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)