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)

Thompson, Mark. "Brahms and the Light." 71-72

Thompson analyzes the opening movement of the Trio, Op. 40,  pointing out that the light/dark qualities of the open/stopped horn are reflected in the melodic counters and harmonic relationships of the work. (NtHn, Rep)

Leuba, Christopher. "Recordings." 78-80. (Disc)

Hill, Douglas. "Small Publishers and Their Music." 80-83.

Repertoire available from the Hornists' Nest, Wind Music, Inc., A Moll Dur Publishng House, and Marvin McCoy is discussed. (Rep)

Chesebro, Gayle. "Music in Manuscript." 84-88

Reviews of works by the following composers are included: David Baldwin, Felix Bauer, Marcel Farago, Lowell Greer, Brian Holmes, Thomas Hutcheson, Sixten Sylvan, Emory Waters, Violet Archer, John Beckwith, Keith Bissell, Walter Buczynski, Harry Freedman, Frank Haworth, William McCauley, Tibor Polgar, Morris Surdin, Barry Truax, and Gerhard Wuensch. (Rep)

Havens, Kathy Boggs. "A Report from Brazil." 89.

Havens briefly describes opportunities available for professional hornists in Brazil. (NtSty)

Scharnberg, William. "Orchestras around the World." 90-94. (Prsnl) 

The Horn Call April 1979 Volume IX Number 2 

Witman, Dale. "In Memoriam: Joseph Singer." 21-22 (Bio)

Blandford, W.F.H. "Bach's Horn Parts." 23-27

This reprint from the August 1936 issue of the Musical Times discusses the variety of different instruemnts called for by Bach in his horn parts. Blandford questions whether instruments such as "corno di tirarsi" (slide horn), "corno," "corno da caccia," and "clarino" were actually different instruments or if some were the same instruemnts using different mouthpieces.The "corno di tirarsi," in particular, is explored in some detail. The author also discusses choosing instruemnts for present-day performances. (Hist,NtHn,Rep)

House, R. Edmund. "The German Style of Hornplaying: Myth or Method?" 29-34.

House undertakes an investigation of the elements that set the German style of playng apart from other schools. Tradition, physical aspects of German players, choice of equipment, tone quality, and hand position are among the many areas covered. (NtSty)

Finke, Helmut. "Horns Made by Hand?" 47-48

In defining the term "handcrafted," Finke explains that while master craftsmen do not build each component of an instrument by hand, they do supervise the building and/or assembly of each piece, insuring overall quality. This is in contrast to the large firms which use an assembly liine method, often failing to identify small problems that a master craftsman would spot and correct. (Eqmt)

Hoss, Wendell. "The Horn Trill." 52-53

The mastery of both valve and lip trills is discussed, with emphasis on learning how to end gracefully the trill. (Tech)

Fox, Fred. "A 'Sound' Formula for the Hand Position in the Bell." 55-56

Fox's "sound proof" formula for achieving proper hand position involves inserting the hand to the point where the slightest change either loses or retains the basic open quality of the sound. When sitting, this position must be rotated slightly to reflect the sound upward, awy from the body. (Tech)

Agrell, Jeffrey. "Index to Periodical Articles on the Horn: Additions and Corrections."  58-64

Agrell adds 104 articles to his previous lists [HC VI(2) p.54, HC VII(1) p. 45, HC VII(2) p. 48]. (Bib)

Leuba, Christopher. "Recordings." 70-72 (Disc)

Walshe, Robert C. "Hand horn Technique as a Teaching Tool." 73.

A number of benefits are cited by Walshe. Dexterity of right hand techinique is improved as the student learns to use the various hand positions, proper intonation is practiced with the use of the hand, accuracy benefits due to the improved "aim" required on hand horn, and knowledge of the harmonic series is enhanced. The students also gains historical insight and an appreciation of the skills of early players. (NtHn, Ped)

Schweikert, Norman. "Frank Brouk Retires from the Chicago Symphony." 75-78.

The playing and teaching career of this eighteen-year member of the Chicago Symphony is highlighted. (Bio)

Scharnberg, William. "Orchestras around the World." 80-88. (Prsnl) 

The Horn Call October 1979 Volume X Number 1

Hill, Douglas. "The I.H.S. and the Workshops." 17.

The relationship between the I.H.S. and the annual International Horn Workshop is briefly explained. (IHS, WkSh)

Leuba, Christopher. "Comments on, and an Index of the Gumbert Excerpt Series." 19-21.

Leuba discusses the variants of the "Gumbert books," particularly the "Hitler Edition" which deleted all works by composers of Jewish ancestry. He also includes an index which was included in the 1932 edition pubished by Carl Merseburger. (Hist,Ped,Rep)

Pizka, Hans. "Karl Stiegler (1876-1932)." 24-28.

This biography of the famous Viennese horn player and teacher includes a list of his compositions and four photographs of him and his colleagues. His vast collection of literature for and about the horn (now in the possession of Pizka) is detailed, and his playing and teaching career is chronicled. (Bio, Hist, Rep)

Gaska, Leslie. "The XI Annual Horn Workshop." 31-33 (WkSh)

Seiffert, Elaine. "Reminiscences and a Message--Workshop XI." 34-38 (WkSh)

Hill, Douglas. "Meet Ruth Hokanson, Our New Executive Secretary." 44. (Bio) 

Betts, Jim. "Central American Horn Workshop." 47.

Betts summarizes the events at this workshop, held in San Jose, Costa Rica. (WkSh)

Chesebro, Gayle. "Lauditio: An Analysis." 51. 

Bernhard Krol's Laudatio for unaccompanied horn is analyzed. (Rep) 

Lawson, Walter. Paul Mansur, ed. "Horn Improvement Survey Report." 52-54

IHS members returned a total of 175 questionnaires covering 20 different brands of horns. Overall trends are discussed, and a number of comments taken frm the replies are given about each make of horn. (Eqmt)

Kimple, Wilbert Kenneth, Jr. "Results of a National Survey of Professional Horn Players." 55-59.

Results of a survey sent to the horn sections of 45 professional orchestras in the U.S. are presented. The 19 questions  deal with topics such as type of horn used, modifications and maintenance, mouthpiece preferred, and influential teachers. Although only 29 of the 270 questionnaires were returned, Kimple presents the results and draws a number of conclusions based on his findings. (Eqmt, Mnt, Mthpc)

Elliot, David G. "The Brahms Horn Trio and Hand Horn Idion." 61-73.

Elliot begins with a history of the work followed by a brief history of the horn, particularly the period of change from natural horn to valved instruemnts. Brahms's knowledge of hand technique and his preference for having his works performed on waldhorn is discussed. Elliot then examines the work, presenting examples of typical hand horn technique seen in twenty-two excerpts, and a complete inventory of the pitches used. The importance of considering the implications of the waldhorn style when preparing this work today is stressed, and the author recommends some practice of the piece on an authentic instrument. Also included is a discographyof twenty-three recordings of the work. (Disc, Hist, NtHn, Rep)

Leuba, Christopher. "Recordings." 75-77. (Disc)

Hill, Douglas. "Guest Record Review." 78.

John Clark's jazz horn recording Song of Light (Hidden Meaning Music) is given a favorable review. (Disc) 

McEwen, Gilbert D. "The Silver Submarine." 78-79

Repair work on the author's Geyer horn reveals a small oil can lodged inside the tubing, apparently left there by the maker in 1936. (Mnt)

Chesebro, Gayle. "Music in Manuscript." 81-84

Composers represented include David Deason, Alexej Fried, Thomas Hutcheson, Josef Ceremuga, Oldrich Flosman, Emil Hlobil and Zdenek Sestak. (Rep)

Wekre, Frøydis Ree. "The Leningrad School of Horn Playing." 92-95.

Wekre profiles the leading figures from the Russian school of horn playing, which began in 1862 with the founding of the conservatory at St. petersburg. Players featured include Franz Schollar, Friedrich Homilius, Jan Tamm, Mikhael Nicholajewitsch Boujanovsky, Pavel Constantinovitsch Orekhov, and Vitali Mikhaelovitsch. (Bio, Hist, NtSty)

The Horn Call April 1980 Volume X Number 2 

Jeurissen, Herman. "An Unknown Horn Concerto by W.A. Mozart." 12-15.

By piecing together fragments of the first movement of an incomplete concerto (K.370b), Jeurissen was able to assemble approximately seventy-five percent of the original work. By reconstructing the remainder and then combining it with the Concert Rondo in E-flat, K.371 (with which he believes it was originally paired), the outer movements of a new Mozart horn concerto result. Jeurissen discusses the history and origin of the work and the process of reconstruction. (Hist, Rep)

Mansur, Paul, ed. "Responses from Horn Manufacturers." 17-22.

Letters from makers responding to the report and survey results printed in the October 1979 issue of The Horn Call are printed. Manufacturers responding include Mirafone, Holton, Alexander, Conn, and King. (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)