The Horn Call October 1984 Volume XV, Number 1

Coghill, Gene. "My First Teacher Arcady Yegudkin-'The General'." 15-19.

Coghill relates a number of often humorous anecdotes about this long time Eastman horn professor. Details about his "system" of teaching is described, especially his infatuation with the importance of "Dem diaphragm." This system, which employed a smiling embouchure and great lower lip pressure, is blamed for the ruination of most players subjected to Yegudkin's tutelage. The teeth were also an area in which he claimed expertise. Coghill describes how he would sometimes go so far as to recommend that students file them down or, to facilitate articulation, have the membrane under the tongue snipped. Letters responding to this article from Christopher Leuba and Evans Lantz can be found in HC XV/2, p. 10-12. (Bio, Brea, Emb, Hist, Ped)

Watson, Catherine. "Brass Valhalla-IBC2." 21-23.

Events at the Second International Brass Congress at Indiana University are detailed. (WkSh)

Winter, James. "A Message from the President." 25.

Winter reports on the general activities of the I.H.S. during the past year. (IHS)

Kampen, Paul A. "British Horn Society in the Regions." 27-28.

Events of the horn seminars at Birmingham and York are chronicled. (WkSh)

Merewether, Richard. "The Vienna-Horn-And Some Thoughts on Its Past Fifty Years." 31-35.

The author reminisces about the Vienna-horn, its players (particularly Freiberg), and memorable performances of the past. Descriptions of the instrument and its workings, type of mouthpiece used, and its relative merits and drawbacks are included. (Eqmt, Hist, Mthpc, Vlv)

Secon, Morris. "Who's Sitting in That Empty Chair?" 37-40.

Secon recounts how he initiated the drafting of a letter and petition protesting the inability of Soviet trumpet virtuoso Timofei Dokschitzer to attend the Second International Brass Conference due to the political situation between the U.S. and Soviet Union. (WkSh, Misc)

Gross, Steve. "Taped Orchestra Auditions-A Report." 41-43.

Gross, a hornist with the Atlanta Symphony, discusses the pros and cons of using taped preliminary auditions. His observations are based on the experience of serving on a selection committee that used this method during the 1983 Atlanta Symphony auditions for fourth horn. He concludes that taped auditions, while not perfect, should be utilized as a standard method of selecting candidates for a second round of live auditions. Included are several suggestions to aid players making audition tapes and committees listening to these tapes. (Aud, Rec)

Mayes, Martin. "International Competition for Horn and Tuba, Markneukirchen, German Democratic Republic 11-18 May." 44-46.

Mayes describes this little-known contest, which this year saw Czechoslovakian hornist Jindrich Petràs win over thirty-eight other hornists from thirteen countries. (WkSh)

Dressler, John C. "On the Cadenzas in Mozart's Horn Concerti." 47-51.

As an aid in writing historically and stylistically correct cadenzas, Dressler suggests studying the cadenzas written by Mozart for his piano concertos. Of particular usefulness is the K. 449 piano concerto which, like the two horn concerti calling for cadenzas, is in the key of E-flat major and features a first movement cadenza. It also dates from near the time of the horn concerti. Using this study as a starting point and combining this information with thematic elements from the horn concerti, Dressler presents a cadenza suitable for either the K. 447 or K. 495 horn concerti. (Hist, Rep)

Hokanson, Ruth. "Statement of Financial Condition 30 June 1984." 52-54. (IHS)

Farkas, Philip. Jeffrey Agrell, ed. "Horn Excerpts Clinic." 55-57.

Farkas discusses the opening solo of Till Eulenspiegels lustige Streiche by Richard Strauss. (Rep)

Lockwood, Ralph. "Taking a New Stance." 58-62.

This article presents a number of ideas on choosing a stage set-up which will yield the optimum sound quality. Methods for determining a room's acoustical tendencies are mentioned, and possible set-ups are discussed and shown for horn and piano, brass quintet, woodwind quintet, and piano quintet. Lockwood also suggests reversing the order of the orchestra horn section to help the players more easily hear each of the four parts. Also included is an excerpt from "The Woodwind Quintet" by Miroslav Hosek which diagrams the main directions of the horn's sound radiation at various frequencies. (Acou, Ens)

Braun, Elaine. "Horns-And All That Brass." 63-65.

Braun describes the events at the second International Brass Congress held at Indiana University in Bloomington, Indiana. (WkSh)

Leuba, Christopher. "Recordings Section." 67-70. (Disc)

Uustalu, U. "Recalling Prof. Jann Tamm (1875-1933)." 82-86.

This great Russian hornist's playing, teaching, and administrative career is recalled by Uustalu. Highlights include his rise from a herdsboy to a student at the St. Petersburg Conservatory, his twenty years of service with the Imperial Court Orchestra (now the Leningrad Philharmonic), and his twenty-three years as a professor at the St. Petersburg Conservatory. Several photographs are also included. (Bio, Hist)

Watson, Catherine. "An Interview with Richard Merewether." 87-89.

Renowned horn designer Richard Merewether discusses his playing career in Australia and London, his association with Bob Paxman and Paxman Musical Instruments Ltd., and his thoughts on the future of horn design. (Bio, Eqmt)

Baker, James. "Horn Players Guide to Work in Mexico City and Taluca." 90-91.

This is a brief overview of the situation in the five full-time orchestras in Mexico City and Taluca, Mexico. Baker lists what he feels are the pros and cons of playing there and discusses hiring practices, pay and contract norms, rehearsal length, and standard repertoire. (NtSty)

The Horn Call April 1985 Volume XV, Number 2

Chenoweth, Richard. "The Twenty-Eighth Season of the Santa Fe Opera." 19-27.

Formed in 1956, this summer opera company has been an important force in the world of opera, presenting twenty-three American and five world premieres. The author, second hornist for the past twelve seasons, discusses the company's history and profiles its current horn section. He presents and discusses excerpts which illustrate specific techniques called for in operatic playing. Works discussed include Zemlinsky's Eine florentinischel Tragodie, Korngold's Violanta, Mozart's The Magic Flute, Cimarosa's The Secret Marriage, Strauss' Intermezzo, and Henze's We Come to the River. An appendix listing all the horn players who have performed with the Santa Fe Opera since 1958 is also included. (Bio, Ens, Prsnl, Rep, Tech)

Hill, Douglas. "Composition Commissions through the I.H.S." 29-30.

Four new works featuring horn have been completed since 1977 as a result of this project. Hill reports on these as well as seven pieces which were in progress at the time of this article's writing. (IHS, Rep)

Decker, Richard. "Thoughts on Auditioning." 31-32.

Decker offers suggestions on audition preparation, writing an effective resume, and do's and don'ts to consider during the audition. (Aud)

Dressler, John. "The IHS Archive: Source for Historical Research." 34-35.

Dressler presents a partial list of the Archive's holdings and suggests that interested parties should consult Dr. Fred Ehnes' thesis A Guide to the Archive of the International Horn Society 1969-1977 at the Alexander M. Bracken Library, Ball State University, Muncie, Indiana (THESIS DA E335). (Hist, IHS)

Kimple, Wilbert K. "The Holton H-200 Double Descant, a Diamond in the Rough." 35-41.

Kimple's favorable review cites the horn's high quality at a low cost as its primary strength. He suggests a number of minor changes to further improve what he feels is already an excellent horn. (Eqmt, Mthpc)

Seifert, Gerd. Jeffrey Agrell, ed. "Horn Excerpts Clinic." 43-46.

Seifert discusses the Siegfried "Long Call." (Rep)

Myers, Philip. "The Inherent Drive of Rhythm." 49-52.

Myers views rhythm as having two basic focuses: "a vertically weighted unit and a forward driving sub-unit." His concept of using subdivision to move through a phrase is discussed and illustrated using the opening of Schubert's "The Great" C Major Symphony. (Ped, Rep)

Kirschen, Jeffrey. "Five Minutes..." 53-55.

Kirschen tells of his experience preparing for and participating in the American Horn Competition. (Aud, WkSh)

Walshe, Robert C. "The Autograph of Richard Strauss's First Horn Concerto." 57-61.

Differences between the autograph score and modern editions of this work are identified and discussed. Various ossia passages, most of which are not included in the modern edition, are shown, as are differences in articulation and accompaniment. An appendix listing each of the many discrepancies is also included. (Hist, Rep)

Brockway, Oliver. "Specialist Publications for Horn: A British Contribution." 62-64.

Brockway lists and discusses music and recordings available from his small publishing business, Oliver Brockway Music, which specializes in music featuring horn. Of particular historical interest are 3 Sonatas for 2 Horns by Otto Nicolai and 12 Studi per Corno da Caccia by Gustavo Rossari. (Disc, Hist, Rep)

Leuba, Christopher. "Rossini's E." 66.

An error which appears in the solo from Rossini's Barber of Seville in Orchestral Passages, Volume 1 edited by Max Pottag is identified and corrected. Leuba includes excerpts from Rossini's manuscript to illustrate his point. (Richard Merewether's observations on this matter appear in HC XVI/2, p. 18.) (Rep)

Watson, Catherine. "A Profile of Morris Secon." 67-72.

This anecdotal profile highlights Secon's career and relates many of his thoughts on horn playing and teaching. (Bio, IHS, Tn, WkSh)

Leuba, Christopher. "Recordings Section." 74-78. (Disc)

Pizka, Hans. "Jubilee with the Siegfried Call." 79-80.

This article salutes Gerd Seifert's fiftieth performance of the Long Call at the Bayreuth festival. Pizka discusses past players who have performed the Calls and announces the discovery of the first performance parts of many of Wagner's operas, a number of which were signed by the original and subsequent performers. (Bio, Hist, Rep)

The Horn Call October 1985 Volume XVI, Number 1

Agrell, Jeffrey. "1984 IHS Composition Contest Report." 12-15.

Composers from seven nations entered a total of twenty-five works with the following results: Category I: Two Horns and Keyboard, no awards given; Category II: Horn in Chamber Ensemble, Trio for Horn, Violin and Piano, Op. 27 by Hans-Günther Allers, Honorable Mentions went to Seven L. Winteregg's Divertimento for flute, horn and double bass and Jana M. Skarecky's Et Intarnatus Est for horn, piano and voice; Category III: Horn Ensemble, Honorable Mention was awarded to Johanes H. E. Koch for his 5 Stücke für 6 Hörner. Each of the winning compositions is described and a complete list of entries is given. (IHS, Rep, WkSh)

Winter, James. "A Message from the President." 17-19.

Winter updates members on the following items: the Composition Contest; the Commissioning Project, which in addition to commissioning new repertoire is working to add arrangements of standard horn literature for solo horn and wind ensemble; plans for the 1986 Workshop in Detmold, Germany; progress of the West-East Project; and various retirements and appointments. (IHS)

Schweikert, Norman. "A History of the Organized Horn Ensemble in the United States." 20-32.

This article covers the period from the first organized horn ensembles (c. 1850) through World War I. Schweikert has managed to organize a large amount of fragmented information into a well documented chronology. He includes reviews of early performances, photographs, and information about many of the players. Covered in more detail are sections on "The Echo Club," which was made up of the leading New York players around the year 1900, as well as two Boston-based quartets from the early twentieth century, the "Waldhorn Quartette" with cornetist Gustav F. Heim, and the "Boston Symphonic Horn Quartet." (Bio, Ens, Hist)

Seyfried, Erhard. "Concerning the Article by Richard Merewether: The Vienna-Horn-And Some Thoughts on Its Past Fifty Years." 34-35.

Seyfried, a long-time Vienna hornist, adds to or disputes a number of points made by Merewether (HC XV/1). He stresses the importance of the horn's conical shape to its tone quality, and points out the existence of Vienna double horns and horns that have Vienna-horn dimensions, but use rotary instead of "pumpen" valves. The use of a funnel shaped mouthpiece which he says "is in essence only a conical extension of the leadpipe" is recommended as producing the best tone. Merewether responds in HC XVI/2, p. 43. (Eqmt, Mthpc, Vlv)

Leuba, Christopher. "Performing the Brass Quintets of Victor Ewald." 36.

Leuba proposes using two flugelhorns, E-flat alto horn, euphonium, and an E-flat or F tuba when performing these works. (Rep)

Winter, James. "Additional Thoughts on Notation and Transposition." 38-39.

Winter responds to a letter by Hamilton M. High, Jr. (HC XV/2, p. 6), which questioned why publishers continue issuing horn parts in keys other than F, often omit key signatures in favor of accidentals, and sometimes use "old notation" in bass clef passages. Winter looks at these questions in a historical context, especially stressing the importance of having an awareness of the characteristic tone qualities of the various crooks when interpreting a work. (Hist, NtHn, Rep, Tn, Trns)

Songer, Lewis. "Contest Winners: One Viewpoint." 40-41.

The author conveys his disdain for many of the "modern" compositional techniques heard on the recital of composition contest winners heard at the IHS workshop. He offers his opinions on each of the following works: What if a Much of a Which of a Wind for horn and chorus by Marshal Bialosky, Romance for Horn and Organ by William Albright, Trio for Horn, Violin, and Piano by Hans Gunther Allers, Partita by Dan Welcher, Sextour by Charles Deschamps, Suite for Eight Horns by Gordon Ring, and Caprice for Horn and Wind Ensemble by Robert Lichtenberger. (Rep)

Kampen, Paul A. "British Horn Society-Regional Roundup." 42-43.

A synopsis of events at the second Manchester Horn Festival is provided. (WkSh)

Watson, Catherine. "Spectacular Seventeen." 45-49.

Events at the Seventeenth Annual International Horn Workshop, held at Towson State University in Baltimore, Maryland, are summarized. (WkSh)

Braun, Elaine. "Workshop Review." 51-52.

The Seventeenth Annual International Horn Workshop, held at Towson State University in Baltimore, Maryland, is reviewed. (WkSh)

Watson, Catherine. "What They Thought of the Workshop." 53-56.

The following people offer their comments on the Seventeenth Annual International Horn Workshop: Gregory Hustis, Kirsten Dimmer, Robert Paxman, Charles Waddell, Georges Barboteu, Wilbert Kimple, William Robinson, Herman Jeurissen, Ross Gershenson, Hans Pizka, Robert Atkinson, Michele Jamison, and Daniel Bourgue. (WkSh)

Ward, Chuck. "The Work Bench, Rotary Valves." 57-59.

Ward, Design Engineer for King and Benge musical instruments, discusses the operation and care of rotary valves. Common problems and their causes and cures are covered. Those mentioned are valve wear, end play, recurrent valve sticking, frozen valves, and scratchy valves. He also includes a diagram and step-by-step instructions on how to properly string a rotary valve. (Mnt, Vlv)

Leuba, Christopher. "Recordings Section." 61-65. (Disc)

Schwarzl, Siegfried. "The Wiener Waldhornverein at the International Symposium for Brass Instrument Players' Chamber Music in Hungary (Barcs-Brass)." 79-84.

Courses in brass instrument chamber music have been taught at Barcs, Hungary since 1979, and in this year (1984) an ensemble competition was also held. In addition to covering the details of the daily proceedings, a concert program by the Wiener Waldhornverein is included and a complete schedule of events is listed. (Ens, WkSh)

Hardin, Burton E. "Valve Port Dimensions Effect on Playing Qualities of Horns." 88-89.

The importance of having the area (size) of the cross-section of a horn's valve ports equal to the area of the cross-section of the bore of the tubing is stressed. Horns designed with valve ports smaller than the tubing will tend to "back-up," or feel constricted, when the valves are used. (Eqmt)

The Horn Call April 1986 Volume XVI, Number 2

Mansur, Paul, ed. "In Memoriam: Richard Merewether." 13-16.

Bob Paxman, James Winter, Barry Tuckwell, B. Lee Roberts, Dale Clevenger, Burton E. Hardin, John Wates, and Helen Ghiradella each contribute a reminiscence about Merewether (1925-1985). (Bio)

Merewether, Richard. "Varying National Usages in the Music of Rossini." 18.

In response to Leuba's article on "Rossini's E" (HC XV/2, p. 66), Merewether offers his observations concerning the various opinions about this particular note, as well as other questionable passages from the orchestral repertoire. (Rep)

Kampen, Paul A. "Profile: Farquharsen Cousins." 19-23. (Bio)

Agrell, Jeffrey. "Jazz Clinic." 25-27.

Agrell addresses the problems of hornists attempting to learn the art of jazz improvisation. He suggests beginning with the play-along record series of Jamey Aebersold, and he lists and briefly discusses the contents of many of the thirty-seven volumes. The importance of texts and reference books is stressed, and eight of Agrell's favorites are listed. Also included are brief sections on playing with and listening to other players. (Bib, Jz, Ped)

Decker, Richard. "A Tribute to Richard Moore." 29-41.

Decker highlights Moore's forty-two-year playing career with New York's Metropolitan Opera and includes brief anecdotes contributed by many of his colleagues (including a longer letter of tribute from Gunther Schuller, who served as co-principal with Moore at the Met). His teaching philosophy is also discussed, and a discography of recordings featuring Moore as principal horn is included. (Bio, Disc)

Merewether, Richard. "A Little on Horn Design." 43-49.

Merewether attempts to clarify and expand upon points from his article "The Vienna Horn-and some Thoughts on its Past Fifty Years" (HC XV/1, p. 31) that were questioned or commented upon by Erhard Seyfried (HC XV/1, p.34). (Acou, Eqmt, Mthpc, Tn, Vlv)

Block, Nancy Cochran. "Ensemble Etiquette." 51-53.

Cochran lists many of the "unwritten rules" of ensemble etiquette, organizing them into four categories: rules for all ensembles, small chamber ensembles, large ensembles (orchestras or bands), and guidelines for working with a conductor. (Ens)

Pignéguy, John. "Notes from London." 55-56.

Pignéguy reports on recent horn activities and performances. (Ens, Misc)

Walshe, Robert C. "Hand Technique and the Hand Horn." 57-61.

The history of hand technique is traced, and its impact on the Classical horn repertoire is examined in this short article. Included are a "handering" chart, and a list of notes to avoid in the low register of the hand horn. (Hist, NtHn)

Collorafi, Jim. "Schubert's C." 62-63.

In response to Philip Myer's article "The Inherent Drive of Rhythm" (HC XV/2, p. 49) which discusses the opening of Schubert's Ninth Symphony, Collorafi makes the following points: 1) despite all printed editions showing a 4/4 time signature, Schubert's manuscript shows a C time signature, 2) this fact, coupled with the presence of accents on the downbeat of each of the first six bars, confirm that this excerpt should be felt in one-measure pulses, 3) the missing C has led conductors to traditionally take this openingAndante far too slowly and to add an unwritten accelerando leading into the following Allegro ma non troppo (which traditionally has been too fast). (Hist, Rep)

Leuba, Julian Christopher. "Orchestral Excerpt Clinic." 64-67.

Leuba discusses the "Andante cantabile" from Tchaikovsky's Fifth Symphony. (Rep)

Leeson, Daniel N. "Whatever Happened to the Sinfonie Concertante?" 68-74.

Leeson traces the history of this work which, after its discovery in 1869, many attributed to Mozart. Now generally considered to be inauthentic, Leeson looks at its rapid fade from the standard repertoire and Robert D. Levin's attempt to "reconstruct" the original Mozart work. In this reconstruction Levin reworks the orchestration and replaces the solo clarinet, which appears in the standard version, with a flute, restoring Mozart's original instrumentation. The author also uses this article to advocate the use of intellect as the primary basis for musical interpretation, rather than relying entirely on tradition and emotion. (Hist, Rep)

Gross, Steve. "American Horn Competition, Inc." 75.

Winners announced are Lowell Greer in the Professional Division, Richard Deane in the University Division, and Stephanie Furry in the High School Division. (WkSh)

Leuba, Christopher. "Recordings Section." 89-95.

Along with his usual variety of recordings, Leuba includes a discography, supplied by R. Wayne Shoaf, of recordings of the Quintet, Op. 26 by Arnold Schoenberg. (Disc)