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)