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)