show how the valve horn slowly
displaced the natural horn during this time. (Hist, NtHn)
Pierce, Robert O. "In Memoriam: Willem Adriaan Valkenier."
29-30. (Bio)
Valkenier, Robert. "In Memoriam: Willem Adriaan Valkenier."
30-33. (Bio)
Burdett, Keith. "B.H.S.-Ripon 1100." 35-37.
Details are given of this British Horn Society event, which
celebrated 1100 years of horn blowing in Ripon, Great
Britain. (WkSh)
Kampen, Paul. "The Ripon Horn." 38-39.
King Alfred the Great presented this horn to the city of
Ripon, Great Britain in the year 886 to signify his
granting of the city charter. Kampen discusses its history
and the customs associated with the blowing of the horn.
(Hist)
Watson, Catherine. "A Profile of Harold Meek." 41-46.
The career of Meek, former long-time member of the Boston
Symphony Orchestra and the first editor of the Horn Call,
is detailed. In addition, many of the horns in his
collection are pictured and described, including a mint
condition 1830 Courtois hand horn. (Bio, Eqmt, NtHn)
Osmun, Robert. "Maintenance of Rotary Valves." 49.
Osmun dispels many of the myths about valve maintenance and
presents a step-by-step procedure for properly lubricating
the horn. (Mnt)
Ruff, Willie. "Paul Hindemith and the Sound of the Horn."
52-54.
Ruff recounts the stories behind Hindemith's writing of the
Sonata for Four Horns and Concerto for horn. He also
discusses Hindemith's use of poetry and includes English
translations of the poems from the Concerto and the Sonata
for Alto Horn and Piano. (Hist, Rep)
Groves, John. "Keystone Brass Institute: A Hornist's
Impressions." 55-56.
Groves, a participant during this, the initial year of the
institute, describes the events and lists the participating
artists. (WkSh)
Pherigo, Johnny. "Solos for the Young Hornist." 60-63.
Pherigo lists nineteen solos for horn and piano that he has
selected for their overall educational and musical value.
They are organized by ability level (beginner through young
high school), and each includes listings of publisher,
price, range requirements, duration, and a brief
annotation. (Ped, Rep)
Leuba, J. C. "The Inherent Drive of Rhythm, a Continuation
of the Discussion." 64-65.
Leuba continues the discussion begun in Philip Myers's
article (HC XV/2, p. 49) and James Collorafi's response
(HC, XVI/2, p. 62). The role of rhythm, particularly the
accent, in the opening of Schubert's "Great C Major"
Symphony and the "Rondo" theme from Mozart's Fourth Horn
Concerto is discussed. (Rep)
Kavalovski, Charles. Jeffrey Agrell, ed. "Orchestral
Excerpt Clinic." 66.
The horn/clarinet solo in Franck's Symphony in D Minor is
discussed. (Rep)
Agrell, Jeffrey. "Jazz Clinic." 66-67.
Agrell proposes taking the basic Farkas style arpeggiated
warm-up and altering it to outline various chords commonly
used in jazz. He stresses that this should be done without
using music in order to aid in the development of
improvisational skills. (Jz, Wmup)
Kafer, Harold A. "1986 Southeast Horn Workshop-An
Administrative Perspective." 70-71.
Kafer, head of the Music Department of Auburn University,
outlines effective methods for successfully hosting an
event of this type. (WkSh)
Agrell, Jeffrey. "1985 IHS Composition Contest Report."
72-77.
Winners in each of the three categories are announced and
briefly described and a complete listing of entries is
given. The winners are as follows: Category I: Horn and
Piano (Level 1-2), Four Bagatelles for Horn and Piano by
Michael Jacques; Category II: Horn in Chamber Ensemble,
Intoduzione e Capriccio per 7 Strumenti by Rózsa Pál;
Category III: Horn Ensemble, Fourth and Fifth for 12 Horns
by Attila Reményi. (IHS, Rep, WkSh)
Jepson, Barbara. "Clambake: The Dilemma of the Horn."
78-79.
This reprint from the Wall Street Journal discusses the
difficulties and uncertainties faced by horn players. It
includes a brief profile of, as well as a number of
comments by, Barry Tuckwell. (Bio, Emb, Eqmt, Hist)
Hokanson, Ruth. "Statement of Financial Condition 30 June
1986." 82-84. (IHS)
Pignéguy, John. "News and Notes from London." 85-86.
Among the musical highlights of the past year that Pignéguy
mentions is the final concert of the Philip Jones Brass
Ensemble. (Misc)
Leuba, Christopher. "Recordings Section." 87-89. (Disc)
Stewart, Milton L. "An Analytical Review." 90-92.
Jazz hornist Tom Varner's album Motion/Stillness (Soulnote
SN 1067) is reviewed, and each of the five original
compositions is analyzed. (Disc, Jz)
The Horn Call April 1987 Volume XVII, Number 2
Walshe, Robert C. "The Orchestral Horn Transpositions of
Richard Strauss." 11-15.
Although the crooked hand horn had nearly disappeared by
the time Strauss began composing, he continued to call for
horns in different keys in his works. Walshe investigates
this, showing many examples of Strauss horn parts written
in this manner. He explains that Strauss had two primary
reasons for continuing this practice: his belief that
hornists preferred transposing over reading many
accidentals, and his preference for the cleaner looking
score produced when using less accidentals and no key
signature. (Hist, Rep, Trns)
Mansur, Paul. "That Detmold Workshop." 16-28.
Mansur reports on the Eighteenth International Horn
Workshop held in Detmold, Germany. (WkSh)
Vach, Milan. "About the Horn in Bohemia from Hudebni
Nastroje." 30-33.
This article, taken from the Czech music journal Hudebni
Nastroje, traces the Bohemian horn players and teachers of
the eighteenth and early nineteenth centuries. It is
primarily a listing of the players names, locations, dates,
and accomplishments that has been organized into a logical
chronology. (Hist)
Secon, Morris. Jeffrey Agrell, ed. "Orchestral Excerpt
Clinic." 34-35.
Secon discusses the calls in Beethoven's Sixth Symphony.
(Rep)
Bell, Kenneth. "A Bibliographic Survey of the Horn in
Chamber Music, 1750-1830." 37-43.
Bell has compiled 121 sources that list or discuss horn
chamber works from this period. (Bib)
Roth, Viola. "Early Brass Festival II." 45-46.
Roth highlights the events at this two-day festival in
Amherst, Massachusetts, which focuses on pre-valve
instruments. (NtHn, WkSh)
Bigelow, Newton. "On Learning the Horn." 48-52.
The author, an eighty-three-year old amateur hornist,
reminisces about his years of playing and studying the
horn. (Misc)
Pherigo, Johnny. "Report on the International Horn Society
Horn/Band Transcription Project." 54-59.
Pherigo presents a list of thirty-five transcriptions which
are available for sale or rental. Each work's
instrumentation is given, along with any pertinent rental
or purchase information. (IHS, Rep)
Agrell, Jeffrey. "Jazz Clinic." 61-62.
Agrell stresses the importance of relentlessly practicing
scales and patterns to build a foundation to draw upon when
improvising. He presents a possible approach to use when
practicing patterns, shows a few examples of patterns, and
suggests texts which will provide many others. (Jz, Ped)
Farkas, Philip. "Medical Problems of Wind Players: A
Musician's Perspective." 64-67.
Farkas categorizes these problems into four categories:
embouchure, breathing, holding the instrument, and stage
fright. He looks at many of the specific problems within
these categories and offers possible methods to prevent or
cure them. (Hea)
Wakefield, David. "A Chronological List of Horn Tutors."
69-72.
This list contains fifty-two tutors arranged
chronologically and categorized as either pre-hand horn,
hand horn, or valve horn tutors. (Bib, Ped)
Kaslow, David. "An Introduction to Richard Moore's New
Book." 83.
Kaslow, a former student of Moore's, offers his insights
into the comments by Moore contained in his Anthology of
French Horn Music. (Rep)
Moore, Richard C. "Errata." 83.
Included is a list of corrections for his book Anthology of
French Horn Music. (Rep)
Leuba, Julian Christopher. "Recordings Section." 84-89.
(Disc)
The Horn Call October 1987 Volume XVIII, Number 1
Baumann, Hella. "Second International Competition for Hand
Horn, Bad Harzburg, West Germany, June 17-20, 1987." 19-20.
(WkSh)
Scharnberg, Bill. "Upon the Retirement of James Winter."
21-24. (Bio)
Delano, Alice. "Mozart Horn Concerto K. 495: A Study of
Editions." 25-29.
This study looks at seven editions of Mozart's Fourth Horn
Concerto K. 495: the initial publication by André (1802),
that of Contore d'arti e d'industria (1803), and those
edited by Carl Reinecke (1879), Henri Kling (1879), Dennis
Brain (1946), James Chambers (1960), and Hermann Baumann
(1982). These are compared to the facsimile found in Das
Horn bei Mozart (Mozart & the Horn)
Facsimile-Collection, by Hans Pizka. While discrepancies in
articulations, dynamics, notes, or length can be seen to
some degree in each of these, the author believes that the
edition most faithful to the original is that of Contore
d'art e d'industria. (Hist, Rep)
Saxton, S. Earl. "The Rap Session on Disabled/Handicapped
Hornists and How They Cope." 31-38.
Saxton highlights information received in response to his
mailings and notices, and recounts comments from the rap
session. Stories of individuals faced with a variety of
physical disabilities and diseases are related, and methods
of preventing or overcoming them are detailed. Eight
medical clinics that specialize in musicians' problems are
listed along with their addresses and phone numbers. (Hea)
Scharnberg, William. "What Type of Horn Should I Buy?"
39-40.
Scharnberg recommends that someone deciding on a horn to
purchase look for an instrument that can produce a good
"characteristic" tone, as well as one that may help you get
work in the area, i.e., is similar to those used by other
local players. He discusses the ingredients that make up a
good tone, concluding that the acoustical environment in
which a horn will be played is often unnecessarily
overlooked when judging a horn's attributes. (Acou, Eqmt,
NtSty, Tn)
Pyle, Robert. "Acoustical Reverberations." 42-45.
Basic terms used in the field of acoustics are defined and
explained. These include acoustics, hertz, decibel, cents,
harmonic, overtone, partial, and pure tone (sine wave).
(Acou)
Stewart, Milton L. "Review of Jazz French Horn." 47-53.
The album Jazz French Horn featuring hornist Tom Varner is
given a detailed review by Stewart. Each of the eight
tracks is discussed and analyzed and many helpful diagrams
and examples are included. (Disc, Jz)
Aebi, Franz. "In Memoriam: Aebi." 54-55.
The life and accomplishments of Dr. Willi Aebi (1901-1986)
are highlighted. (Bio)
Winter, James. "In Memoriam: Aebi." 55-56.
Winter shares personal memories of Dr. Willi Aebi. (Bio)
Shapiro, Harry. "In Memoriam: James Stagliano (1912-1987)."
57. (Bio)
Hokanson, Ruth. "International Horn Society Statement of
Financial Condition 30 June 1987." 58-60. (IHS)
Agrell, Jeffrey. "Report on the 1986 Composition Contest."
62-67.
A complete list of entrants is given and winners in each
category are announced and reviewed. Winners included:
Category I: Horn and Piano-Jazz Style, no prize winner,
Honorable Mention awarded to Jazz Suite by David Machell;
Category II: Horn and String Quartet (vn/2va/vc), Flights
of Imagination by Steven Winteregg, Honorable Mentions
awarded to Chiaroscuro by Stephen A. Taylor and Quintet by
Franz Xaver Gardeweg; Category III: Horn Ensemble, Fyodor's
Lullaby (12 hn) by David Jones and Relationships (8 hn) by
Dave Perrottet, Honorable Mentions awarded to 4 Canzoni da
Sonar per 6 Corni by Luca Logi and Epiphanie (12 hn) by
Caspar Diethelm. (IHS, Rep, WkSh)
Bacon, Thomas. Jeffrey Agrell, ed. "Orchestral Excerpt
Clinic." 68-69.
Bacon discusses Chopin's Piano Concerto No. 2 in F Minor,
Op. 21. (Rep)
Decker, Richard. "IHS Announces Theses Acquisition." 70-72.
A total of forty-nine theses are listed that deal with horn
or related brass topics and are available for loan to IHS
members from the IHS Archives in Muncie, Indiana. (Bib,
IHS)
Leuba, Julian Christopher. "Recordings Section." 84-89.
(Disc)
Braun, Elaine. "Hooked on..." 91-97.
Braun summarizes the events of the Nineteenth International
Horn Workshop held at Provo, Utah. (WkSh)
The Horn Call April 1988 Volume XVIII, Number 2
Pizka, Hans. "News from Our Man in Munich." 18-19.
Horn related news and activities are reported, and two old
photographs from Pizka's archives are included, one showing
the fourteen Wagner-hornists at the 1906 Bayreuth Festival,
the other dating from 1904 and showing six hornists at
Prof. Emil Wipperich's garden in Bayreuth. (Hist, Misc,
WkSh)
Leuba, Julian Christopher. "The Literate Hornist." 21.
Leuba presents a short list of written and recorded
materials that he feels "contain important insights into
the art of musical performance." (Bib, Disc, Ped, Rep)
Horvath, Roland. "In Memory of Friedrich Reithofer." 23.
(Bio)
Gross, Steve. "A Competition Comes of Age." 25-30.
The 1987 American Horn Competition is profiled. (WkSh)
Vach, Milan. "Kaemika Corni." 31-32.
This quartet is made up of members of the Janacek
Philharmonic Orchestra of Ostrava, CSSR. (Bio, Ens)
Ver Meulen, William. Jeffrey Agrell, ed. "Orchestral
Excerpt Clinic." 33-38.
Ver Meulen discusses the performance and interpretation of
Haydn's Symphony No. 31 ("Hornsignal") and offers advice on
choosing an instrument (regular double vs. descant),
building endurance, and improving the high range. (Ped,
Rng, Rep)
Varner, Tom. "Jazz Clinic." 39-42.
The importance and usefulness of the diminished minor scale
in contemporary jazz improvisation is stressed. Varner
includes practice examples using diminished scales, the
names of fourteen top American jazz hornists, and a short
discography of jazz recordings which feature heavy use of
diminished scales. (Disc, Jz, Ped, Prsnl)
Hill, Douglas. "Self-Development and the Performance of
Music." 45.
This is a list of twenty-two recommended books covering the
topics of musical orientation, relaxation and meditation,
biofeedback, "inner game" concepts, breathing, Alexander
technique, visualization, psychophysiology and autogenic
training, and self-esteem and personal growth. (Bib, Brea,
Ped)
Yeo, Douglas. "Horn Players of the Boston Symphony
Orchestra, 1881-1988." 47-61.
Included are twenty photographs showing forty past and
present hornists with the BSO. Brief biographical
information on many past members and more detailed
information on present members is given, and a complete
list of all fifty-two BSO horn players is included. (Bio,
Ens, Prsnl)
Stewart, Milton L. "Chamber Music for Voices with French
Horn: Performance Problems for French Horn." 63-71.
This is the first of a three-part series and is entitled
"The French Horn and Its Function in Vocal and Chamber
Music Before 1800." After briefly describing the evolution
of the instrument and its technique, Stewart traces the use
of the horn in eighteenth century vocal and chamber music,
showing numerous examples and discussing horn function,
writing style, and technical demands. (Hist, NtHn, Rep)
Loebl, Cindy Carr. "Two Important European Horn
Competitions of 1987." 72-79.
Loebl reports on the Prague Spring International Horn
Competition and the ninth Scandinavian Horn Seminar. (Rep,
WkSh)
Pyle, Robert. "AudioPyle: Acoustical Reverberations."
80-86.
Similarities and differences in brass instrument timbre are
analyzed and explained by Pyle. Important points include
the discussion of formant peaks and frequencies; the
relationship between dynamic level and tone quality; how
the change in spectrum envelope shape stays consistent
throughout a family of brasses; what causes the "brassy"
quality in loud playing; the influence of instrument
direction on tone quality; and the importance of slight,
rapid, random changes of frequency and amplitude which add
warmth to the tone. (Acou, Tn)
Dressler, John C. "An Alphabetical Listing of the
Chambers/International Music Company Orchestral Excerpt
Books for Horn, Volumes I-VII." 90. (Ped, Rep)
Leuba, Julian Christopher. "Recordings Section." 98-102.
(Disc)
The Horn Call October 1988 Volume XIX, Number 1
Pignéguy, John. "Notes from London." 14-15.
In addition to his regular update of concert highlights,
Pignéguy reports on fourteen-year-old hornist David Pyatt,
the BBC's Young Musician of the Year. (Bio, Misc)
Braun, Elaine. "Horn Heaven-Almost; 20th International Horn
Workshop, Potsdam, N.Y.; June 19-25, 1988." 17-19. (WkSh)
Varner, Tom. "Julius Watkins, Jazz Pioneer." 21-25.
Julius Watkins (1921-77), the great jazz hornist of the
1950s, 60s, and early 70s is profiled. Varner includes a
transcription of a Watkins horn solo from the Jimmy Heath
composition Quota, a discography of recordings on which
Watkins appears, and a listing of mail order dealers that
may be able to locate these recordings. (Bio, Disc, Jz)
Burdett, Keith. "Northern Seminar, June 26, 1988." 27-28.
Events at this gathering of hornists in Bradford, England
are reported. (WkSh)
Tritle, Thomas. "Horns in the Shrine to Music Museum."
30-35.
Located on the campus of the University of South Dakota in
Vermillion, South Dakota, this museum houses a collection
of over 4,000 instruments, 1,540 of which are brasses. At
its core is the collection of over 2,500 instruments that
was assembled by its first director, Arne B. Larson. Tritle
describes 12 of the horns in detail and briefly discusses a
number of other interesting instruments or collections.
Photographs of many of the horns are included and the
author suggests several areas in which further research or
study could be done. (Hist, NtHn)
Moore, Richard C. Agrell, Jeffrey, ed. "Orchestral Excerpt
Clinic." 37.
Moore discusses the "Micaela" aria from Bizet's Carmen.
(Rep)
Pyle, Robert. "AudioPyle: Terminology and History of
Architectural Acoustics." 38-41.
Pyle describes W. C. Sabine's 1895 experiments and their
important role in helping to understand the concepts of
reverberation and diffusion. He also discusses time delay
and the difficulties of building new, larger halls that
have the same desirable acoustics as the smaller, older
halls. (Acou)
McCue, Edward. "Room Acoustics and the Orchestral Hornist."
44-47.
The main topics discussed in this article include the
effects that the directionality of the horn has on hearing,
and the influence of acoustics on ensemble and solo
playing. Many practical suggestions are offered and common
problems caused by acoustical phenomena are explained.
(Acou, Ens)
Marx, Josef. "An Introduction to Mozart's 12 Duos for Two
French Horns (K. 487)." 49-65.
This reprint of a 1947 article argues that these duets for
unspecified instruments were intended for two horns. Their
history is traced and the reasons behind previous
speculation that they were meant for violins or Basset
horns are explained and rejected. Precedence is shown of
other works from the same period that call for the horn to
ascend to written g''' and to utilize the chromatic lower
range, both of which are seen in these duos. Tables showing
Mozart's use of chromatic pitches are presented which
illustrate that the most frequently utilized notes are
confined to the harmonic series while notes which Mozart
avoids or uses sparingly are difficult or impossible to
produce on the hand horn. (Hist, NtHn, Rng, Rep)
Stewart, Milton L. "Chamber Music for Voices with French
Horn: Performance Problems for French Horn." 70-85.
In this, the second of a three article series (also HC
XVIII/2 p. 63, HC XIX/2 p. 65), six works of medium
difficulty for the horn are discussed: Johannes Brahms's
Four Songs for Women's Choir, Robert Schumann's Five
Hunting Songs, Anton Bruckner's Abendzauber, Norman Dello
Joio's The Mystic Trumpeter, Franz Schubert's Auf dem
Strom, and Hector Villa-Lobos' Choros (No. 3). (Rep)
Agrell, Jeffrey. "Jazz Clinic: There'll Be Some Changes
Made..." 86-89.
Exercises to help develop smooth horizontal movement
through chord changes are shown and discussed. Agrell also
gives brief profiles of three lesser known jazz hornists:
Matt Shevrin, Claudio Pontiggia, and Arcadi Shilkloper.
(Bio, Disc, Jz, Ped)
Leuba, Julian Christopher. "Recordings Section." 90-99.
Included is a discography of Josef Molnar performing on
horn and alphorn. (Disc)
Agrell, Jeffrey and Daniel Lienhard. "Report on the 1987
Composition Contest." 100-104.
A complete list of entrants is given and winning works are
announced and described. Winners included: Category I: Horn
and Synthesizer, no prize awarded; Category II: Trio
(hn/vn/bsn), Chamber Concerto by Henry Wolking, Honorable
Mention awarded to Pál Rózsa's Theme and Variations;
Category III: Horn Quartet, Quartet No. 1 by Kerry Turner,
Honorable Mention awarded to Hans-Günther Allers's Fünf
Intermezzi. (IHS, Rep, WkSh)
Scharnberg, William. "Music in Manuscript." 108-110.
Scharnberg reviews Cindy McTee's Images for Horn and Piano,
Luigi Zaninelli's Moménte for Solo French Horn and Piano,
John White's ...Those Who Dwell in Realms of Day, Randall
Faust's Three American Folk Songs (2hn/pf), Raymond
Parfrey's Cameos (4 hn), and Kerry Turner's Quartet for
Horns No. 1. (Rep)
Thompson, Timothy. "Report to the International Horn
Society from the IHS Latin America Development Project."
111-112.
Thompson reports on the creation of exchange programs and
the development of a Spanish language edition of the Horn
Call. (IHS)
The Horn Call April 1989 Volume XIX, Number 2
Marshall, Barry. "What's Available from Your Repair
Person?" 30-33.
Marshall describes some of the repairs and customizations
available at most repair shops. His categories include
"bell dents," "bell ring," "more bell tricks," "pinkie
hook," "more dents," "slides," "valves," and "leadpipe."
(Mnt, Vlv)
Chesko, Ed and Chuck Ward. "Plastic on Brass Instruments."
35.
The merits and uses of a new type of plastic called
"Delrin" are discussed by the authors, who are engineers
for King Musical Instruments. (Eqmt, Vlv)
Deskur, Edward. Jeffrey Agrell, ed. "Orchestral Excerpt
Clinic." 37-42.
The second horn part to Richard Strauss's opera Der
Rosenkavalier is explored. (Rep)
Varner, Tom. "Jazz Horn-Post Julius Watkins." 43-45.
Varner presents a discography of LP's and CD's recorded
between 1970 and 1989 that features jazz hornists residing
in the United States. Players listed include Alex Brofsky,
Vincent Chancey, John Clark, Richard Dunbar, Sharon
Freeman, Peter Gordon, Jerry Peel, Willie Ruff, Richard
Todd, and Tom Varner. (Disc, Jz)
Agrell, Jeffrey. "Jazz Clinic." 47-49.
The basics of building a jazz bass line are presented in a
progressive step-by-step method. Agrell begins with a bass
line made up solely of chord roots and progresses to ones
incorporating fifths, thirds, chromatic approach tones, and
scale tones. (Jz, Ped)
Sellers, Jacquelyn M. "Summit Brass International Brass
Ensemble Competition." 50-51.
Results of this 1988 competition included: third place to
the Emerald Brass Quintet (Kelly Drifmeyer, horn) from the
Eastman School of Music, second place to the Carillon Brass
(Richard Chenoweth, horn) from Dayton, Ohio, and first
place to the Atlantic Brass Quintet (Robert Rasmussen,
horn) from Boston. (Ens, WkSh)
Kleucker, Malinda Finch. "Alternate Fingerings on the
Double Horn." 52-61.
Alternate fingerings are suggested for a number of excerpts
to aid in their facility or intonation. Included are
Mahler's First, Fourth, and Ninth Symphonies, Beethoven's
Third and Sixth Symphonies, Strauss' Till Eulenspiegel, Ein
Heldenleben, and Elektra, Franck's Symphony in D Minor,
Stravinsky's Rite of Spring and Firebird Suite, Dvorak's
New World Symphony, Bruckner's Fourth Symphony,
Tchaikovsky's Fifth Symphony, Shostakovich's Fifth
Symphony, Maxwell Davies's Salome, and Per Norgard's Third
Symphony. She also discusses using alternate fingerings to
play microtonal music and includes a one octave microtonal
fingering chart. (Rep, Tech, Tun)
French, Allen. "Hornists Help Celebrate 150 Years of
Engineering at the University of Alabama." 62-64.
As part of this anniversary celebration, two works were
commissioned from University of Alabama faculty:
Transformations (WW5/4 hn) by H. Garrett Phillips, and
Octet (8 hn) by Frederic Goosen. (Rep, Misc)
Stewart, Milton L. "Chamber Music for Voices with French
Horn: Performance Problems for French Horn." 65-83.
The final installment of this three-part series (also HC
XVIII/2 p. 63, HC XIX/1 p. 70), covers chamber works with
difficult horn parts. Works discussed include Anton
Webern's Zwei Lieder, Op. 8, Benjamin Britten's Canticle
III and Serenade, and Kláus Huber's Des Engels Anredung an
die Seele. (Rep)
Leuba, Julian Christopher. "Recordings Section." 85-91.
(Disc)
Scharnberg, William. "Music in Manuscript." 101.
Reviewed works include Festive Rondo by Richard Cioffari,
Songs from Middle Earth for Horn and Piano (optional bass
and drumset) by Dona Wilson, and Scherzo "Potsdam" (2 hn)
by Jan Segers. (Rep)
Pyle, Robert W., Jr. "AudioPyle: Why Does My Horn Feel That
Way?" 103-107.
Using simple resonators, Pyle attempts to create a
simulated horn to aid in understanding what causes horns to
act as they do. In this, the first in a series of articles
devoted to this topic, he concludes that the "quality
factor "(Q), which is the amount of friction there is
relative to the mass and stiffness, is important in
determining how "separate" the notes on a horn feel. If the
Q is too high the horn will feel stiff, if the Q is too low
it will be too flexible. (Acou)
LaBar, Arthur. "Horn Player's Audition Handbook Errata."
108.
A list of corrections is given for LaBar's book Horn
Player's Audition Handbook. (Aud, Rep)
Faust, Randall E. "In Memoriam." 110.
The deaths of Robert Elworthy, James Chambers, Richard
Moore, and Hugh Cowden are noted. (Bio)
Farkas, Philip. "In Memoriam: Hugh Alan Cowden." 110-111.
(Bio)
Meier, Dan. "In Memoriam: James Chambers Remembered."
112-116. (Bio)
Wakefield, David. "In Memoriam: James Chambers, a Life
Remembered." 116-117. (Bio)
Decker, Richard. "In Memoriam: Richard Moore (1914-1988)."
117-118. (Bio)
Chenoweth, Richard. "In Memoriam: Robert W. Elworthy."
119-123. (Bio)
Secon, Morris. "In Memoriam: Dorothy L. Frizelle." 124.
(Bio)
Pizka, Hans. Paul Mansur, ed. "Digest of 21st Annual Horn
Symposium Schedule 22 July-29 July 1989, Munich." 127-128.
(WkSh)
The Horn Call October 1989 Volume XX, Number 1
Gross, Steve. "A Report from the 1989 American Horn
Competition." 19-22. (WkSh)
Agrell, Jeffrey and Daniel Lienhard. "1988 IHS Composition
Contest Report." 25-30.
A complete list of entrants is given and winning works are
announced and described. Winners included: Category I: Horn
& Piano (short encore), Virtuoso by Corrado Saglietti
and Ma, can we go to the circus...aw, please! by David
Machell. Honorable Mention awarded to Blues #3 by Charles
Wike; Category II: Brass Trio (trp/hn/trb), Brass Trio
(1988) by Mark E. Wolfram; Category III: Horn Sextet (6
hn), no prize awarded, Honorable Mention awarded to 6 Moods
by John Clark. (IHS, Rep, WkSh)
Agrell, Jeffrey. "A Brief History of the IHS Composition
Contest." 31-33.
Agrell gives a year-by-year breakdown listing contest
director, judges, number of entries, category types, as
well as winners and honorable mentions in each category.
(IHS, Rep, WkSh)
Leuba, Julian Christopher. Jeffrey Agrell, ed. "Orchestral
Excerpt Clinic." 35-37.
The opening of the Piano Concerto No. 2 by Johannes Brahms
is discussed. Leuba takes six performances and by measuring
audio tape lengths, compares the note lengths and phrase
proportions of the various interpretations. (Rep)
Agrell, Jeffrey. "Jazz Clinic." 38-39.
As an aid to hornists wishing to produce their own practice
accompaniments on MIDI keyboards and sequencers, Agrell
explains the art of "comping." (Jz, Ped)
Polekh, Ludmila. "On the Problem of Improvisation Technique
in Modern Performance Practice." 41-46.
The use of improvisational elements such as cadenzas,
ornaments, and rhythmic unevenness (inégalité), in the horn
concertos of Mozart is discussed. Performance practice
norms of the Classical era are investigated and their
application to these works is encouraged. (Hist, Rep)
Danner, Gregory. "Heinrich Domnich's Méthode de Premiere et
Second Cor: Lessons in Musicianship for Today's Student."
47-49.
This, the first definitive hand horn tutor, contains much
that is relevant to modern study. Danner looks at Domnich's
views on three subjects: accuracy and the importance of
developing aural skills through singing; articulations,
specifically production of the slur, detached, and
staccato; and how to study, especially practicing all
phases of playing. Domnich's advice on learning a second
instrument as career insurance and a guard against laziness
is also included. (Hist, Ped, Rep, Tech)
Hill, Douglas. "Practicing Full Circle." 51-53.
Maintaining a positive attitude while practicing is the
focus of this article. Hill advocates striving to make
practice sessions artistic experiences by using what he
calls a "circle of growth" with "LOVE as the central force,
anchored by both our obvious ENJOYMENT of the music and the
medium, and our controlled efforts to FOCUS our abilities
and our awareness." (Ped)
Goodman, David W. "Taming Performance Anxiety." 55-60.
Goodman, a practicing psychologist, explains the autonomic
nervous system and its role in "stage fright." He discusses
ways of controlling this anxiety, including the use of
alcohol, beta-blockers, and desensitization. A text which
can be used to make an audio tape for use in the
desensitization process is included. Goodman claims that
with repeated use of this tape, the listener may learn to
remain relaxed in performance situations that had
previously caused stage fright. (Hea, Ped)
Pyle, Robert W., Jr. "AudioPyle: Why Does My Horn Feel That
Way?" 61-65.
How the shape of the tapered sections of a horn affect its
intonation is explained by relating the acoustics of the
horn to the properties displayed by a system of masses and
springs. By using this method the author hopes to make
visualization and understanding of the horn's acoustical
properties easier. The article's two main points are: 1)
the shape of the bore determines how well a horn is in tune
with itself, and 2) a localized change in this bore shape,
such as a dent, may raisethe frequency of some resonances
and lower those of others. (Acou, Tun)
Iervolino, Antonio. "Embouchure: Lip Aperture." 67-70.
Iervolino presents four experiments dealing with the lip
aperture and its function during dynamic changes, pitch
changes, and in the high register. (Emb, Ped, Rng, Tech)
Greer, Lowell. "Guest Recording Review." 80.
Greer reviews two recordings by hornist Steve Gross: Music
for Horn and Organ and Le Cor Francais: Music from France.
(Disc)
Leuba, Julian Christopher. "Recordings Section." 81-87.
(Disc)
Scharnberg, William. "A Tribute to Paul Anderson." 90-93.
This former IHS president, retiring after forty years as
Professor of Horn at the University of Iowa, is profiled.
(Bio)
Scharnberg, William. "A Tribute to Louis Stout." 94-101.
Scharnberg highlights the life and accomplishments of
Stout, who recently retired after twenty-eight years of
teaching at the University of Michigan. (Bio)
LaBar, Arthur. "The 21st International Horn Symposium,
Munich." 102-108. (WkSh)
The Horn Call April 1990 Volume XX, Number 2
Mansur, Paul. "Workshop 22." 18-19.
Plans for this workshop are announced and a tentative
schedule is given. (WkSh)
Baumann, Hermann. "Horn and Piano Duo Master Class." 20-22.
Baumann announces an upcoming masterclass taught by pianist
Leonard Hokanson and himself, discusses the many benefits
of performing horn and piano duos, and lists suggested horn
and piano repertoire. (Ped, Rep)
Agrell, Jeffrey. "Jazz Clinic." 23-28.
This is the final article of a three-part series detailing
how to construct a rhythm section accompaniment for jazz
practice by using MIDI equipment. MIDI, synthesizers, and
samplers are explained, and many makes and models of
available equipment are described. Building a drum line for
this synthesized accompaniment is covered, and using a
sequencer to assemble and manipulate the various parts of
the accompaniment is explained. (Jz)
Coghill, Gene. "A Summer with Jimmy." 29-36.
Coghill reminisces about the summer of 1967, which he spent
socializing with the Boston Symphony Orchestra's principal
hornist, James Stagliano. (Bio)
Faust, Randall E. "Message from the President." 37-39.
The financial statements of the IHS for the eighteen months
prior to January 1990 are presented. (IHS)
Farkas, Philip. Jeffrey Agrell, ed. "Orchestral Excerpt
Clinic." 40-41.
Farkas relates the interpretation of the opening solo from
Brahms's Piano Concerto No. 2 as taught to him by the
pianist Artur Schnabel. (Rep)
Walker, Ann Ellsworth. "An American in Leningrad." 42-44.
Walker describes her one-month stay in Leningrad studying
with Vitali Bujanovsky at the Rimsky-Korsakov Conservatory
and staying as a guest at his home. (NtSty, Ped, Rep)
Sherman, Fran. "A New and Different Perspective." 45-47.
Sherman relates her experience of, and subsequent feelings
about, being diagnosed with an inoperable brain lesion.
(Hea)
Carter, Stewart. "Fifth Early Brass Festival at Amherst."
48. (WkSh)
Pyle, Robert W., Jr. "AudioPyle: Why Does My Horn Feel That
Way?" 49-54.
This, the third installment in this series of articles,
deals primarily with the mouthpiece and mouthpipe. Pyle
begins with an explanation of acoustic impedance and how it
applies to brass instrument tone production. He concludes
that the combination of the cupped mouthpiece with a narrow
mouthpipe causes this impedance to elevate throughout most
of the instrument's playing range and that without this
elevation, only a few harmonics could be comfortably
played. He also mentions that, unlike the trumpet, the
primary influence in a horn's intonation is the design of
the bell section rather than the mouthpipe. (Acou, Eqmt,
Mthpc, Tun)
Thurmond, James. "Reminiscences of Anton Horner." 55-68.
(Bio, Ped)
Kimple, Wilbert K. "Purchasing a Quality Horn for under
$1,300." 69-73.
Points to consider when buying a horn are discussed, and
the following horns are briefly described: Amati; Bach 197;
Besson 408; Blessing B48L and B50L; Conn 6D, 8D, and 28D;
Getzen 413; Holton H190, H378, H379, H177, H178, H179, and
H180; King KG1159, KG2259, 2270 Eroica, and 2278 Fidelio;
Olds; Reynolds;Selmer 77; and Yamaha. Current market prices
are provided for most of these instruments. (Eqmt)
Deskur, Edward. "A Composer's Guide to the Low Horn."
74-80.
Deskur begins by defining the term "low horn" and then
gives some examples which demonstrate the low horn's
abilities. The characteristics of each note, from f# down
to C (two octaves below middle c'), are discussed, and
articulation, multiple tonguing, and stopping in this
register are described. He suggests limits for the use of
the high register and mentions the effectiveness of using
the low horn to play jazz or Latin style bass lines. (Rng,
Tech)
Schweikert, Norman. "Memoriam: Pellegrino Lecce." 82-85.
Lecce's career is highlighted, and a discography of
recordings on which he appeared is included. (Bio, Disc)
Leuba, Julian Christopher. "Recordings Section." 99-110.
(Disc)
Hennigar, Harcus. "Eugene Rittich-A Tribute." 117-124.
This profile of Rittich, who served thirty-seven years as
principal horn of the Toronto Symphony, includes highlights
of his career, reminiscences by colleagues and friends, and
a list of works commissioned by or dedicated to him. (Bio,
Rep)
Brubaker, Michael. "Brass Notes, a Lexicon of Descriptive
Noises." 126-129.
Commonly used terms such as "clam," "rip," and "blatt,"
which are not normally discussed in traditional method
books, are defined or described. (Hum, Tech)
The Horn Call October 1990 Volume XXI, Number 1
Watson, Catherine. "Workshop Number Twenty-Two: A Thrilling
Week at EIU." 10-12.
Events of the 1990 IHS Workshop at Eastern Illinois
University are highlighted and two pages of photographs are
included. (WkSh)
Bach, Jan. "Jan Bach's Laudes." 16-20.
The composer discusses the history of the work and offers
helpful suggestions for its performance. (Rep)
Lawson, Bruce and Walter Lawson. "Detachable Horn Bells."
21-23.
The article lists the pros and cons of detachable bells,
discusses how their shape, thickness, and composition
affect sound and intonation, and details the proper method
of installing and removing a detachable bell, including how
best to remove a stuck bell. (Acou, Eqmt, Mnt)
Scharnberg, Bill. "A Message from the President." 25.
The mission of the IHS and its major projects as it enters
its third decade of existence are discussed with particular
emphasis on the problem of making the society more relevant
or useful to its international members. (IHS)
Meek, Harold. "The Horn." 26.
In this reprint from the Music Educators Journal, Meek
strongly advocates using the term "horn" rather than
"French horn. (Misc)
Lowe, Lawrence Michael. "A Conversation with Verne
Reynolds." 27-32.
Reynolds discusses his early musical training, his
experiences while studying in London (1953-54), his
compositional style, and his 48 Etudes. Lowe also includes
a biographical chronology of Reynolds's career, lists of
his published and unpublished compositions and
transcriptions, and a discography of his works. (Disc,
Prsnl, Rep)
Wright, Kimberly. "The 1990 Keystone Brass Institute." 33.
Events at the fifth annual KBI are highlighted. (WkSh)
Klanska, Vladimira. "Report from Czechoslovakia." 35.
Events of a horn festival organized by the Stich-Punto
Society are highlighted and the death of Czech hornist
Vladimír Kubát is reported. (Wksh, Bio)
Pyle, Robert W. "Audiopyle: Factitious Tones and
Hand-Stopping." 36-43.
This highly technical article explains how factitious and
privileged (or endowed) notes are produced and then
attempts to rectify the differences between the "stopping
lowers" and "stopping raises" camps. After summarizing and
explaining the two opposing arguments Pyle concludes that
since the horn requires several harmonically related
air-column resonances be involved in producing a note, both
sides have valid points. (Acou, MtSt)
Muikku, Anni. "Lieksa Brass Week." 45-46.
Details of the eleventh Lieksa Brass week are given. (WkSh)
Watson, Catherine. "Profile: An Interview with David
Ohanian." 48-53.
Ohanian discusses his early training and orchestral career,
his transition to quintet playing, his thoughts on playing
gold-plated vs. other finish horns, the quintet repertoire
and its reliance on transcriptions, and his concept of horn
sound in the brass quintet. (Bio, Ens, Eqmt)
Agrell, Jeffrey. "Orchestral Excerpt Clinic: Magic Flute,
Revisited." 55-59.
The author, an inexperienced natural hornist, tells of his
experiences when he is given only one day's notice that he
will be playing natural horn on the principal horn part of
Mozart's opera The Magic Flute. (NtHn, Rep)
Agrell, Jeffrey. "Jazz Clinic: The Art of Noise." 61-62.
Agrell explores many of the noises or effects commonly
called for on horn. Doots, glissandos, fall-offs, ghosts,
smears, and other effects are described and notated. (Jz,
Tech)
Humphries, John. "Guest Review." 65-68.
Recordings from ARICORD (Vienna) featuring Roland Horvath
and members of the Wiener Waldhornverein are listed and
reviewed. (Disc)
Leuba, Julian Christopher. "Recordings Section." 70-72.
(Disc)
Merewether, Richard. "On the Design of the Horn." 78-82.
Paxman designer Merewether completed this article only
three months before his death in 1985. It details his
thoughts on horn design and is organized under the
following headings: Acoustical Theory and Horn Design, The
Creation of Double and Triple Horns, Principles of
Acoustics for Brass Instruments, Verification by
Physicists, The Harmonic Series, Secrets of Horn Design?,
Natural Horns, The Triple Horn, Likes and Dislikes,
Development of New Designs, Learning Instrumental Design,
and The Future of Design. (Acou, Eqmt, NtHn)
Schweikert, Norman. "In Memoriam: Henry Sigismonti
Remembered." 83-86.
Schweikert reminisces about his long-time friend Sigismonti
(1934-1989). (Bio)
Campbell, Gordon. "Remembering Antonio Iervolino." 87-88.
Latin American hornist Iervolino (1912-1990) is remembered.
(Bio)
Mansur, Paul. "Memoriam: Uve Uustalu (1933-1990)." 89.
(Bio)
The Horn Call April 1991 Volume XXI, Number 2
Watson, Catherine. "Hornstories." 11-13.
A collection of miscellaneous anecdotes from various
hornists is presented. (Hum, Misc)
Reeves, Gary L. "A Tour of the Holton Horn Manufacturing
Facility (...or, A Star Is Born)." 14-17.
The author takes us through the entire manufacturing
process, from making bells and bending tubes through the
final assembly and testing process. Holton Farkas,
Tuckwell, 300 series, and descant models are covered.
(Eqmt, Vlv)
Orval, Francis. "A Stopped Horn Fingering Chart." 25.
Fingering charts for both double descending horns and
double ascending horns are presented. (MtSt, Tech, Tun)
Rochberg, George. "Commencement Address at the Curtis
Institute of Music." 27-28.
Rochberg questions the ability of today's players to look
beyond the technical aspects of musical performance and
challenges them to "think music and feel music at the same
time." (Misc)
Treat, Asher E. "Brahms Trio, Op. 40." 29-30.
Treat speculates that Brahms may have used the melody of a
song by Heinz Höhne entitled Der Wagen rollt as the basis
for his melody in the Allegro con brio movement of his
Trio, Op. 40. (Hist, Rep)
Deskur, Edward. "Low Horn-The Case for Specialization."
31-33.
Deskur points out the advantages of specializing in low
horn and laments the tendency of talented low hornists to
attempt to become adept high players rather than specialize
as low players. He also discusses the trend among modern
composers of ignoring the low horn's special possibilities.
(Aud, Rng)
Mathie, David. "An Important Alternative in Horn Chamber
Music: Heitor Villa-Lobos's Choros No. 4." 35.
The author praises the work and then offers an errata sheet
for the Eschig edition. (Rep)
Schwarzl, Siegfried. "A Report on the Second Austrian Horn
Day." 37.
This one-day program of lectures, discussions, and an
evening concert focused on the Vienna Horn. (WkSh)
Thompson, Virginia. "A Comprehensive Chart of Fingerings
for the F-Bb Double Horn." 38-39.
A chart showing every possible fingering for each note,
along with its partial number and intonation tendencies, is
presented and explained. (Ped, Tech, Tun)
Kratz, David A. "Rotor Valve Maintenance." 41-44.
Kratz covers general repair and maintenance in a
step-by-step format. Subjects covered include lubrication,
valve disassembly, cleaning, valve assembly, and valve
repairs. (Mnt, Vlv)
Kleucker, Malinda Finch. "An Armchair Masterclass: Seven
Elements of Horn Playing." 47-53.
The seven elements (breathing, embouchure, physical
stamina, technique, musicality, tone, and mental attitude)
are discussed individually with the author offering her
insights on how each should be approached. (Brea, Emb, Ped,
Rng, Tech, Tn)
Meckna, Michael. "The Legacy of Dennis Brain." 55-56.
Brain's career is briefly summarized and the importance of
the many works composed for him and recordings made by him
is discussed. (Bio)
Watson, Catherine. "An Interview with Meir Rimon." 57-61.
Rimon discusses his early training and career, horn playing
in Israel, his recordings of and association with
traditional Israeli horn music, his teaching style, and his
role in promoting the IHS. (Bio)
Gavigan, James. "An Interview with Engelbert Schmid."
62-63.
Schmid shares his feelings on horn design and manufacture.
(Bio, Eqmt)
Leuba, Julian Christopher. "Recordings Section." 71-79.
(Disc)
Sanders, Jocelyn. "A Survey of Selected Bibliographical
Sources for the Horn." 80-81.
Sanders describes four standard sources (Anderson, Brüchle,
Rasmussen, Schuller) intended to aid in the search for horn
literature. (Bib)
Agrell, Jeffrey. "Jazz Clinic: Dr. Agrell's Amazing,
Spectacular, and Far-Out (but not very scientific) Jazz
Quiz." 83-88.
In addition to this quiz of basic jazz knowledge, Agrell
reviews three jazz improvisation computer programs. (Jz)
Christinat, Lukas. "Orchestral Excerpt Clinic." 89.
The "alphorn call" from the fourth movement of Brahms's
First Symphony is discussed. (Rep)
Todd, Richard. "In Memoriam: Waldemar Linder (1908-1990)."
90. (Bio)
The Horn Call October 1991 Volume XXII, Number 1
Mitchell, Donald. "'Now Sleeps the Crimson Petal':
Britten's other 'Serenade'." 9-14.
The history of this song, originally composed to be part of
Britten's Serenade, Op. 31 but discarded in the final
draft, is traced. Mitchell includes excerpts of letters by
Britten and photos of the work's manuscript to help show
the link between this work and Britten's song-cycle from
fifteen years later, the Nocturne, Op. 60. (Hist, Rep)
Orval, Francis. "Stopped Fingering Chart 'Take Two'."
20-21.
Orval continues his quest for in-tune stopped fingerings
begun in HC XXI(2). His new chart uses the fifth, seventh,
and tenth harmonics. (MtSt, Tech, Tun)
McDonald, John. "Effective Use of the Triplehorn in the
Symphony Orchestra." 23-24.
The author offers his suggestions on how to best utilize
the advantages of a triple, using examples from the
symphonic repertoire to illustrate his points. (Tech)
Machala, Kazimierz. "Profiles: Frantisek Solc's
Contribution to the Traditions of Horn Playing in
Czechoslovakia." 26-27.
Solc's playing and teaching career are profiled and his
importance in helping sustain the Czech horn tradition
after his country joined the Eastern block is stressed.
(Bio, NtSty)
Humphries, John. "A Pioneer Lady Hornist." 27-28.
The career of Livia Gollancz, the first woman to play horn
in major British orchestras (1930s-50s), is profiled. (Bio)
LaBar, Arthur. "A Survey of Audition Repertoire in Opera
and Ballet Houses." 29.
The most requested excerpts are listed, as compiled from
the twenty surveys returned (of 120 sent) from houses
throughout the world. (Aud, Rep)
Braun, Elaine. "International Horn Symposium XXIII." 31-32.
Workshop activities are summarized and the problems with
the "biggness" of the event are discussed. (WkSh)
Quint, Stephen M. "The Twenty-third Horn Symposium, Another
View." 33.
Quint admonishes the playing of many of the performers at
the workshop and questions the scheduling of so many
recitals in such a short period of time. (WkSh)
Kelly, Kristin Olsen. "The 14th Annual Southeast Horn
Workshop." 34.
Workshop events are summarized. (WkSh)
Block, Nancy Cochran. "1989 Composition Contest." 37-38.
All forty entries are listed with the mailing address for
each composer, and the winner (Sonata for Horn by James
Willey) and runner-up (Circle Music IV by Cindy McTee) are
reviewed. (IHS, Rep, WkSh)
Block, Nancy Cochran. "1990 Composition Contest." 38-40.
The winning entry (Mark Schultz's Dragons in the Sky for
horn, percussion and tape) is described and all sixty-one
entries, complete with composers' address, are listed.
(IHS, Rep, WkSh)
Sandoval, Virginia. "A Report from Columbia." 41.
Horn activities in Columbia are briefly highlighted. (WkSh)
Wates, John. "Mozart and the Horn." 43-45.
Three main questions are investigated by Wates: 1. Why did
Mozart favor the horn? 2. Was Leutgeb an ass? 3. Did Mozart
improve as a composer for the horn? (Hist)
Dressler, John C. "Dennis Brain: A Seventieth-Birthday
Tribute." 47-48.
Dressler offers a synopsis of the Brain tribute which he
hosted at the 1991 IHS workshop in Denton, TX. (Bio)
Dressler, John C. "Dennis Brain: A Bibliography." 49-51.
CD's, LP's, biographical sources, articles and obituaries
are listed. (Bib, Disc)
Wates, John. "Tuckwell at 60: An 'Appreciation'." 52.
Wates offers a brief biography of Tuckwell. (Bio)
Agrell, Jeffrey. "Jazz Clinic." 55-58.
Agrell explores jazz chord progressions, from the simple to
the complex. (Jz)
Wekre, Frøydis. Jeffrey Agrell, ed. "Orchestral Excerpt
Clinic." 59-61.
Shostakovich's Cello Concerto No. 1 is explored. (Rep)
Dressler, John C. "Report of the Meeting of the Area
Representatives." 62. (IHS)
Pizka, Hans. "The Second Chinese Horn Competition, April,
1991." 63-66.
Pizka tells of his experiences while teaching and
performing throughout China and Thailand, and gives results
of the second Chinese Horn Competition. (NtSty, WkSh)
Thompson, Virginia. "On Compositions of Daniel Pinkham."
66.
A number of Pinkham's works which include horn are
described. These include: Pentecost Cantata for mixed
chorus, tenor, horn, and harp; Fanfare, Aria and Echo for
two horns and timpani; Brass Trio for trumpet, horn, and
trombone; Inaugural Marches for brass quintet; and Prelude
and Scherzo for wind quintet. (Rep)
Whipple, James F. "Mozart Excerpt." 68-69.
Whipple wonders whether the last four lines of Mozart's
Serenade No. 12 in C-minor, K. 388 should be in horn in C
rather than the horn in E-flat which his Musica Rara
edition contains. (Rep)
Leuba, Christopher. "Recordings." 82-85. (Disc)
Goldberg, David. "Horn Duets." 87-89.
The author inquires about a set of obscure duets by Labarre
and Masini, half of which he cannot locate. The title page
and first two duets are included with the article. (Hist,
Rep)
Engström, Mats. "In Memoriam: Wilhelm Lanzky-Otto
(1909-1991)." 90-91. (Bio)
Decker, Jim. "In Memoriam: Arthur Briegleb (March 30,
1932-February 2, 1990)." 91. (Bio)
The Horn Call April 1992 Volume XXII, Number 2
Gross, Steven. "The 1991 Edition of the American Horn
Competition." 11-13.
Events are summarized, winners and judges are listed and
pictured, and a list of past winners, along with their
current positions, is included. 1991 winners included: Bill
Barnewitz, professional division; Stephanie Furry,
university division; and Javier Bonet-Manrique and Jeffrey
Snedeker, natural horn division co-winners. (WkSh)
Mosley, David L. "Brahms and Dort in den Weiden." 21-24.
Mosley explores the connection between the German folk-song
Dort in den Weiden and a number of Brahms's works. He also
discusses the relationships of these Brahms works with
pieces by Robert Schumann. (Hist)
Rock, Catherine Watson. "Profile: Hans Pizka." 26-30.
Pizka discusses his early career, his playing style and use
of pumpenhorn, life in an opera orchestra, his horn and
music collection, and a number of other topics. (Bio, Hist,
NtSty)
Agrell, Jeffrey. "Profile: Arkady Schilkloper, Russian Jazz
Hornist." 31-33.
Agrell highlights Schilkloper's career and accomplishments,
from his early classical training to his successful move to
jazz, and discusses his current projects and his evolving
musical style. (Bio, Jz)
Schweinester, Hansjörg. "The First Austrian Horn
Symposium." 35-37.
Recitals, lectures, and panel discussions, all centering
around the Austrian horn tradition and style, were featured
at this symposium. (WkSh)
Meckna, Michael. "Sitting on the Edge of Your Seat: Alan
Civil and Horn Playing." 39.
Civil's career is highlighted and a selected discography
and a selected bibliography are included. (Bib, Bio, Disc)
Byler, Charles L. "What Did George Washington Play on His
Horn?" 40-43.
Byler speculates about the use of the horn in the Mt.
Vernon collection. He describes the horn in detail and
provides evidence that Washington owned several horns
throughout his life and was familiar with hunting horn
music, but he offers no hard evidence that Washington ever
actually played the horn. (Hist, NtHn)
Coghill, Gene. "A Lesson with Abe." 45-46.
Coghill gives an anecdotal account of his relationship with
Abe Kniaz, for whom he played assistant horn in the
National Symphony Orchestra during the 1955-56 season.
(Bio)
Deskur, Edward A. "Low Horn Auditioning." 48-51.
Suggested excerpts to test fairly all facets of low horn
playing are shown and discussed. (Aud, Rep)
Howe, Marvin C. "Notes on the Horn." 53-55.
Howe offers his thoughts on playing fundamentals
(respiration, right hand, mouthpiece placement, etc.) in
this brief article. (Brea, Emb, MtSt, Ped, Tech, Tn)
Farkas, Philip. Jeffrey Agrell, ed. "Orchestral Excerpt
Clinic: Playing the First Horn Part to the Introduction of
Richard Strauss's Tone Poem, Ein Heldenleben (A Hero's
Life)." 55-56.
Farkas offers a combination of his own suggestions and
"suggestions" given to him by various conductors during his
playing career. (Rep)
Frey, Kevin. "Jazz Clinic: Jazz Horn Interaction." 57-59.
Frey advocates using jazz as a starting point for exploring
other diverse musical styles. He lists classic jazz tunes
in various styles that should be learned by aspiring jazz
players and lists sources to find these tunes. (Jz)
Frey, Kevin. "Jazz Clinic Bibliography." 59.
An annotated bibliography of articles in this series is
presented. (Bib, Jz)
Chenoweth, Richard. "A University of Dayton Masterclass: A
Bibliography of Large Orchestral Works." 61.
This is a partial listing of works requiring more than four
horns. Operas and ballets are not included. Works requiring
doubling (Wagner tubas, etc.) are indicated. (Rep)
McCullough, David M. "Hindemith's Sonata for Four Horns."
63-66.
The author briefly traces the history of this work and
outlines Hindemith's compositional style before presenting
a detailed, movement-by-movement analysis of the piece.
Also included is an analysis of each horn part's range
requirements. (Rep)
Davidson, Susan. "Vibrato: Questions and Responses." 69-71.
This is a compilation of responses from twenty professional
hornists who were asked questions about vibrato (when is it
appropriate?, how is it produced?, etc.) (Tech)
Thornton, Karen Sutter. "Lengthen Your Stride." 73.
Thornton tells how she became re-energized as a player by
"stretching her bounds" when she entered the American Horn
Competition. (Misc)
Schepel, Louise. "Dutch Horn Society 1982-1992." 76. (WkSh)
Faust, Randall E. "'In-Between Sounds' (A Review of
Reviews)." 83.
Faust discusses two effects and their proper
implementation: "half-muted" and "3/4 stopped." (MtSt)
Leuba, Julian Christopher. "Recordings Section." 84-93.
(Disc)
Mansur, Paul. "Guest Record Review." 95.
Christopher Leuba and the Bridgeport Quartet's PROSPECT 921
CD is reviewed. (Disc)
Leuba, Christopher. "Shipping a Horn." 96.
Recommendations are offered on how to safely transport a
horn when traveling by air. (Misc)
Seyfried, Erhard. "The Premiere of W. Pelinka's Le
Beatitudini." 97.
The work is described and the premiere performance by
Roland Horvath is reviewed. (Rep)
Sternbach, David. "In Memoriam: Ingbert Michelsen
(1917-1991)." 100-101. (Bio)
Mansur, Paul, compiler. "In Memoriam: Meir Rimon
(1946-1991)." 101-103.
Hornists from throughout the world offer their thoughts on
Rimon's life. (Bio)
Hardin, Burton E. and David B. Hardin M.D. "Shoulder Pain
and Upper Quadrant Numbness." 104-105.
Two ailments are described which afflicted B. Hardin:
rotator cuff impingement syndrome and a pinched nerve, both
caused by un-natural movements or playing position. (Hea)
Hardin, Burton E. and David B. Hardin M.D. "A Soft Palate
Deficiency in a Brass Instrument Player." 105.
The Burtons describe a student who suffered from nasal air
leakage during high air pressure playing (loud or high). A
short soft palate was discovered and exercises were
prescribed which led to eventual improvement. (Hea)
The Horn Call October 1992 Volume XXIII, Number 1
Pizka, Hans. "Comments on Various Issues." 14.
Pizka offers historical information related to Charles
Koechlin's works and then takes issue with
WilliamScharnberg's criticism of Edmund Leloir's editions
of preclassic and classic horn concertos. A number of other
subjects are touched upon. (Hist, Rep)
Agrell, Jeffrey. "A Response to John Wates." 16.
Agrell explains his disagreement with Hans Pizka over what
Agrell says was Pizka's unsolicited editorializing in one
of Agrell's articles that appeared in the German edition of
the Horn Call. (Misc)
Scharnberg, William. "A Young Hornist's Primer: Rhythm."
18-19.
Among the common rhythmic problems addressed are the
importance of subdivision, ensemble rhythm (playing
with/ahead of/behind the conductor), controlling ritardandi
and accelerandi, and others. (Ped, Tech)
Reynolds, Richard. "Performance Anxiety." 21-23.
Reynolds discusses the many ways performers overcome
nerves. These include beta-blockers (Inderal), massage,
self-hypnosis, and other techniques. (Hea)
Hiebert, Tom. "A Discography of Instrumental Compositions
for Natural Horn from the Baroque." 25-30.
(Disc)
Klánská, Vladimíra. "Stich-Punto Horn Fest." 32-33.
Events of the tenth annual festival are summarized and four
concert programs are included. (WkSh)
Grande, Michele. "D.A.: (A Feature Column for Dedicated
Amateurs and other Weekend Warriors)." 35-36.
Suggestions are offered on ways to find a group to play
with that matches your interests. (Misc)
Scharnberg, William. "A Wagner Tuba Primer." 38-40.
The history of the instrument is traced and common problems
are discussed. These include the lack of high quality
instruments, the instrument's inherent intonation problems,
scoring inconsistencies between various composers (which
octave is intended?), and others. (Eqmt, Hist, Rep)
Routch, Bobby. "Definitely a Copp-Out." 41.
Routch warns of the dangers of absorbing possibly toxic
levels of copper through the skin when it is put in contact
with unlaquered brass or areas that have been silver-or
gold-plated with an alloy containing copper. (Hea)
Niemisto, Paul. "Finnish American Brass Septet Celebrates
Heritage with a 1992 Finnish Tour." 42.
The "Ameriikan Poijat" brass septet is profiled and
pictured. (Ens)
Kaslow, David. "A Renewed Approach to Hornplaying." 45-51.
This article consists of the foreword and first chapter of
a new book being written by Kaslow. It stresses that the
music should always be the first consideration in playing
and that musicality should be learned in conjunction with
technique. Topics covered include the art of phrasing, air
technique, tone, and variations of intensity. (Brea, Ped,
Tn)
Thompson, Virginia. "The World Premiere of Benjamin Lees's
Concerto for French Horn and Orchestra." 59-60.
Thompson provides a description of the work and its
background and reviews its premiere, played in May 1992 by
hornist William Caballero and the Pittsburgh Symphony
Orchestra. (Rep)
Leuba, Julian Christopher. "Recordings Section." 61-70.
(Disc)
Mansur, Paul. "Supplemental Record Review." 70.
"The Romantic Horn" featuring Soichiro Ohno, horn is
reviewed. (Disc)
Fierman, Harriet. "Open letter: A Worthy Project." 73.
Fierman proposes establishing a fund that would pay for
jazz hornist Arkady Shilkloper's air fare to the 1993 IHS
Workshop in Tallahassee, Florida. (WkSh)
Frey, Kevin. "Jazz Clinic: Total Improvisation: Not Just
Jazz-Not Just Music." 75-77.
Improvisation is explored, from total improvisation to
structured improvisation. Exercises to help players get
started improvising are suggested. (Jz, Ped)
Fensterer, Manfred. Jeffrey Agrell, ed. "Orchestral Excerpt
Clinic: Two Unusual Horn Parts: The Corno Da Caccia in the
B-minor Mass and the Cantata "Erforsche mich Gott" BWV 136
by J. S. Bach." 78-79. (Rep)
Kleucker, Malinda Finch. "The "W-I-N-N-E-R" Approach to
Auditions." 81-84.
A step-by-step approach to audition preparation is given,
covering topics such as overcoming nervousness through
visualization and practice auditions, using a tape
recorder, and practicing with an accompanist. Kleuker gives
a countdown checklist of preparation recommendations
beginning a month before the audition and counting down to
the day of the audition. (Aud, Ped)
Burgstaller, Josef. "The Summit Brass Ensemble Competition,
1992." 86.
Winning quintet personnel are listed along with the
repertoire they performed. Winners included: first prize,
Naples Philharmonic Brass Quintet; second prize, Sun Valley
Brass Quintet; third prize, Cleveland Chamber Brass. (WkSh)
Reynolds, Thomas E. "The Northeast Brass Symposium-An
Opportunity for Musical Growth." 88-89.
This first annual event was held in North Easton, MA and
sponsored by Robert King Music Sales Inc. (WkSh)
Beeaff, Daniel. "Southwest Regional Horn Workshop: A Review
from Sunny Tucson, Arizona." 91-93.
(WkSh)
Burroughs, Mary. "The 1992 Southeast Regional Workshop."
94. (WkSh)
Purton, Michael. "Punto Award Winners." 98.
Awards were presented to Arthur Bevan and Sydney Coulston.
Short biographies of each are given. (Bio, WkSh)
Mansur, Paul. "Manchester: The Twenty-Fourth Annual
Workshop." 99-101. (WkSh)
Mattingly, Alan F. "The IHS Workshop: A Student's
Perspective." 101-102.
The 1992 Manchester workshop is reviewed. (WkSh)
Boyd, Amy Gier. "In Memoriam: Eugene Bozza (1905-1991)."
103-106.
In addition to a biographical sketch, a bibliography and a
discography of Bozza's works pertaining to horn are given
and dissertations and music/recording reviews about Bozza
or his music are listed. (Bib, Bio, Disc)
Anderson, Paul. "Two Projects Commemorate the Life of One
of Our Members." 108-109.
Jon Hawkins's (1965-1991) biography is given and two
projects inspired by his passing are detailed: the
commissioning of a horn concerto and the establishment of
the Jon Hawkins Memorial Scholarship. (Bio, WkSh)
The Horn Call April 1993 Volume XXIII, Number 2
Faust, Randall E. "... And Now a Final Word on Stopped Horn
...." 19.
To teach proper hand position, Faust recommends having
students attempt stopped horn with the bell removed from a
detachable bell instrument. (MtSt, Ped)
Belfrage, Bengt. "Damage Due to Overstrain in Brass
Players." 21-24.
Types of damage, their causes, and recuperation techniques
are covered. Causes of overstrain discussed include:
insufficient warm-up, inadequate physical conditions for
demanding practice and concert work, poor breathing
technique, poor health, and excessive variations in load.
(Brea, Hea, Ped, Wmup)
McKee, William. "Teachers of Another Era." 27-30.
McKee tells of his experiences with his teachers Joseph
Franzl and Arkady Yegudkin. (Bio, Ped)
Hill, Douglas. "Clinic-Masterclass: The Respond-able
Teacher." 31-32.
The road to becoming an effective teacher is explored. Hill
emphasizes the importance of listening, reacting, and
responding to each student's individual problems rather
than just imitating the techniques used by you former
teachers. (Ped)
Bourgue, Daniel. Jeffrey Agrell, ed. "Horn Orchestral
Excerpt Clinic: Olivier Messiaen: des Canyons aux Étoiles."
35-38.
This work, originally written for horn alone but later
incorporated into this larger work as a horn solo, was
premiered by Bourgue, who worked closely with Messiaen
before the first performance and, thus, has many useful
insights into its correct interpretation. (Rep)
Chenoweth, Richard. "A Reply to Paul Kampen." 42.
Chenoweth clarifies disputed information contained in his
article in HC XXII(2). (Rep)
Block, Nancy Cochran. "1991 IHS Composition Contest."
45-46.
The winning entry (Variations for Horn and Percussion by
Stuart H. Jones) is described and all thirty-nine entries,
complete with composer's address, are listed. (IHS, Rep,
WkSh)
Mayer, Abby. "My Guiding Star." 49.
Mayer offers a story about his student days studying with
Willem Valkenier. (Misc)
Hoefs, Peter. "The Horns of the Furstlich-Hohenzollernschen
Sammlungen in the Castle Sigmaringen, Germany." 51-52.
Eight horns are described: four hunting horns (two in F,
two in A-flat), two handhorns in E-flat (with photo), and
two semicircular bugles (with photo). (Hist, NtHn)
Leuba, Julian Christopher. "Recordings Section." 61-68.
(Disc)
Mansur, Paul, ed. "In Memoriam: Philip Farkas (1914-1992)."
71-75.
Letters from hornists throughout the world are shared.
(Bio)
Hoffmann, Harry. "In Memoriam: Robert Westervelt
(1920-1992)." 75. (Bio)
Hoffmann, Harry. "In Memoriam: Harold Cardy (1913-1992)."
75. (Bio)
Kurth, Robert H. "Copper Toxicity: A Rebuttal." 77.
In a rebuttal to Routch's article (HC XXIII(1): 41) Dr.
Kurth cites numerous sources in concluding that hornists
should not be concerned with copper toxicity. (Hea)
Hoffmann, Harry and Igor Hudadoff. "The General." 79-82.
Anecdotes about Arkady Yegudkin, as told to the authors by
many of "The General's" former students, are presented.
(Bio)
Greene, Gary A. "Response to William Scharnberg: Rhythm."
85.
Greene offers an addendum to Scharnberg's article (HC
XXIII(1): 18-19), advising players to give the counting of
rests the same importance as the counting of notes. (Ped,
Tech)
Rhynard, Maurice L. "Muscle Interdependency and the Horn
Player." 86-88.
The role of muscle interaction in the human body and its
effect on hornplaying is explored. (Hea, Ped, Tech)
Horner, Anton. "A Letter from Anton Horner." 91-93.
This 1956 letter from Horner to Osbourne McConathy was
submitted by Mason Jones. In it Horner describes his early
career and his adoption of early versions of Krüspe's new
double horn. (Bio, Emb, Eqmt, Hist)
Gordon, Peter. "Some Ideas about Playing the Horn." 95-101.
Gordon shares his thoughts on posture, hand position,
embouchure, breath control, and warm-up. He also provides a
suggested list of items to keep in a "horn kit" to keep
with you at all playing times. (Brea, Emb, Mnt, Tech, Wmup)
Thayer, Edwin. "Concerto for Three Brass." 109.
David Ott's work, commissioned by the National Symphony and
premiered by its principal trumpet, trombone, and horn
(Thayer) in 1991, is described. (Rep)
The Horn Call November 1993 Volume XXIV, Number 1
Swartman, Thomas. "Horn Transposition in the Works of
Mozart: High or Low?" 17-20.
Swartman examines the alto or basso transposition question
using examples from Mozart's opera The Abduction from the
Seraglio, KV. 384. (Rep, Trns)
Meckna, Michael. "The Legacy of Vitali Bujanovsky." 23-24.
This biographical sketch contains a selected discography of
Bujanovsky recordings and a selected bibliography of
articles about him or his music. (Bib, Bio, Disc)
Snedeker, Jeffrey. "Introduction to the Natural Horn
Column." 27.
Snedeker outlines his goals for the Horn Call's new Natural
Horn Column, which he will edit. (NtHn)
Snedeker, Jeffrey. "Resources for Natural Horn." 27-28.
A selected list of sources is provided that is organized
into the following categories: historical tutors,
solo/chamber pieces featuring horn, duets, studies, and
selected books and articles with relevant information. An
addendum to this list appears in HC XXIV(2): 12-13. (Bib,
NtHn, Rep)
Leuba, Christopher. Jeffrey Agrell, ed. "Orchestral excerpt
clinic: Johannes Brahms Symphony No. 1." 31-32. (Rep)
Ashworth, Robert. "Further Thoughts and Theories on
Hand-Stopping." 35-37.
Ashworth states that "stopping always takes the pitch down"
and then provides a fingering chart of his favorite stopped
fingerings. He also poses a number of questions about
muting to which he invites readers to respond. (MtSt, Ped,
Tech)
Frey, Kevin. "Jazz Clinic." 39-40.
An exercise is presented that is designed to develop mental
dexterity by giving the player practice in making
decisions, a key element in improvising effectively. (Jz,
Ped)
Leuba, Julian Christopher. "Recordings Section." 49-53.
(Disc)
Braun, Elaine. "Happy Anniversary! ... but Why Come?"
55-57.
The twenty-fifth IHS workshop in Tallahassee, FL is
highlighted. (WkSh)
Schwarzl, Siegfried. "The Sound of the Horn at the Top
Again." 61.
Schwarzl compliments the emphasis on sound over technique
at the Tallahassee workshop. (WkSh)
Mansur, Paul. "Tango Finlandia (Lieksa Brass Week)." 65-67.
Events of the 1993 edition of this Finnish brass festival
are summarized. (WkSh)
"International Horn Society Financial Statements." 75-77.
These cover the years ending December 31, 1992 and 1991.
(IHS)
"The 1993 IHS Scholarship Winners." 81-82. (IHS)
Block, Nancy Cochran. "1992 IHS Composition Contest
Report." 87-88.
The 1992 winner was Donald Grantham's Slobbern' Goblins for
chamber ensemble. Honorable mentions were awarded to Three
Pieces for Horn (solo horn) by Martin Pearlman and Quartet
No. 3 (horn quartet) by Kerry Turner. All thirty-three
entries, with composers' addresses, are listed. (IHS, Rep,
WkSh)
Hubley, Professor F. "Horn Employment Clinic." 91-93. (Hum)
The Horn Call February 1994 Volume XXIV, Number 2
Littleton, Joe. "The Seven Year Quest: An Alphorn Saga."
19-23.
The urge to build an alphorn leads the author through a
trial and error process of alphorn building that culminates
in him becoming a manufacturer of fiberglass alphorns.
(Eqmt)
Rice, Suzanne. "An Interview with Willem A. Valkenier."
27-34.
This 1977 interview was conducted by Robert Marsh and
transcribed and edited by Rice. In it the ninety-year-old
Valkenier discusses the many orchestras he played in,
conductors and players he worked with, and the types of
horns he used throughout his career. (Bio, Hist)
Meckna, Michael. "As if Your Life Depended on It: Advice
from Some Horn Masters." 39-41.
Top horn players (Baumann, Farkas, Barboteu, and others)
offer advice on a number of subjects. (Ped, Tn)
Divoky, Zdenek. "Czech Republic '93: Hornlife Now." 45.
Horn activities in the Czech Republic since the political
reforms are detailed. (NtSty)
Divoky, Zdenek. "Second Horn Class International in the
Czech Republic." 45-47.
This nine-day music course is aimed at educating and
meeting with young hornists. Activities are summarized and
concert programs are printed. (WkSh)
Tritle, Thomas. "Learning the Horn in Hungary." 49-51.
Tritle offers a detailed description of horn study in
Hungary. The difficult economic conditions, limited living
and practice space, and other hardships are described, as
are the rich cultural heritage and strong tradition of horn
playing. (NtSty)
Frey, Kevin. "Cycles Exercise Part 2: The ii-7-V7
Progression." 57-58.
Frey suggests exercises to aid in attaining dexterity with
this common jazz progression. (Jz, Ped)
Saxton, S. Earl. "Can Your Smile Be a Clue to a Good
Embouchure?" 61-65.
This article explores the influence that a player's dental
configuration has on the proper positioning of the
mouthpiece on the lips and discusses the 2/3 upper 1/3
lower placement that is generally accepted as correct for
most hornists. (Emb)
Leuba, Julian Christopher. "Recordings Section." 79-86.
(Disc)
Johnson, Keith M. "The First Indiana University Natural
Horn Workshop." 89. (WkSh)
Hiebert, Thomas. "New Heights for Natural Horn in Essen."
93-96.
Activities at the 1993 Internationales Naturhorn Festival
in Essen, Germany are detailed. (WkSh)
Thelander, Kristin. "Proposal to Amend the IHS Bylaws." 99.
(IHS)
The Horn Call May 1994 Volume XXIV, Number 3
Kaslow, David. "Fearlessness." 23-29.
This is chapter two of a book in progress. The foreword and
chapter one appeared in HC XXIII(1). Kaslow looks at fear
and ways to overcome it. Control and awareness are each
discussed and then he applies his ideas on these topics to
a section about taking orchestral auditions. (Aud, Ped)
Foster, Stephen. "An Interview with William Ver Meulen: Ten
Years Later." 31-34.
In this follow-up to Watson's Ver Meulen interview in HC
XIV(2), Ver Meulen discusses his activities of the past
decade and talks about his recent recordings of the Mozart
concerti. (Bio, Rep)
Orval, Francis. "A Guide to Testing Horns." 37-38.
Orval recommends using a systematic approach when choosing
a new horn and suggests factors to consider when testing a
horn. (Eqmt, Misc)
Austin, Paul. Jeffrey Snedeker, ed. "Contemporary Natural
Horn Compositions (1982-1992)." 41-44.
Austin lists and briefly discusses twenty-five solo or
chamber works involving natural horn. (NtHn, Rep)
Houle, Michael. "Starting a Horn Club." 47-48.
Houle shares insights gained when he established a horn
club in the Sacramento, CA area. (Ens, Misc)
Thelander, Kristin P. Peter Kurau, ed. "Selected Etudes and
Exercises for Specialized Practice." 53-59.
Recommended etudes/exercises are annotated and organized
into the following categories: accuracy, atonal etudes,
bravura style, contemporary techniques/graphic notation,
echo horn (1/2 or 3/4 stopped), endurance, legato playing,
lip slurs, lip trills, low horn, maintenance/daily etudes,
multiple tonguing (double), multiple tonguing (triple),
musical interpretation, natural horn, odd and changing
meters, sight reading, stopped horn, transposition, and
turns and other ornamentation. Grade levels (difficulties)
are given for each etude/exercise. (Ped, Rep)
Hill, Douglas. Peter Kurau, ed. "The Responsible Student."
61-64.
Hill stresses that students must take responsibility for
their own improvement. He includes a basic practice plan
and a suggested list of what to practice, and stresses the
importance of building a library of basic horn literature.
(Ped)
Martin, Jean. "Saint Saëns: Symphony No. 3, Third Horn."
67-68.
Six third hornists from leading American orchestras share
their thoughts on performing this excerpt. (Rep)
Leuba, Julian Christopher. "Recordings Section." 75-79.
(Disc)
Dressler, John. "Recordings Reviews." 81-83. (Disc)
Thelander, Kristin. "Proposals to Amend the IHS Bylaws."
85. (IHS)
Thelander, Kristin. "IHS Thesis Lending Library
Reactivated." 91-93.
A list of the forty-eight theses on horn is provided and
procedures for obtaining them are explained. (Bib)
Thelander, Kristin. "International Horn Society 1994
Programs and Procedures." 95-96. (IHS)
The Horn Call November 1994 Volume XXV, Number 1
Hill, Douglas. "Compose Yourself." 23-26.
Hill encourages all musicians to compose original music,
stressing the benefits that the compositional process has
on a performer, stating that "if you experience even the
ground levels of composition you will start to develop and
empathy for composers. You will understand their methods
and be able to transfer that into new ways of blowing,
tonguing, and singing on your horn." (Ped)
Stephen, J. Drew. "Peter Damm: A Profile." 29-35.
Damm talks about his career, his recordings, and his
thoughts on teaching. A selected discography of his
recordings is included. (Bio, Disc)
Kloss, Marilyn Bone. "The Bach Cello Suites on Horn."
37-41.
The Wendell Hoss transcription as well as various cello
editions are discussed with advantages and disadvantages of
each noted. A number of hornists offer their opinions and
suggestions about studying and performing these works.
(Rep)
Gardner, Gary D. "Eric Harold Birnbaum (1949-1994)." 43-44.
(Bio)
Pizka, Hans. "Bruno Jaenicke (1887-1946)." 47. (Bio)
Dodson, Rebecca. "From Anchorage to the Internet: A Major
Horn Recording Collection Goes On-Line." 49-50.
The Curtiss Blake Collection of horn recordings,
representing approximately 9,000 musical works featuring
the horn, is described. Currently housed in Mills Library
at the University of Wisconsin-Madison, its catalog is now
available for searches via the Internet. (Disc)
Rife, Jean. Jeffrey Snedeker, ed. "Natural Horn: A
Self-Guided Study for Beginners." 53-56.
This guide to learning natural horn covers the following
areas: types of horns, tuning practices, mouthpieces,
embouchure, hand position, articulation, air use, music and
etudes, where and how to begin, and sources for further
research. (Emb, Eqmt, Hist, Mthpc, NtHn, Ped, Rep, Tech,
Tun)
Anderer, Joseph. Jean Martin, ed. "The Prelude to Das
Rheingold." 59-60.
This clinic discusses how to approach performing this
famous excerpt. (Rep)
Modirzadeh, Hafez. Kevin Frey, ed. "Trans-Intervallic
Exercise for the Post-Modern Improviser." 63-64.
In this first installment of a three-part series,
Modirzadeh discusses mastering intervals with the cycle of
fifths/fourths and suggests a cycle exercise for either
individual or duet practice. (Jz, Ped)
Dressler, John. "Recording Reviews." 79-81. (Disc)
Mansur, Paul. "Recording Review: 2x4." 83.
"2x4" features the Wiener Hornquartett and Bozner
Hornensemble playing music for four and eight horns. (Disc)
Leuba, Christopher. "TuneUp(r) CD-Based Intonation Training
System: A Users Guide to Ears." 85.
Leuba reviews this ear training system consisting of a
twenty-six page instruction booklet and a CD recording of
intervals. (Tun)
Thompson, Virginia. "The 26th International Horn
Symposium." 89-91. (WkSh)
Kurau, Peter. "IHS Scholarship Programs (1993-1994)."
93-94.
This is an update of scholarships awarded in each of the
following: Jon Hawkins Memorial Scholarship Competition,
1994 Farkas Performance Awards, Orchestral Audition
Competition: Frizelle Memorial Awards, Symposium
Participant Awards. (IHS)
Kurau, Peter. "IHS 1995 Scholarship Programs." 95-97.
A description is given of the IHS's four scholarship
programs (see previous entry for a listing).
Block, Nancy Cochran. "Minutes of the General Meeting." 99.
These are from the 1994 IHS General Meeting at the Kansas
City workshop. (IHS)
The Horn Call February 1995 Volume XXV, Number 2
McElhinney, Michael. "Hunters, Horses, and Horns." 23-27.
The German National Equestrian Hunting Horn Championships,
held biennially, is described. The author also includes a
history of the hunt, a description of hunting horns and
their use in the hunt, and a bibliography of sources.
(Eqmt, Hist, NtHn, WkSh)
Zarzo, Vicente. "Historic Horns from the Collection of
Vicente Zarzo." 29-39.
Zarzo describes his collection, provides photos of
thirty-three of the instruments, and gives a short history
of each maker or firm. Makes include Raoux, Hawkes,
Gautrot, Boosey, Alexander, Finke, Guichard, Uhlmann, Kley,
Couesnon, Kruspe, Hüttl, Lehmann, Ronner, Rott, and
Pélisson, Guinot, & Blanchon. (Eqmt, Hist, NtHn)
Dressler, John. "Eric Ruske: A Profile." 41-44.
Ruske discusses his start on the horn, playing with the
Cleveland Orchestra and Empire Brass, his recent recording
of the Mozart Concerti, his approach to the horn, and his
practice habits. (Bio, Ens, Ped)
Divoky, Zdenek. "Czech Hornist Miroslav Stefek
(1916-1969)." 47-49.
Colleagues recall this long-time hornist with the Czech
Philharmonic Orchestra. (Bio)
Mayer, Abby. "Villa Richard Strauß." 51-52.
Mayer describes his impromptu visit to the Richard Strauss
home in the Bavarian Alps. (Bio, Misc)
Cryder, John. "Early Horn-Bell Research at Lawson Brass
Instruments." 53-54.
Lawson's early experiments with annealing horn bells is
described and his work with bells of various alloys,
especially ambronze, is detailed. (Eqmt)
Modirzadeh, Hafez. Kevin Frey, ed. "Trans-Intervallic
Exercise for the Post-Modern Improviser." 55-57.
In the second of three articles Modirzadeh suggests
exercises for systematically breaking the cycle of
fifths/fourths. (Jz, Ped)
Scharnberg, William. "The Importance of Failure in Artistic
Development." 59-61.
Achieving consistency by overcoming the fear of failure in
performance is this article's focus. Common ways to deal
with stress are briefly discussed and ways to deal with the
fear of failure are examined. (Hea, Ped)
Dressler, John. "Recording Reviews." 75-79. (Disc)
The Horn Call May 1995 Volume XXV, Number 3
Rolf, Marie. "A New Manuscript Source for Mozart's Rondo in
E-Flat for Horn, K. 371." 23-27.
Rolf tells of the 1988 discovery of sixty additional bars
(four manuscript pages) that complete the Rondo's first
episode. A brief history of the work and its manuscript is
included, as are facsimiles of two of the newly found
pages. (Hist, Rep)
Thelander, Kristin. "The Gugel Family of Hornists." 29-37.
Thelander traces the careers of this early nineteenth
century family (duet teams of brothers Joseph and Heinrich
Gugel and father and son Joseph and Rudolph Gugel, plus the
solo career of Heinrich Gugel). She also examines available
compositions of Heinrich Gugel and includes facsimile
examples of three etudes and the first page of the solo
part from his concerto. She concludes with the story of
Heinrich Gugel's unsuccessful attempt to restore his high
range by shaving his lips down with a razor. (Bio, Hist,
Rep)
McCullough, David M. "Eugène Bozza's Suite For Horn
Quartet." 39-43.
The author provides a detailed discussion and analysis of
this work. Each movement is discussed separately as is each
individual horn part (horn I, etc.) Musical excerpts from
each movement are included. (Rep)
Smith, Calvin. "Life As A Free-Lance Studio Hornist in Los
Angeles." 45-48.
Smith describes the free-lance lifestyle and discusses the
skills needed for success in this field. He includes a list
of leading L.A. Studio players. (Prsnl, Rec, Misc)
Zarzo, Vicente. "Edmond Leloir, Horn Virtuoso." 51-57.
The playing and teaching career of Leloir (b. 1912) is
profiled. A selected discography of his playing and a
complete list of works published by him are included. (Bib,
Bio, Disc)
Baumann-Cloughly, Cecilia. "In Memoriam: Kurt Janetzky."
59. (Bio)
Block, Nancy Cochran and Kaido Otsing. "Arvids Klishans."
61.
Latvian hornist Klishans (b. 1934) is profiled. (Bio)
Schweikert, Norman. "Richard Oldberg, Retired CSO Hornist."
63-64.
Oldberg's career is highlighted. (Bio)
Martin, Jean. "Mahler's Fifth Symphony: A Conversation with
Gregory Hustis." 65-69.
Hustis offers his insights on Mahler's Fifth, touching on
topics such as rhythmic and stylistic considerations,
intonation difficulties, the use of bells up, stopped horn,
and the function of the assistant horn. (Rep, Tech)
Kirschen, Jeffrey. "Accepting Less Than Your Best as Your
Best." 71-73.
This article focuses on how to perform when you are not at
your mental or physical best. Kirschen draws from his own
experience as well as the experiences of a number of other
professional hornists. (Hea, Misc)
Modirzadeh, Hafez. Kevin Frey, ed. "Trans-Intervallic
Exercise for the Post-Modern Improviser, Part 3." 75-76.
Part 3 presents the cycle in relation to tonality. (Jz,
Ped)
Scharnberg, William. "Trumcor Mutes." 82-83.
The five models in this new line of mutes are reviewed.
(Eqmt, MtSt)
Dressler, John. "Recording Reviews." 85-87. (Disc)
Annotated Bibliography of Horn Call Annual
Articles by Number
The Horn Call Annual Number 1 (1989)
Thompson, Brian Ernest. "A History of the Early Sources of
Mozart Horn Concertos K. 412/514, K. 417, K. 447, and K.
495." 2-19.
By comparing early editions of these works with the
available sections of Mozart's manuscripts, Thompson is
able to identify and gain insight into many of the
discrepancies between these sources. He investigates
questions regarding intended articulations, authenticity of
questionable passages (or in the case of K. 514,
movements), possible composers of reconstructed passages,
the differences between editions in movement lengths, and
the order and dates of composition. Based on his research,
he offers a revised order for the concertos and new dates
of composition for three of the four works. His suggested
order and dates are 1) K. 417 (1783), 2) K. 495 (1786), 3)
K. 447 (c. 1787-88), and 4) K. 412/514 (1791/1792). (Hist,
Rep)
Decker, Richard. "A Complete Discography of Recordings Made
by Philip Farkas, James Chambers, and Mason Jones." 20-58.
Solo and chamber music recordings, plus all recordings on
which Farkas, Chambers, and Jones played principal horn are
listed. Although very lengthy, this is not a comprehensive
list. When possible, Decker lists the composer, work,
conductor, performing ensemble, recording date, and record
label and number. (Disc)
van Boer, Bertil H., Jr. "Some Observations on Bach's Use
of the Horn." 59-83.
In this reprint from Quarterly Journal of the
Riemenschneider Bach Institute, the author traces Bach's
use of the horn, looking at the types of instruments
indicated, the identity of the players for whom Bach wrote,
and his demands on those players. He categorizes the horn
parts as being either hunting-style lines, soloistic
obligato clarino lines, or as adding reinforcement to the
vocal lines or cantus firmus. Performance practices of the
period are discussed, especially in relation to the
question of whether Bach meant for the B-flat and C crooks
to be of alto or basso lengths (which van Boer concludes
were both for the higher pitched alto lengths). Boer feels
that all of the works were intended for either Jagdhorn or
Waldhorn, and that the controversial corno da tirarsi parts
may have been intended for a Waldhorn with a sliding crook,
enabling it to change between two or three harmonic series.
Also included is a chronological list of Bach's works
involving the horn. It specifies the instrument Bach
indicated, the probable instrument used (Jagdhorn,
Waldhorn, or slide-horn), the key, and the number of horns
required. (Hist, NtHn, Rep)
The Horn Call Annual Number 2 (1990)
Pherigo, Johnny L. "Horn Study Materials: A Survey of New
and Reissued Publications Available in the United States
with a 1965-1985 Copyright." 2-48.
This study encompasses the years following those covered by
Marvin Howe's A Critical Survey of Literature, Materials,
Opinions, and Practices Related to Teaching the French
Horn. Pherigo recommends and discusses selected methods,
technical studies, traditional-style etudes, and modern
studies. An annotated bibliography of 120 instructional
materials is divided into two categories: 1) method books,
and 2) etude and technique books. The annotations include
standard bibliographic information, range requirements, a
short description of the material, and a grade level
ranging from one to ten. (Bib, Ped, Rep)
Thelander, Kristin. "Carl Oestreich: A Study of His Life,
Historical Position and Solo Horn Music." 49-76.
The life and works of the obscure German composer and horn
virtuoso Carl Oestreich (1800-1840) are presented. A
biography is presented, and an overview of his music for
one or two horns is given. Three of his works are described
in detail: Theme con Variation pour Corno Primo Principalo
in F, Concerto in F Major for horn and orchestra, and
Concerto in E Major for two horns and orchestra. Features
of his compositional style are discussed such as key
relationships, frequency and use of closed notes and their
purpose (timbral effect, chromatic non-harmonic tone,
etc.), incorporation of standard or unusually difficult
horn techniques, and range requirements. An appendix
listing all known published and unpublished works for horn
by Oestreich is also included. (Bio, Hist, NtHn, Rep)
Smith, Nicholas E. "History of the Horn Mute." 77-90.
Smith traces the history of the non-transposing mute from
the first successful model, made by Hampl in the mid 1700s,
to the present. Thürschmidt's design, which enabled the
player to chromatically alter the pitch while remaining
muted, is described, and the inclusion of muted passages in
the compositions of early Romantic composers such as
Beethoven and Weber is discussed and shown. Smith details
the reasons for the mute's demise during the middle of the
nineteenth century and its reappearance in the works of
Wagner, Mahler, and Strauss. Use by twentieth-century
composers Debussy, Schoenberg, Berg, Webern, and Bartok is
also discussed. Improvements in design throughout the
twentieth century are seen in the mutes of Parduba (1920s),
de Polis (1940s), and, more recently, Humes and Berg,
Sansone, and Rittich. (Eqmt, Hist, MtSt, NtHn, Rep)
van Boer, Bertil H., Jr. "Corrigenda to 'Some Observations
on Bach's Use of the Horn'." 91-96.
The author supplies corrected endnotes which were
inadvertently deleted from his previous article (HCA no. 1,
p. 59). (Hist, NtHn, Rep)
MacCracken, Thomas G. "Further Observations on Bach's Use
of the Horn: A Reply to Bertil H. van Boer, Jr." 97-104.
MacCracken comments on a number of points in van Boer's
articles (HCA, nos. 1 and 2) with which he disagrees.
Primary among these are questions concerning Bach's use of
transposing and non-transposing notation, and his possible
use of non-harmonic tones. MacCracken concludes that the
untransposed horn parts indicating the instrument Corno
which have notes outside the harmonic series should be
considered to be for the Corno da tirarsi, or slide-horn.
Works requiring B-flat transposition are discussed
individually with the author arriving at varying
conclusions. Also included is a revised version of van
Boer's table which shows the nomenclature and transposition
in Bach's horn parts. Unlike van Boer, MacCracken has used
facsimiles or microfilms of Bach's original manuscripts in
compiling his data. Included in the table is the BWV
number, instrument (horn) indicated in the manuscript part,
copyist of the manuscript part, whether the part was
transposed, instrument indicated in Bach's autograph score,
and whether the part was transposed in the score. (Hist,
NtHn, Rep)
van Boer, Bertil H., Jr. "Professor van Boer Replies."
105-113.
This is in response to the article by Thomas G. MacCracken
(HCA, no. 2, p. 97) which questioned points in van Boer's
article "Some Observations on Bach's Use of the Horn" (HCA,
no. 1, p. 59). Topics discussed include Bach's use of
transposing and non-transposing horn parts, his choice of
crooks, whether C and B-flat parts were meant for alto or
basso length crooks, and the definition and use of the
instruments corno da tirarsi and lituus. (Hist, NtHn, Rep)
The Horn Call Annual Number 3 (1991)
Kearns, Andrew. "Clarino Horn, Hand Horn, and Virtuosity in
the Late-Eighteenth Century Horn Concerto." 2-30.
Kearns explores the concertos for one and two horns from
the Thurn and Taxis Courts (1748-1806) preserved in the
Thurn and Taxis Hofbibliothek in Regensburg, Germany. This
collection contains five works by Pokorny as well as pieces
by Danzi, Schacht, Reicha, Domnich, Fiala, and others. The
author discusses hand stopping requirements, clarino and
second horn style, cadenzas, alterations made by players of
the time, and includes numerous musical examples. (Hist,
Rep)
McCullough, David M. "The Horn Quartet: An Historical
Perspective on the Evolution of the Genre and a Survey on
Works Composed Since 1950." 31-48.
After tracing the history and evolution of the horn quartet
from its beginnings to the present day, the author presents
the results of a survey of leading hornists from throughout
the world in which they were asked to choose the ten most
important horn quartets. The top five works are compared in
some detail and the complete results of the survey, along
with the names of the hornists surveyed, are given. (Hist,
Rep)
The Horn Call Annual Number 4 (1992)
Ericson, John Q. "The Valve Horn and Its Performing
Techniques in the Nineteenth Century: An Overview." 2-32.
This article begins with a history of the valve and its
application to the horn, and then focuses on the performing
techniques presented by four famous teachers and performers
of the early valve horn: Meifred, Lewy, Kling, and Franz.
Writings on valve horn use by Wagner, R. Strauss, and
others are also included as are a variety of musical
examples. (see also HCA (5): 17-19) (Hist, Vlv)
van Boer, Bertil. "The Four-Horn Question: Observations on
an Eighteenth-Century Horn Performance Practice." 33-43.
The author presents evidence which may suggest that many
eighteenth-century works that call for two horns in the
score were actually performed by four players: two that
played the high crooks above F and two that played the low
crooks below F. (Hist, Rep)
Bostley, Edward J. "The Function of the Horn in the Middle
Works of Gustav Mahler." 44-68.
Bostley looks at Mahler's use of the horn as a chromatic
instrument that pushed playing technique beyond what
previous composers had required. He includes numerous
musical examples to illustrate his points. (Rep)
The Horn Call Annual Number 5 (1993)
Hilfiger, John Jay. "Who Composed 'Haydn's Second Horn
Concerto?'." 1-6.
Hilfiger presents new evidence that, while not proving
Haydn's authorship, seems to indicate that F. J. Haydn
(rather than M. Haydn) is the likely composer of VIId:4.
Evidence consists of a chart showing horn pitches used by
both Haydns in their solo horn writing, as well as a
comparison of passages in the disputed concerto with
passages in authenticated works of F. J. Haydn. (Hist, Rep)
Young, Frederick J. "The Optimal Design and Fair Comparison
of Valve Systems for Horns." 7-16.
This article gives the optimal valve-tube lengths for
three-valve descending and ascending horns and gives a
detailed explanation of how these lengths were determined.
Young also examines the tuning advantages and disadvantages
of ascending and descending third valve horns, discusses
the question of the 1 and 2 valve combination versus the
third valve alone, and offers suggestions on how to best
tune a horn. (Tun, Vlv)
The Horn Call Annual Number 6 (1994)
Snedeker, Jeffrey L. "The Early Valved Horn and Its
Proponents in Paris 1826-1840." 6-17.
Snedeker traces the history of the valved horn beginning
with its introduction into Paris and its subsequent
adoption by Meifred. Berlioz's use of the valved horn inhis
works (especially Symphonie Fantastique) and his writings
about the instrument (Traité d' instrumentation) are
discussed, as is its use in Jules Halévy's opera La Juive.
Snedeker concludes with a section focusing on the first
comprehensive valve horn method, Meifred's Méthode pour le
Cor Chromatique ou à Pistons. (Hist, Rep, Vlv)
Miles, Patrick. "A Bibliography of Trios for Horn, Violin,
and Piano Composed 1945-1985 with Selected Annotations."
18-31.
Forty-one trios are listed. All include (when available)
composer, title, and date of publication. Many also include
some or all of the following: a listing of movements,
duration, range requirements, a short annotation by Miles,
and a brief excerpt from the score or horn part. (Rep)
