Uma estreia mundial do Sul
por Jorge Montoya e Gabriella Ibarra
-Concerto para Trompa e Orquestra Op. 37 do maestro Eduardo Alonso Crespo-
Em memória do lendário Myron Bloom, o maestro argentino Eduardo Crespo compôs este concerto para Scott Bohannon, trompista principal da orquestra sinfônica de Entre Ríos (OSER) e que foi aluno e amigo do profeasor, Bloom. Como homenagem, o compositor refletiu neste belo concerto quaisquer que fossem as memórias vivas de Bohannon com seu professor, Bloom.
O trabalho surgiu em 2019 como uma comissão para o OSER. Durante o processo de composição morre o mestre Myron Bloom, para o qual o segundo movimento é uma elegia à sua memória, assim como, Anton Bruckner, fez com sua sétima sinfonia dedicando seu segundo movimento à memória de Richard Wagner.
A obra foi estruturada nos três movimentos tradicionais de um concerto, onde o compositor trabalhou em estreita colaboração com, Bohannon, na definição do caráter de cada um deles. O primeiro andamento resgata o caráter heroico que associamos a grande parte do repertório sinfônico para trompa. O primeiro movimento explora assim os traços épicos habitualmente associados a este instrumento e assim, após uma breve introdução ao material de base, o movimento lança-se no desenvolvimento de uma marcha destemida de carácter heróico em que o solista avança pelas múltiplas vicissitudes que vão surgindo ao longo do caminho, interagindo de forma fluida com a orquestra.
Para o segundo movimento em particular, Scott quis homenagear seu professor, daí o segundo movimento é uma elegia, um poema sem palavras em memória de, Myron Bloom, o lendário trompista americano que morreu em 2019 e que provavelmente foi o expoente mais famoso da história recente do instrumento como solista com a Orquestra de Cleveland sob a regência de, George Szell e a Orquestra de Paris sob a regência de, Daniel Baremboim.
Essa elegia segue o arco dramático usualmente associado ao réquiem, ou seja, a sequência de tristeza, repreensão contra o destino e eventual consolação que compõem as diferentes fases do luto.
Por fim, o terceiro movimento em forma de rondó restitui a atmosfera vital, desta vez com um ritmo de dança em tempo triplo, característica dos concertos múltiplos para trompa, de Mozart a Strauss. Em certo sentido, é a recuperação da ancestral associação da trompa com a caça a cavalo., daí vem o ritmo ternário que está associado ao galope eqüino, só que neste caso é uma cavalgada crioula. Assim, o solista galopa por temas intrincados com forte cunho americano e virtuosismo exigente para procurar concluir o concerto com assertividade luminosa.
Diante de uma experiência tão criativa carregada por sua vez de tanta emoção, o compositor foi questionado:
“Você pretende escrever um segundo concerto para trompa no futuro?”
Ao que o Maestro Crespo respondeu:
“A trompa é um instrumento que me fascina, tanto como membro da orquestra em obras sinfónicas, como solista em concertos. É um instrumento insubstituível que mistura aspectos emocionais muito variados e contrastantes, desde o apelo épico à intimidade mais profunda. Eu acho que qualquer compositor que se preze se sentirá muito atraído pelo instrumento, então é muito provável que um segundo concerto esteja se formando no meu horizonte. Além disso, minha experiência com Scott Bohannon foi extremamente enriquecedora para mim, pois ele é um trompista excepcional , do mais alto nível, que me inspira a continuar compondo para o instrumento.”
A estreia mundial foi realizada em 19 de março deste ano no Teatro “Tres de Febrero” no Paraná, Argentina.
Para mais informações sobre o Maestro Crespo e sua obra, convidamos você a visitar seu site: https://www.eduardoalonsocrespo.net
Obrigado a Jorge Montoya e Israel Oliveira por sua colaboração nesta nova edição do News from Latin America.
To the International Horn Society Membership
Greetings from sunny South Texas!
It is with great pride that we have the opportunity to host the 54th International Horn Symposium here at Texas A&M University-Kingsville. Hosting this event is a great honor for our University and the School of Music and it reflects the hard work and dedication of our music students, faculty, staff, and alumni. It is a very exciting time at Texas A&M-Kingsville as we have recently moved into our new state-of-the-art music facility. We hope that you will find our facilities accommodating and supportive of the many concerts, recitals, masterclasses, workshops, clinics, and exhibits featured during the IHS54 Conference.
Our sincere hope is that while you are visiting us in South Texas, you will feel the warmth of our people as well as the warmth of our semi-tropical climate. We are located in an area of Texas that is rich in culture and we hope that all of you will enjoy your visit with us! We are very proud of our horn professor, Dr. Jennifer Sholtis, for her leadership and organizational skills in putting together this wonderful conference. We will be offering numerous activities including professional, musical, cultural and social events.
So, as we say in Texas, "Y'all come!" We would love to see you here at IHS54 in August!
Sincerely,
Paul Hageman, Director
School of Music
Texas A&M University-Kingsville
A World Premiere from the South
by Jorge Montoya and Gabriella Ibarra
-Concerto for Horn and Orchestra, Op. 37, by Eduardo Alonso Crespo-
In memory of the legendary Myron Bloom, Argentine composer Eduardo Crespo has written his concerto Op. 37 for Scott Bohannon, principal hornist of the Entre Ríos Symphony Orchestra and former student and friend of Maestro Bloom. As a tribute, the composer has captured in this beautiful concerto some of Bohannon's memories of his teacher.
The work emerged in 2019 as a commission by the ERSO. During the composition process, Professor Bloom died, so the second movement is an elegy to his memory—just as Anton Bruckner did with his seventh symphony, dedicating its second movement to the memory of Richard Wagner.
The form of the work is the traditional three movements of a concerto, in which the composer worked closely with Bohannon in defining the character of each of them. The first movement recalls the heroic character that we associate with much of the symphonic repertoire for horn. It explores the epic traits usually associated with this instrument, and so, after a brief introduction to the thematic material, the movement launches into the development of a fearless heroic march as the soloist advances through the multiple variations along the way, interacting fluidly with the orchestra.
For the second movement in particular, Scott wanted to pay tribute to his teacher, therefore the second movement is an elegy, a wordless poem in memory of Myron Bloom, the legendary American horn player who died in 2019 and who was probably the most famous proponent of the recent history of the instrument as soloist with the Cleveland Orchestra under George Szell and the Paris Orchestra under Daniel Baremboim. This elegy follows the dramatic succession usually associated with the requiem, that is, the sequence of sadness, reproach against fate, and eventual consolation which make up the different stages of mourning.
Finally, the third movement, in the form of a rondo, a typical feature of many horn concertos from Mozart to Strauss, restores the livelier atmosphere, this time with a dance in simple triple meter. In some way, it is a remaking of the historical association of the horn with hunting on horseback. The ternary rhythm associated with the equine gallop is, in this case, a Creole cavalcade. The soloist “gallops” through intricate themes with strong American associations which demand virtuosity to conclude the concert with a bright assertiveness.
Having experienced such a creative process filled with emotion, the composer was asked:
“Do you plan to write a second concerto for horn in the future?”
To this, Crespo replied:
“The horn is an instrument which fascinates me, both as a member of the orchestra in symphonic works and as a soloist in concert. It is an irreplaceable instrument that mixes varied and contrasting emotional aspects, from the epic call to the deepest intimacy. I think that any self-respecting composer would feel very attracted to the instrument, so it is likely that a second concerto is brewing on my horizon. In addition, my experience with Scott Bohannon was extremely enriching for me, since he is an exceptional hornist of the highest level who inspires me to continue composing for the instrument.”
The world premiere was held on March 19 of the current year at the “Tres de Febrero” Theater-Paraná, Argentina.
For more information about Maestro Crespo and his work, we invite you to visit his website: https://www.eduardoalonsocrespo.net
Thanks to Jorge Montoya for the collaboration for this new edition of the News from Latin America.
Un estreno mundial desde el Sur
In English
por Jorge Montoya y Gabriella Ibarra
-Concierto para Corno y orquesta Op. 37 del maestro Eduardo Alonso Crespo-
En memoria del legendario Myron Bloom, el maestro argentino Eduardo Crespo ha compuesto este concierto para Scott Bohannon, cornista principal de la Orquesta Sinfónica de Entre Ríos y quien fuera alumno y amigo del maestro Bloom. Como homenaje el compositor plasmó en este hermoso concierto lo que fueran los recuerdos vividos de Bohannon junto a su maestro Bloom.
La obra surge en 2019 como un encargo para la OSER. Durante el proceso de composición el maestro Myron Bloom fallece, por lo cual el segundo movimiento es una elegía a su memoria, al igual que lo hizo Anton Bruckner con su séptima sinfonía dedicando su segundo movimiento a la memoria de Richard Wagner.
La obra se estructuró en los tres movimientos tradicionales de un concierto, donde el compositor trabajó estrechamente con Bohannon en la definición del carácter de cada uno de ellos. El primer movimiento rescata el carácter heroico que asociamos con buena parte del repertorio sinfónico para corno. Por lo tanto, el primer movimiento explora los rasgos épicos habitualmente asociados a este instrumento y así, luego de una breve presentación del material básico, el movimiento se lanza al desarrollo de una intrépida marcha de carácter heroico en la que el solista avanza a través de las múltiples vicisitudes que se presentan en el camino, interactuando fluidamente con la orquesta.
Para el segundo movimiento en particular, Scott quería rendir homenaje a su maestro, de allí que el segundo movimiento sea una elegía, un poema sin palabras in memoriam de Myron Bloom, el legendario cornista estadounidense fallecido en 2019 y quien fue probablemente el más famoso exponente de la historia reciente del instrumento como solista de la Orquesta de Cleveland bajo George Szell y de la Orquesta de París bajo Daniel Baremboim. Esta elegía sigue el arco dramático habitualmente asociado al réquiem, es decir la secuencia de tristeza, increpación contra el destino y eventual consuelo que conforman los distintos estadios del duelo.
Finalmente, el tercer movimiento en forma de rondó, restablece la atmósfera vital, esta vez con ritmo de danza en tiempo ternario, un rasgo típico de múltiples conciertos para corno, desde Mozart a Strauss. En cierto sentido es la recuperación de la asociación ancestral del corno con la caza a caballo. De allí el ritmo ternario que se asocia al galope equino, sólo que en este caso se trata de una cabalgata criolla. Así el solista va galopando a través de intrincados temas de fuerte impronta americana y exigente virtuosismo para buscar concluir el concierto con luminosa asertividad.
Ante tal experiencia creativa cargada a su vez de tanta emotividad, se le preguntó al compositor:
“¿Tiene pensado futuramente escribir un segundo concierto para corno?”
A lo que el maestro Crespo respondió:
“El corno es un instrumento que me fascina, tanto como miembro de la orquesta en obras sinfónicas y como solista en conciertos. Es un instrumento irreemplazable que mezcla aspectos emocionales muy variados y contrastantes, desde el llamado épico hasta la más profunda intimidad. Creo que todo compositor que se precie se sentirá muy atraído por el instrumento, de modo que es muy probable que algún segundo concierto esté gestándose en mi horizonte. Además, mi experiencia con Scott Bohannon fue extremadamente enriquecedora para mí, ya que se trata de un cornista excepcional, de primerísimo nivel, que inspira a seguir componiendo para el instrumento.”
El estreno mundial fue celebrado el 19 de marzo del año en curso en el Teatro “Tres de Febrero”-Paraná, Argentina.
Para mayor información acerca del maestro Crespo y su obra les invitamos a visitar su página web: https://www.eduardoalonsocrespo.net
Gracias a Jorge Montoya e Israel Oliveira por la colaboración para esta nueva edición de las Noticias desde Latinoamérica.
Thank you, Ab!
Ab Koster, recently retired Professor of Horn at the Hochschule für Musik und Theater and former principal hornist of the NDR Symphony Orchestra, both in Hamburg, Germany, has generously served Horn and More for six years by soliciting numerous (at least 40) players and professionals to submit to our wonderful Pedagogy Column in nearly all issues since he took up the task. It is a staple feature in Horn and More which I have always anticipated and enjoyed. His professional connections have consistently brought us outstanding information from the best of our colleagues. Professor Koster is leaving us now, and we will miss him greatly in this capacity.
We are deeply grateful for you, Ab. On behalf of the International Horn Society and the readers of Horn and More, thank you for all you have given.
Met oprechte en hartelijke dankbaarheid, beste Professor!
Mike Harcrow, Editor, Horn and More
Meet the Seraph Brass
Hello, Horn Community!
My name is Rachel Velvikis, and I am the core horn player for the all-women brass quintet, Seraph Brass. It is an honor to introduce both myself and the group to you.
Seraph’s goal is to encourage young women to pick up brass instruments. The reason for this is simple: people still, even in the 21st century, are sometimes shocked to see that women are as capable of playing brass instruments just as well as their male counterparts…or as loud as, or as long as…. We aspire to inspire.
Being in Seraph Brass has, in all honesty, saved my love of music, and it has helped me remember why I am a musician: the music has always been the reason to play. Music and the feelings we share together in it are sacred. If we can evoke an individual’s emotions through music, then I will always feel fortunate to perform with this group. If through Seraph I can inspire others to play an instrument, I will feel even more fulfilled.
Beyond our objectives, the repertoire is terrific! Here is Go by Anthony DiLorenzo—it’s one of my absolute favorite pieces to perform in concert:
As we are also dedicated to commissioning pieces by women, here is the middle movement of Catherine McMichael’s Asteria (also the title of our award-winning album):
Another great work commissioned by Seraph for this album is Renee Orth’s Leaguered in Fire, Lagooned in Gold. Asteria is available on all major streaming platforms.
It would be our great honor if you would listen to our music and, if you are able, come see us in concert. We travel around the world, so the best way to find us is through the EVENTS listing on the Seraph Brass website.
If you would like to know more about me, please visit my personal website.
We hope to see you on the road!
Rachel
The Impact of Love and Culture
One is not likely to truly appreciate the value of a professional union until one works outside of a union. In Ukrainian orchestras, there are rarely days off, and you can forget about resting your chops. There have been times when I have played 4 or 5 different concerts in the same week, but there is never a shortage of classical music in Ukraine. In fact, in Lviv alone—a city of just over 700,00 people—there are six full-time orchestras. My name is Linnie Hostetler, and I’m the principal hornist of the Lviv National Philharmonic Orchestra of Ukraine. I want to tell you about my beloved Ukraine through my musical and cultural experiences over the past 5 years.
I will never forget the night I arrived in Ukraine. It was the first day of January—not hard to forget! Of course, they were having a cold spell that week, so high the temperature was around -7°F. But Ukraine is not a frozen, Siberian-like tundra (contrary to popular belief). Its climate is like that of the American northeast. Think New York. I didn’t know a single word in Ukrainian or how to read the Cyrillic alphabet when I arrived. While I learned the language very quickly, I can honestly say that there was no shortage of failures along the way. My first meal in Ukraine was pasta with ketchup because I couldn’t read the product labels and just chose a jar with tomatoes on it, assuming it was tomato sauce. I quickly developed the personal motto, “Never assume in Ukraine!” Learning from mistakes is the fastest way to learn (as we all know), but it’s not always enjoyable.
Musically, Lviv has been a dream for me. Fresh out of college—after years and years of practicing orchestral excerpts—I crossed off almost all the major symphonic works on my bucket list in a five-year period. I have played all the Beethoven symphonies, all of Brahms’ symphonic works, almost all of Richard Strauss’ tone poems, four Bruckner symphonies, many ballets (including Prokofiev’s Romeo and Juliet and Stravinsky’s ballets), and Shostakovich’s 5th symphony, among many others. Basically, I have played through The Thompson Edition but in real life! I’ve also toured with the orchestra to ten European countries and to China. It has truly been the experience of a lifetime.
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| Lviv National Philharmonic Orchestra Horn Section: (left to right, back row) Anya Zhovtobryuk, Oleg Bezushkevych, Andriy Mamorskiy, Zoltan Bodnar (left to right, front row) Roman Savin, Vasyl Havryliv, Ruslan Litvinchuk, Linnie Hostetler |
Ukraine has many thriving cities where music and art fill the streets. Many well-known composers have deep ties to Ukraine, including Gershwin, Stravinsky, Tchaikovsky, and Prokofiev. These composers (or their ancestors) and others were born in the nation of Ukraine—and many of them studied in Russia. Each region of the country claims to have the best coffee in Ukraine, and coffee drinking is an essential part of the culture. The food is unbelievable and has richer flavors than anything I’d ever tasted in the United States. Ukrainians are excellent cooks, and I’m always amazed at their ability to make something дуже смачне—“really tasty”—out of what seems to be nothing. Ukraine’s geography is very diverse, with the Carpathian Mountain range in the west, plains and farmland in the center, and the Azov and Black Seas to the south. One popular question related to vacationing in Ukraine is, “Mountains or sea, which do you prefer?” But more than any of Ukraine’s assets, the people, above all, have won my heart. My friends and colleagues in Lviv are the most generous, sincere, and proud people I have ever encountered. They love their country, and their nationalistic pride is awe-inspiring. They are proud of their heritage and their culture, and they are also very proud of how much they have overcome to be where they are now. I’ve always been a little envious of Ukrainian culture. It’s hard, as an American, to imagine having traditions, recipes, and family land all over 1,000 years old. My friends often ask me, “What is American culture like?” or “How would you describe American food?” It’s not easy for me to answer them considering their history.
One way Ukraine differs noticeably from other cultures is their “we’re-all-in-this-together” mentality—as opposed to an individualistic mentality. They never leave anyone behind; they share all the resources they possess to help each other, and family is more important than anything. Ukraine has influenced the way I think about the future, because now the question in my mind is “What can I do for us?” instead of “What can I do for me?”
Coming from a privileged nation and having all one could ever want or need, I can assure you that many of us take things for granted. Ukrainians always give the best of what they have to their guests, even if it’s their own bed. (Pro-tip: Never go to someone’s house empty-handed because you will not leave empty-handed!) Ukrainian people are very straight-forward. They will tell you exactly what they think, right to your face. At first, it was a little off-putting, but then I realized how refreshing it is not to hide your emotions or put on a front. I think this honesty is one of the reasons Ukrainians have deep, real relationships, and their unity is long-standing proof that together they can overcome anything.
As we all know by now, Ukraine is experiencing an injustice that is shocking the world. Many of us feel helpless, not knowing what to do or how to help as we watch these events unfold on our television sets from the comfort of our homes. There are plenty of ways to give to support Ukraine. Their greatest needs right now are food, water, sanitary products, and body armor for the civilians who are joining the fight for freedom. Most of all, keep praying for Ukraine, for the safety of its citizens and the strength of its army. I can’t wait to return to the country that I love, to make music with my colleagues, and to hug my dear friends. They’ve overcome so much already, and I’m confident that their victory lies ahead.
Слава Україні! Героям слава!
Glory to Ukraine! Glory to heroes!
(Editor’s Note: Linnie has created a fund-raiser from which she immediately sends funds to families in need and charities on the ground. If you might wish to contribute through a member of our generous horn community who knows and loves this nation, the link is: https://www.facebook.com/donate/326625235948824/?fundraiser_source=external_url)
