The Horn Call October 1988 Volume XIX, Number 1

Pignéguy, John. "Notes from London." 14-15.

In addition to his regular update of concert highlights, Pignéguy reports on fourteen-year-old hornist David Pyatt, the BBC's Young Musician of the Year. (Bio, Misc)

Braun, Elaine. "Horn Heaven-Almost; 20th International Horn Workshop, Potsdam, N.Y.; June 19-25, 1988." 17-19. (WkSh)

Varner, Tom. "Julius Watkins, Jazz Pioneer." 21-25.

Julius Watkins (1921-77), the great jazz hornist of the 1950s, 60s, and early 70s is profiled. Varner includes a transcription of a Watkins horn solo from the Jimmy Heath composition Quota, a discography of recordings on which Watkins appears, and a listing of mail order dealers that may be able to locate these recordings. (Bio, Disc, Jz)

Burdett, Keith. "Northern Seminar, June 26, 1988." 27-28.

Events at this gathering of hornists in Bradford, England are reported. (WkSh)

Tritle, Thomas. "Horns in the Shrine to Music Museum." 30-35.

Located on the campus of the University of South Dakota in Vermillion, South Dakota, this museum houses a collection of over 4,000 instruments, 1,540 of which are brasses. At its core is the collection of over 2,500 instruments that was assembled by its first director, Arne B. Larson. Tritle describes 12 of the horns in detail and briefly discusses a number of other interesting instruments or collections. Photographs of many of the horns are included and the author suggests several areas in which further research or study could be done. (Hist, NtHn)

Moore, Richard C. Agrell, Jeffrey, ed. "Orchestral Excerpt Clinic." 37.

Moore discusses the "Micaela" aria from Bizet's Carmen. (Rep)

Pyle, Robert. "AudioPyle: Terminology and History of Architectural Acoustics." 38-41.

Pyle describes W. C. Sabine's 1895 experiments and their important role in helping to understand the concepts of reverberation and diffusion. He also discusses time delay and the difficulties of building new, larger halls that have the same desirable acoustics as the smaller, older halls. (Acou)

McCue, Edward. "Room Acoustics and the Orchestral Hornist." 44-47.

The main topics discussed in this article include the effects that the directionality of the horn has on hearing, and the influence of acoustics on ensemble and solo playing. Many practical suggestions are offered and common problems caused by acoustical phenomena are explained. (Acou, Ens)

Marx, Josef. "An Introduction to Mozart's 12 Duos for Two French Horns (K. 487)." 49-65.

This reprint of a 1947 article argues that these duets for unspecified instruments were intended for two horns. Their history is traced and the reasons behind previous speculation that they were meant for violins or Basset horns are explained and rejected. Precedence is shown of other works from the same period that call for the horn to ascend to written g''' and to utilize the chromatic lower range, both of which are seen in these duos. Tables showing Mozart's use of chromatic pitches are presented which illustrate that the most frequently utilized notes are confined to the harmonic series while notes which Mozart avoids or uses sparingly are difficult or impossible to produce on the hand horn. (Hist, NtHn, Rng, Rep)

Stewart, Milton L. "Chamber Music for Voices with French Horn: Performance Problems for French Horn." 70-85.

In this, the second of a three article series (also HC XVIII/2 p. 63, HC XIX/2 p. 65), six works of medium difficulty for the horn are discussed: Johannes Brahms's Four Songs for Women's Choir, Robert Schumann's Five Hunting Songs, Anton Bruckner's Abendzauber, Norman Dello Joio's The Mystic Trumpeter, Franz Schubert's Auf dem Strom, and Hector Villa-Lobos' Choros (No. 3). (Rep)

Agrell, Jeffrey. "Jazz Clinic: There'll Be Some Changes Made..." 86-89.

Exercises to help develop smooth horizontal movement through chord changes are shown and discussed. Agrell also gives brief profiles of three lesser known jazz hornists: Matt Shevrin, Claudio Pontiggia, and Arcadi Shilkloper. (Bio, Disc, Jz, Ped)

Leuba, Julian Christopher. "Recordings Section." 90-99.

Included is a discography of Josef Molnar performing on horn and alphorn. (Disc)

Agrell, Jeffrey and Daniel Lienhard. "Report on the 1987 Composition Contest." 100-104.

A complete list of entrants is given and winning works are announced and described. Winners included: Category I: Horn and Synthesizer, no prize awarded; Category II: Trio (hn/vn/bsn), Chamber Concerto by Henry Wolking, Honorable Mention awarded to Pál Rózsa's Theme and Variations; Category III: Horn Quartet, Quartet No. 1 by Kerry Turner, Honorable Mention awarded to Hans-Günther Allers's Fünf Intermezzi. (IHS, Rep, WkSh)

Scharnberg, William. "Music in Manuscript." 108-110.

Scharnberg reviews Cindy McTee's Images for Horn and Piano, Luigi Zaninelli's Moménte for Solo French Horn and Piano, John White's ...Those Who Dwell in Realms of Day, Randall Faust's Three American Folk Songs (2hn/pf), Raymond Parfrey's Cameos (4 hn), and Kerry Turner's Quartet for Horns No. 1. (Rep)

Thompson, Timothy. "Report to the International Horn Society from the IHS Latin America Development Project." 111-112.

Thompson reports on the creation of exchange programs and the development of a Spanish language edition of the Horn Call. (IHS)

The Horn Call April 1989 Volume XIX, Number 2

Marshall, Barry. "What's Available from Your Repair Person?" 30-33.

Marshall describes some of the repairs and customizations available at most repair shops. His categories include "bell dents," "bell ring," "more bell tricks," "pinkie hook," "more dents," "slides," "valves," and "leadpipe." (Mnt, Vlv)

Chesko, Ed and Chuck Ward. "Plastic on Brass Instruments." 35.

The merits and uses of a new type of plastic called "Delrin" are discussed by the authors, who are engineers for King Musical Instruments. (Eqmt, Vlv)

Deskur, Edward. Jeffrey Agrell, ed. "Orchestral Excerpt Clinic." 37-42.

The second horn part to Richard Strauss's opera Der Rosenkavalier is explored. (Rep)

Varner, Tom. "Jazz Horn-Post Julius Watkins." 43-45.

Varner presents a discography of LP's and CD's recorded between 1970 and 1989 that features jazz hornists residing in the United States. Players listed include Alex Brofsky, Vincent Chancey, John Clark, Richard Dunbar, Sharon Freeman, Peter Gordon, Jerry Peel, Willie Ruff, Richard Todd, and Tom Varner. (Disc, Jz)

Agrell, Jeffrey. "Jazz Clinic." 47-49.

The basics of building a jazz bass line are presented in a progressive step-by-step method. Agrell begins with a bass line made up solely of chord roots and progresses to ones incorporating fifths, thirds, chromatic approach tones, and scale tones. (Jz, Ped)

Sellers, Jacquelyn M. "Summit Brass International Brass Ensemble Competition." 50-51.

Results of this 1988 competition included: third place to the Emerald Brass Quintet (Kelly Drifmeyer, horn) from the Eastman School of Music, second place to the Carillon Brass (Richard Chenoweth, horn) from Dayton, Ohio, and first place to the Atlantic Brass Quintet (Robert Rasmussen, horn) from Boston. (Ens, WkSh)

Kleucker, Malinda Finch. "Alternate Fingerings on the Double Horn." 52-61.

Alternate fingerings are suggested for a number of excerpts to aid in their facility or intonation. Included are Mahler's First, Fourth, and Ninth Symphonies, Beethoven's Third and Sixth Symphonies, Strauss' Till Eulenspiegel, Ein Heldenleben, and Elektra, Franck's Symphony in D Minor, Stravinsky's Rite of Spring and Firebird Suite, Dvorak's New World Symphony, Bruckner's Fourth Symphony, Tchaikovsky's Fifth Symphony, Shostakovich's Fifth Symphony, Maxwell Davies's Salome, and Per Norgard's Third Symphony. She also discusses using alternate fingerings to play microtonal music and includes a one octave microtonal fingering chart. (Rep, Tech, Tun)

French, Allen. "Hornists Help Celebrate 150 Years of Engineering at the University of Alabama." 62-64.

As part of this anniversary celebration, two works were commissioned from University of Alabama faculty: Transformations (WW5/4 hn) by H. Garrett Phillips, and Octet (8 hn) by Frederic Goosen. (Rep, Misc)

Stewart, Milton L. "Chamber Music for Voices with French Horn: Performance Problems for French Horn." 65-83.

The final installment of this three-part series (also HC XVIII/2 p. 63, HC XIX/1 p. 70), covers chamber works with difficult horn parts. Works discussed include Anton Webern's Zwei Lieder, Op. 8, Benjamin Britten's Canticle III and Serenade, and Kláus Huber's Des Engels Anredung an die Seele. (Rep)

Leuba, Julian Christopher. "Recordings Section." 85-91. (Disc)

Scharnberg, William. "Music in Manuscript." 101.

Reviewed works include Festive Rondo by Richard Cioffari, Songs from Middle Earth for Horn and Piano (optional bass and drumset) by Dona Wilson, and Scherzo "Potsdam" (2 hn) by Jan Segers. (Rep)

Pyle, Robert W., Jr. "AudioPyle: Why Does My Horn Feel That Way?" 103-107.

Using simple resonators, Pyle attempts to create a simulated horn to aid in understanding what causes horns to act as they do. In this, the first in a series of articles devoted to this topic, he concludes that the "quality factor "(Q), which is the amount of friction there is relative to the mass and stiffness, is important in determining how "separate" the notes on a horn feel. If the Q is too high the horn will feel stiff, if the Q is too low it will be too flexible. (Acou)

LaBar, Arthur. "Horn Player's Audition Handbook Errata." 108.

A list of corrections is given for LaBar's book Horn Player's Audition Handbook. (Aud, Rep)

Faust, Randall E. "In Memoriam." 110.

The deaths of Robert Elworthy, James Chambers, Richard Moore, and Hugh Cowden are noted. (Bio)

Farkas, Philip. "In Memoriam: Hugh Alan Cowden." 110-111. (Bio)

Meier, Dan. "In Memoriam: James Chambers Remembered." 112-116. (Bio)

Wakefield, David. "In Memoriam: James Chambers, a Life Remembered." 116-117. (Bio)

Decker, Richard. "In Memoriam: Richard Moore (1914-1988)." 117-118. (Bio)

Chenoweth, Richard. "In Memoriam: Robert W. Elworthy." 119-123. (Bio)

Secon, Morris. "In Memoriam: Dorothy L. Frizelle." 124. (Bio)

Pizka, Hans. Paul Mansur, ed. "Digest of 21st Annual Horn Symposium Schedule 22 July-29 July 1989, Munich." 127-128. (WkSh)

The Horn Call October 1989 Volume XX, Number 1

Gross, Steve. "A Report from the 1989 American Horn Competition." 19-22. (WkSh)

Agrell, Jeffrey and Daniel Lienhard. "1988 IHS Composition Contest Report." 25-30.

A complete list of entrants is given and winning works are announced and described. Winners included: Category I: Horn & Piano (short encore), Virtuoso by Corrado Saglietti and Ma, can we go to the circus...aw, please! by David Machell. Honorable Mention awarded to Blues #3 by Charles Wike; Category II: Brass Trio (trp/hn/trb), Brass Trio (1988) by Mark E. Wolfram; Category III: Horn Sextet (6 hn), no prize awarded, Honorable Mention awarded to 6 Moods by John Clark. (IHS, Rep, WkSh)

Agrell, Jeffrey. "A Brief History of the IHS Composition Contest." 31-33.

Agrell gives a year-by-year breakdown listing contest director, judges, number of entries, category types, as well as winners and honorable mentions in each category. (IHS, Rep, WkSh)

Leuba, Julian Christopher. Jeffrey Agrell, ed. "Orchestral Excerpt Clinic." 35-37.

The opening of the Piano Concerto No. 2 by Johannes Brahms is discussed. Leuba takes six performances and by measuring audio tape lengths, compares the note lengths and phrase proportions of the various interpretations. (Rep)

Agrell, Jeffrey. "Jazz Clinic." 38-39.

As an aid to hornists wishing to produce their own practice accompaniments on MIDI keyboards and sequencers, Agrell explains the art of "comping." (Jz, Ped)

Polekh, Ludmila. "On the Problem of Improvisation Technique in Modern Performance Practice." 41-46.

The use of improvisational elements such as cadenzas, ornaments, and rhythmic unevenness (inégalité), in the horn concertos of Mozart is discussed. Performance practice norms of the Classical era are investigated and their application to these works is encouraged. (Hist, Rep)

Danner, Gregory. "Heinrich Domnich's Méthode de Premiere et Second Cor: Lessons in Musicianship for Today's Student." 47-49.

This, the first definitive hand horn tutor, contains much that is relevant to modern study. Danner looks at Domnich's views on three subjects: accuracy and the importance of developing aural skills through singing; articulations, specifically production of the slur, detached, and staccato; and how to study, especially practicing all phases of playing. Domnich's advice on learning a second instrument as career insurance and a guard against laziness is also included. (Hist, Ped, Rep, Tech)

Hill, Douglas. "Practicing Full Circle." 51-53.

Maintaining a positive attitude while practicing is the focus of this article. Hill advocates striving to make practice sessions artistic experiences by using what he calls a "circle of growth" with "LOVE as the central force, anchored by both our obvious ENJOYMENT of the music and the medium, and our controlled efforts to FOCUS our abilities and our awareness." (Ped)

Goodman, David W. "Taming Performance Anxiety." 55-60.

Goodman, a practicing psychologist, explains the autonomic nervous system and its role in "stage fright." He discusses ways of controlling this anxiety, including the use of alcohol, beta-blockers, and desensitization. A text which can be used to make an audio tape for use in the desensitization process is included. Goodman claims that with repeated use of this tape, the listener may learn to remain relaxed in performance situations that had previously caused stage fright. (Hea, Ped)

Pyle, Robert W., Jr. "AudioPyle: Why Does My Horn Feel That Way?" 61-65.

How the shape of the tapered sections of a horn affect its intonation is explained by relating the acoustics of the horn to the properties displayed by a system of masses and springs. By using this method the author hopes to make visualization and understanding of the horn's acoustical properties easier. The article's two main points are: 1) the shape of the bore determines how well a horn is in tune with itself, and 2) a localized change in this bore shape, such as a dent, may raise the frequency of some resonances and lower those of others. (Acou, Tun)

Iervolino, Antonio. "Embouchure: Lip Aperture." 67-70.

Iervolino presents four experiments dealing with the lip aperture and its function during dynamic changes, pitch changes, and in the high register. (Emb, Ped, Rng, Tech)

Greer, Lowell. "Guest Recording Review." 80.

Greer reviews two recordings by hornist Steve Gross: Music for Horn and Organ and Le Cor Francais: Music from France. (Disc)

Leuba, Julian Christopher. "Recordings Section." 81-87. (Disc)

Scharnberg, William. "A Tribute to Paul Anderson." 90-93.

This former IHS president, retiring after forty years as Professor of Horn at the University of Iowa, is profiled. (Bio)

Scharnberg, William. "A Tribute to Louis Stout." 94-101.

Scharnberg highlights the life and accomplishments of Stout, who recently retired after twenty-eight years of teaching at the University of Michigan. (Bio)

LaBar, Arthur. "The 21st International Horn Symposium, Munich." 102-108. (WkSh)

The Horn Call April 1990 Volume XX, Number 2

Mansur, Paul. "Workshop 22." 18-19.

Plans for this workshop are announced and a tentative schedule is given. (WkSh)

Baumann, Hermann. "Horn and Piano Duo Master Class." 20-22.

Baumann announces an upcoming masterclass taught by pianist Leonard Hokanson and himself, discusses the many benefits of performing horn and piano duos, and lists suggested horn and piano repertoire. (Ped, Rep)

Agrell, Jeffrey. "Jazz Clinic." 23-28.

This is the final article of a three-part series detailing how to construct a rhythm section accompaniment for jazz practice by using MIDI equipment. MIDI, synthesizers, and samplers are explained, and many makes and models of available equipment are described. Building a drum line for this synthesized accompaniment is covered, and using a sequencer to assemble and manipulate the various parts of the accompaniment is explained. (Jz)

Coghill, Gene. "A Summer with Jimmy." 29-36.

Coghill reminisces about the summer of 1967, which he spent socializing with the Boston Symphony Orchestra's principal hornist, James Stagliano. (Bio)

Faust, Randall E. "Message from the President." 37-39.

The financial statements of the IHS for the eighteen months prior to January 1990 are presented. (IHS)

Farkas, Philip. Jeffrey Agrell, ed. "Orchestral Excerpt Clinic." 40-41.

Farkas relates the interpretation of the opening solo from Brahms's Piano Concerto No. 2 as taught to him by the pianist Artur Schnabel. (Rep)

Walker, Ann Ellsworth. "An American in Leningrad." 42-44.

Walker describes her one-month stay in Leningrad studying with Vitali Bujanovsky at the Rimsky-Korsakov Conservatory and staying as a guest at his home. (NtSty, Ped, Rep)

Sherman, Fran. "A New and Different Perspective." 45-47.

Sherman relates her experience of, and subsequent feelings about, being diagnosed with an inoperable brain lesion. (Hea)

Carter, Stewart. "Fifth Early Brass Festival at Amherst." 48. (WkSh)

Pyle, Robert W., Jr. "AudioPyle: Why Does My Horn Feel That Way?" 49-54.

This, the third installment in this series of articles, deals primarily with the mouthpiece and mouthpipe. Pyle begins with an explanation of acoustic impedance and how it applies to brass instrument tone production. He concludes that the combination of the cupped mouthpiece with a narrow mouthpipe causes this impedance to elevate throughout most of the instrument's playing range and that without this elevation, only a few harmonics could be comfortably played. He also mentions that, unlike the trumpet, the primary influence in a horn's intonation is the design of the bell section rather than the mouthpipe. (Acou, Eqmt, Mthpc, Tun)

Thurmond, James. "Reminiscences of Anton Horner." 55-68. (Bio, Ped)

Kimple, Wilbert K. "Purchasing a Quality Horn for under $1,300." 69-73.

Points to consider when buying a horn are discussed, and the following horns are briefly described: Amati; Bach 197; Besson 408; Blessing B48L and B50L; Conn 6D, 8D, and 28D; Getzen 413; Holton H190, H378, H379, H177, H178, H179, and H180; King KG1159, KG2259, 2270 Eroica, and 2278 Fidelio; Olds; Reynolds;Selmer 77; and Yamaha. Current market prices are provided for most of these instruments. (Eqmt)

Deskur, Edward. "A Composer's Guide to the Low Horn." 74-80.

Deskur begins by defining the term "low horn" and then gives some examples which demonstrate the low horn's abilities. The characteristics of each note, from f# down to C (two octaves below middle c'), are discussed, and articulation, multiple tonguing, and stopping in this register are described. He suggests limits for the use of the high register and mentions the effectiveness of using the low horn to play jazz or Latin style bass lines. (Rng, Tech)

Schweikert, Norman. "Memoriam: Pellegrino Lecce." 82-85.

Lecce's career is highlighted, and a discography of recordings on which he appeared is included. (Bio, Disc)

Leuba, Julian Christopher. "Recordings Section." 99-110. (Disc)

Hennigar, Harcus. "Eugene Rittich-A Tribute." 117-124.

This profile of Rittich, who served thirty-seven years as principal horn of the Toronto Symphony, includes highlights of his career, reminiscences by colleagues and friends, and a list of works commissioned by or dedicated to him. (Bio, Rep)

Brubaker, Michael. "Brass Notes, a Lexicon of Descriptive Noises." 126-129.

Commonly used terms such as "clam," "rip," and "blatt," which are not normally discussed in traditional method books, are defined or described. (Hum, Tech)