Pedagogy - Eric Terwilliger
아마 교사에게 있어 가장 어려운 과제는 학생들에게 동기를 불어넣을 방법을 찾는 것일 것이다. 가끔은 정말 재능있는 학생들이 되레 우리의 이 아름다운 악기를 효과적으로 연습하는 방법을 찾아내지 못하는 경우도 있다. 일반적인 수준의 학생들은 오히려 찾아내는 데 말이다.
의욕의 불꽃은 학생들이 개인지도 중 교사에게 자신의 최선을 보여주고 싶을 때라던지, 열렬한 관객들로 가득한 콘서트 등에서 생겨나곤 하지만, 정작 재능 발전의 초석이자 즐거운 호른 연주 생활을 영위하기 위해 필수적인 장시간의 연습으로 인해 점점 식어버릴 수 있다.
나는 나 자신에게 동기를 부여하기 위해 이미지를 떠올린다. 나는 운 좋게도 어릴 적부터 수많은 오케스트라 녹음본을 접할 수 있었다. 빈 필하모닉이 연주하는 슈트라우스의 교향시에서 뿜어져 나오는 로렌드 버거(Roland Berger)의 웅장한 소리와, 필립 파카스(Philip Farkas)가 연주하는 브람스 피아노 협주곡의 첫 소절의 고급스럽고 부드러운 소리는 나의 호른 음색에 대한 개념의 토대가 되었다. 내가 16살일 적엔 이런 연주를 듣고는 곧장 지하실로 내려가 그 소리를 따라 해보려 애썼던 기억도 있다.
오늘날까지도 나는 머릿속에서 내가 가장 좋아하는 홀에 가득 울려 퍼지는 소리로 내 마음과 영혼을 적시지 않으면 단 한 음절조차 연주하지 않는다. 내가 이런 홀에서 연주해 볼 기회가 있기 전까지는 내가 마치 그곳에 있는 것처럼 상상하는 것만으로도 전율이 일었다. 이미지를 상상하는 것은 주변 방해요소를 제거하고 흐름에 완전히 집중할 수 있게 도와준다.
자라나는 새싹 음악인들이 많은 시간을 할애하는 개인 연습은, 그저 기계적으로 연습한다면 굉장히 지루할 수 있다. 나는 학생들에게 악기에 상관없이 훌륭한 연주자들의 음악을 들어보고, 그들이 어떻게 자신의 악기와 함께 음악을 승화해 냈는지 관찰해 보라 한다. 이를 통해 그 방식을 소화하여 어떻게 우리의 멋진 예술 형태에 적용할 수 있을지 탐구해 보는 것이다. 학생들은 그저 어떤 호른주자의 특정 음색을 따라 하는 것이 아닌, 예술가들이 음악의 흐름을 통해 만들어내는 에너지에 감명받는 법을 배울 수 있다.
나의 교육관 중 하나는 좋은 연습습관을 길러주는 것이다. 나는 항상 연습 중에 방해가 될만한 것을 치워두라고 강조한다. 현대사회에서 전자기기의 유혹은 정말 벗어나기 힘들 것이다. 스마트폰, 태블릿 컴퓨터 등은 메트로놈, 튜너, 녹음기나 악보로써만 사용되어야 할 것이다.
처음으로 청중들 앞에서 실수해 본 이후, 연주 전의 정신적 준비의 중요성은 나에게 굉장히 중요해졌다. 실제 공연에서 온전히 집중하기 위해, 나는 연습할 때 다음과 같은 부분에 신경 쓴다. 연습은 공연의 준비과정이기 때문이다. 만약 연습 도중에 실수한 점이 있다면 나는 그 자리에서 멈추고, 실수를 분석하고, 어떻게 해야 고칠 수 있을지 고민한다. 또 침착하게 집중하여, 콘서트장에 울려 퍼질 음악의 첫 소절을 상상해보고, 다시 연주하여 본다. 이러한 과정을 거치지 않은 반복적인 연습은 그저 같은 실수를 반복하게 되는 무의미한 연습일 뿐이다. 우리는 테니스 경기를 하는 것이 아니다. 첫 서브 실수를 했을 때 ‘네트!’라고 외쳐 줄 심판이 있는 것도 아니다. 공연 중에 브루크너 4번을 처음부터 다시 시작할 기회는 주어지지 않는다. 우리는 한 번에 성공할 수 있는 법을 배워야만 한다.
마지막으로 조언하자면, 대부분의 학생은 “빌어먹을” 촉을 가지고 있다. 어디선가 들어본 내용이 아닌, 당신의 개인적 경험에서 우러나오는 조언을 하도록 하자. 강의한 대로 연습하고, 연습한 대로 강의하자.
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Translation by Do Won Hwang
A Horn Odyssey in South Africa
by Jim Lemon
I joined the Cape Town Symphony Orchestra in February of 1993 as fourth horn. It was my first permanent position, and I was very excited to be so far from home. Our principal was English, so I really enjoyed hearing a horn sound that was different from that which I had heard as a boy.
Our first series of concerts was a Rachmaninov festival that took three weeks. It was an amazing musical experience filled with some of the most melodic musical ideas I had ever played. The political climate was very interesting at the time since the country was preparing to have its first free election the following year. It seemed to be very tense, and there was an excitement among people that maybe everyone might just learn to get along. I absolutely loved the scenery around the city, and even learned to drive on the “wrong” (left) side of the road; this was an adventure at first since I learned next to a cliff! My three years in Cape Town were filled with learning to understand “funny” accents (and having others learn my funny Texas one), meeting and chatting with many people, and learning to get used to the abundant poverty. Ultimately, I decided to stay in Africa.
My next stop, after a brief stint as fourth horn in Barcelona was playing in the pit orchestra back in Cape Town. I had not played many operas or musicals before, and the time in the pit made me wish I had gotten more opportunities to do this type of work. I was only there for 6 months as the government started diverting money away from orchestras in order to concentrate on projects for the indigenous cultures.
Cape Town – Under My Skin
by Stephen Laifer
On my very first day in South Africa in August 1989, I stood in line at a bank to open a new account. An elderly British man was behind me, hopping around excitedly, unable to stand still. He asked me if this was my first time in Cape Town. I replied that it was, and that I had just arrived here to take up a job in the Cape Town Symphony Orchestra. He explained that this was his first time back in Cape Town in 30 years, and not a day had passed when he hadn’t thought about it. “You can leave,” he said. “But you can never leave.”
Years later I still recall his words and the truth in them. These days I’ll go weeks without thinking about Cape Town, and then it’ll stealthily pop into my consciousness with an accompanying pang of loss that still feels as fresh as the day I left. When I look back on my nearly 13 years of living and working there, my overall feeling is a kind of dual-edged surprise, opposite sides of a coin: disbelief on the one hand that I stayed so long, but on the other that it all felt like it went by so quickly.
Before I get to describing the orchestral scene in South Africa, I first need to provide a picture of Cape Town and the actual boots-on-the-ground (or rather sandals-on-the-beach) experience of day to day life there. It’s one of those places that gets under your skin. Jaw-droppingly beautiful, geographically impossible, with a perfect climate rivalling San Diego, the city of Cape Town wraps around the feet of 3,000-foot-high mountains. The tallest of these, Table Mountain, is a massive flat-topped mesa that lords over all activity below and even governs the weather. Viewed from a distance the city looks improbable, like a scene digitally created for a movie. Wild nature is everywhere, even in a city of four million. If you live on the slopes of the mountain, as I did, you can wake to find a cobra sunning itself next to your pool. In the suburbs, baboons breaking into cars and raiding kitchens are a common occurrence.
Music in Malawi
By Jonathan Owen
While there are many musical groups in Malawi, they tend to be choirs (usually connected with a church) or small bands. Rock, jazz, hip-hop, rap, reggae and R&B can all be found, as well as fusions of Malawian traditional music with forms from South Africa and the Congo. It is not odd to hear bars blasting the most popular, recent gospel songs! Guitar, banjo, and keyboard are popular, and accordion finds frequent use. Some groups use commercially produced instruments, while others use instruments they have handmade—bass, guitar, and full percussion sets. Lyrics are most often in English or Chichewa, the national languages of Malawi. The annual “Lake of Stars” music festival has brought together international and Malawian artists for the last 14 years.
Classical music, on the other hand, has little current expression in Malawi. Blantyre—the economic hub of Malawi, with a population of roughly a million people—has the Blantyre Music Society, which performs a mix of choral and instrumental pieces twice a year at an amateur level. The choir has around 30 members, while the orchestra has 15-20—most of whom play strings or woodwinds. In six years of living in Blantyre, I did not hear of anyone who plays horn anywhere in Malawi. A couple of months ago I discovered a man who used to play horn in high school in Canada—but that is as close to a horn player as I have found! Trumpet and trombone are better represented, but instruments are thin on the ground. I know of one B flat horn in Malawi, but when we return to there in January, I hope to bring my horn with me—perhaps the only double horn in the country.
Jonathan Owen is a graduate of Messiah College in Mechanicsburg, Pennsylvania. He and his wife Becky have both been active as missionaries in Malawi since 2012. He teaches at the Evangelical Bible College of Malawi.
„Sauerländer Horntage“ erleben großartigen Erfolg
by Mathias Pfläging
Das große Symposium rund um das Horn im Herzen des Hochsauerlandes ist für viele Hornisten in Deutschland und darüber hinaus ein fester Bestandteil im Kalender geworden. Als am Freitagabend die ersten Töne im Musikbildungszentrum Südwestfalen erklangen, herrschte bei den 67 Teilnehmern, Dozenten und Ausstellern der 9. Sauerländer Horntagen gespannte Vorfreude.
Nach der Begrüßung aller Beteiligten durch den organisatorischen Leiter Uwe Becker begannen die Proben des großen Hornorchesters. Chris Brigham dirigierte sein eigens für die Horntage arrangiertes amerikanisches Volkslied „Shenandoah“, bei dem alle Teilnehmer, vom jüngsten Musiker bis hin zum Profi, gemeinsam musizierten. Nach dem gelungenen Einstieg in das Hornfestival verabschiedeten sich die 15 jungen Musiker der „Zukunftshörner“, um mit ihren beiden Dozenten Chris Brigham (Musikhochschule Detmold) und Lukas Krämer (Pro Musica Sacra Siegen) separat zu proben.
Der Samstag begann mit einem gemeinsamen „Warm up“. Kristina Mascher-Turner (American Horn Quartet) zeigte den Teilnehmern diverse Einspielmethoden zur Vorbereitung sowie zur Erweiterung der individuellen Möglichkeiten. Anschließend probten die Teilnehmer in verschiedenen Ensembles unter der Leitung eines Dozenten, um ein Stück für das Abschlusskonzert einzustudieren.
Pedagogy - Eric Terwilliger
한국어 버전
en EspañolPerhaps the greatest challenge a teacher faces is finding a way to motivate their students. Sometimes even the most talented young players are not able to find a way to develop their talent to the level of mastering our wonderful instrument, while a student with average talent does.
The flame of motivation that students may have during a lesson when they strive to play their very best for their teacher, or during a concert while under the spell of an audience, may fizzle out during the long hours of practice time that are necessary to first develop their talent and then maintain the performance edge during a lifetime of happy horn playing.
I have always used mental images to motivate me. I was very fortunate to have access to an extensive collection of recordings of symphonic music when I was a child. The heroic sound of Roland Berger soaring above the Vienna Philharmonic in a Strauss tone poem became a part of my horn concept as well as the noble phrasing and velvet sound of Philip Farkas playing the first phrase of the the Brahms second piano concerto. Indeed when I was sixteen I would listen to a phrase and then run down to the basement and attempt to duplicate it.
To this day I never play a single note without filling my mind and soul with the sound of the note vibrating in the acoustic of one of my favorite halls. Before I was fortunate enough to play in these halls, I thrilled myself by imagining that I was. The mental images help me to focus my mind, eliminate distractions and keep me in the flow of the moment.
Horns for Rhinos - Outreach for Conservation
By Amy Sanchez, UCLA Lecturer- Horn
As I often tell my horn students, you never know where one gig will lead. This one started with jazz in Africa, so you can trust that it’s not a common tale…
In March of 2018, I had the incredible opportunity to travel to South Africa to perform at the Cape Town International Jazz Festival with Miguel Atwood Ferguson’s Suite for Ma Dukes (the music of legendary hip-hop producer J Dilla). I had always wanted to go on a safari “someday”, so being an opportunist in travel, my jazz gig suddenly landed me at a beautiful yet rustic safari lodge in the Greater Kruger National Park area of South Africa. I booked myself on a 3-night safari, not knowing what I was getting myself into. My guide for the safari, Willem Pietersen, was curious about my varied career in music, but was himself a wealth of knowledge about every plant, tree, insect, bird, and animal we encountered. He was so invested, I would’ve assumed guiding was his main career goal, but we discussed the necessity of diversification in building a life around your passion. In music, this often means gigging, teaching, and auditioning while working other jobs as well. For Willem, constructing a career in conservation meant juggling several other major projects while working as a full-time guide. Willem and his brother, Joe Pietersen, had a few other irons in the fire - namely, they owned Nkombe Rhino, a non-profit protecting rhinos from poaching. They were also producing and hosting a 13-episode television documentary about conservation efforts throughout the country. The series, released this past spring, is called Veldhelde (“Field Heroes” in Afrikaans). Not your average side-jobs! Needless to say, after having an incredible time on safari and making such interesting new connections in Africa, I stayed in touch after returning home and had no idea where that first “gig” would lead.
