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)