Europe—Horns Across the Sea
by Mike Harcrow
The recent Messiah University choir tour—we just returned on May 27—took our outstanding Concert Choir and Chamber Singers to Finland, Estonia, and Latvia for nine days. With all four members of the university horn quartet also serving as members of the choir, and with a subsequent request for me to travel as valvoja (chaperone) for the tour, a series of wonderful events began to take shape for the horn students. My “100% on-board” colleague, Director of Choral Activities, Dr. Joy Meade, prepared chances for the quartet to play with the choir while I contacted IHS Advisory Council member Tommi Hyytinen in Helsinki to pursue opportunities for them there.
Dr. Meade chose a largely a cappella choir program while using the quartet as accompaniment for two pieces, including a stunning premiere setting of Be Still My Soul (the hymn-tune set to Sibelius’s moving Finlandia chorale) by Paul Cohen. The quartet—students Annie Rizzo, Nate Winton, Oliver Paris, and Mimi Weller—also performed prelude music prior to each concert.
 |
| Helsinki Music Center, photo by Nate Winton |
Meanwhile, Tommi Hyytinen provided tickets for the quartet to hear a concert by the Finnish Radio Symphony Orchestra performing the Sibelius Violin Concerto (Augustin Hadelich, soloist) and Tchaikovsky’s Sixth Symphony. The next day, the horn students enjoyed a masterclass at the Sibelius Academy where Professor Hyytinen heard them play solo movements and orchestral excerpts in addition to a movement from the Franz Strauss Quartets, and he coached them with techniques from his excellent method book, Playing from the Core.
Performing in The Rock Church in Helsinki and in “old town” cathedrals across the Baltic in addition to learning from a master hornist like Tommi Hyytinen combine not just as simple memories: these are formative experiences that have sparked permanent and positive changes in the musical lives of these outstanding students who eagerly worked to make the most of the opportunities.
What's New—Q&A with James Monaghan, S.E. Shires Co.
by Oliver Paris
- Shires began producing trombones over 30 years ago, and it is well-known for its more recent line of excellent trumpets. What prompted the expansion into horn production?
 |
| James Monaghan |
The long-term vision for Shires has always been to eventually offer a complete line of brass instruments. Horn felt like a very natural extension of the work we’ve already done with trumpets and trombones. A major turning point was Eastman’s acquisition of the Willson company and the incorporation of their Rotax valve technology. That gave us access to an exceptional valve platform and really helped make a Shires horn possible.
- What are some of the highlights from the R&D (research and development) process?
One of the most rewarding parts of the process has been working closely with horn players and exploring the subtle differences we can achieve through changes to leadpipes, bells, and bracing. Horn players describe sound and response in a very nuanced and unique way compared to trumpet or trombone players, so that collaboration was incredibly valuable. It’s also been very gratifying to see the positive reception the instruments have received at shows and exhibitions.
- What are some of the challenges from R&D?
Many of the challenges were highly technical in nature. Leadpipe production, for example, required several generations of bending fixtures before we achieved the level of precision and consistency we wanted. Each iteration was first modeled in SolidWorks and then 3D printed for testing and refinement.
Another often overlooked aspect of developing a new instrument is the transition from prototype to production. The earliest horns were built entirely by hand by me personally, but part of that prototype phase was specifically focused on documenting and standardizing the assembly process so we could successfully train our craftspeople in Boston for ongoing production.
- With your expertise in trombone construction, how did that make the work with horns easier?
Our experience building custom trombones and trumpets has given us a deep understanding of how subtle changes to individual components can influence the character, response, and feel of an instrument. Not surprisingly, much of that knowledge translates directly to horn design as well. While the instrument itself is very different, the underlying principles of acoustics and resonance—as well as the resulting player feedback—are remarkably similar.
- What led you to branch out from the Q Series?
Our intention from the beginning was always to offer both Q Series and Custom horns. We chose to lead with the Q Series primarily because it allowed us to accelerate the development process, establish production methods, and build momentum within the factory before expanding into the fully customizable line.
- What are the key differences between the Custom line and the Q Series?
The Q Series models represent carefully selected configurations designed to appeal to a broad range of players. They offer excellent stability, consistency, ease of playability, and a very balanced response.
The Custom line takes those core designs a step further by refining and emphasizing the base characteristics of each model. Players also have the ability to tailor the instrument through options such as leadpipes, bells, and bracing configurations. The result is a horn that can be more specifically matched to an individual player’s sound concept and playing style.
- How has your involvement with Eastman Winds influenced the development and production of the horns?
Shires and Eastman work very closely together in the development and production of all of our brass instruments, and the horns were no exception. We collaborated extensively throughout the prototype process and benefited greatly from feedback gathered through Eastman’s network of artists, dealers, and sales representatives. That collaboration helped us refine the instruments very quickly and ensure they met the expectations of a wide range of players.
- Compared with the Q Series and Eastman horns, what did you learn from the development of the SHR Custom series?
With the Custom series horns, I had the opportunity to work much more closely with individual players and evaluate very specific customizations in depth. Since I’m not a horn player myself, that level of collaboration was absolutely essential to the development process. The feedback from professional players helped us better understand how subtle changes in components and construction influence the feel, response, and personality of the instrument.
Another major difference was the intended market for the horns. With the Q Series, the goal was to create exceptionally stable, consistent, and responsive instruments that would perform well for a broad range of players and situations. The Custom series, on the other hand, was designed with highly advanced players in mind. These horns are more flexible and responsive, allowing skilled players greater nuance and control. Beyond that, we’re able to further tailor each instrument to an individual player through options in leadpipes, bells, and bracing so the horn complements their specific sound concept and playing style.
- Looking to the future, what do you hope to see with the horns in the next few years?
We’re very excited to continue refining our current lineup of Geyer and Knopf style horns while also exploring new wraps and design concepts. In many ways, the variety of valve wraps used in horn design aligns closely with our experience developing trombone valve systems. Within the Shires tenor trombone line alone, we offer at least seven different valve designs and wrap configurations, each with its own unique playing characteristics. Two of those valve systems are patented original Shires designs.
That history of innovation is something we’re very proud of, and I’m excited to continue bringing that same creativity and experimentation into the Shires Custom horn line as it evolves in the coming years.
IHS Service Opportunities
The International Horn Society is seeking coordinators for two of our very important programs, the Composition Contest (this position should be held by an active composer), and the Meir Rimon Commissioning Assistance Program. Randall Faust has been overseeing both programs but wishes to step down after many years of service. These are volunteer positions which provide vital services to the IHS.
Each program happens every other year and in opposite years (i.e. the projects do not run in the same year). Randall has offered to help the persons who step into these roles to provide a smooth transition. More detailed information for the positions is available here.
If you are interested in one or both of these positions, or if you know of someone who might be, please complete the appropriate application form[s]—Composition Contest or Commissioning Assistance Program—include a resume, and send all documents no later than June 30, 2026, to exec-director@hornsociety.org.
Thank you very much for considering these important services! If there are questions, please feel free to reach out to me.
Sincerely,
Susan McCullough, Executive Director
Pedagogy Column—Summer Practice
by Amelia S. Weller
Summer is here, and you may be wondering, “How can I best use my time?” If a performance season or school year is over, there is time for both work and play—but how do you manage these? Whether you are a seasoned pro or an eager student, balancing summer activities while maximizing the time to pursue the results you seek requires a little thought.
Maintenance vs. Improvement
In a nutshell, maintenance is staying ready while improvement is getting better. Maintenance of a practice routine requires evaluating the various facets of your playing to determine what is efficient, what needs some gentle care, and what may need to be completely reworked. Improvement cannot happen without maintenance, but it involves the concerted effort to add skill sets (extend range, increase technical facility, etc.). Understanding the difference in goals will help you be intentional in your approach.
- Include a warm-up that supports your goals.
- Vary routines to avoid potential muscle fatigue or playing without concentrating.
- Record yourself to reflect on your progress.
- Consult colleagues or teachers with any concerns (embouchure change, injury, time off, technique in extreme ranges, etc.).
Consistent vs. Sporadic Use of Time
Heading into the summer, you may be feeling exhausted by the demands of your playing season. Enjoy some rest, but then create a consistent summer schedule for yourself that allows a helpful regimen. Create a regular, goal-oriented practice schedule that is freeing and exciting. If the work feels stressful or daunting, or if you find yourself feeling guilty for not being able to keep up, it can lead to sporadic practice, an avoidance of practice, or a lack of focus and productivity.
- Create a sustainable schedule appropriate to other demands (work, family time) and considerate of your own strengths.
- Create an achievable list of playing goals, and give yourself things to look forward to during practice.
- Explore new repertoire, start a new fundamentals routine, work on new etudes or improve old ones, etc.
- Schedule days off for yourself, and allow yourself grace both when taking a break and when re-starting.
How to Come Back After a Hiatus
There are reasons for taking a break, and in my experience, some of these are not necessarily a choice. If you find yourself entering or returning from a playing hiatus this summer, here are some things to keep in mind.
- Gradually add time to your practice. Begin at 15-30 minutes and slowly add time every few days. It is not healthy or realistic to attempt lengthy practice times.
- Utilize low-impact/low-stress exercises such as long tones, chromatic exercises, slurred passages, etc. Avoid extremes of range. Play softer long tone or chromatic patterns with a mute in for 5-10 minutes. The medium resistance offered by the mute is like the gym equivalent of warming up with a resistance band—good for both muscles and health!
Finally, practice affirmations of your playing. Why do you love your instrument? Why do you love music? What brings you joy or pride about your playing? Coming back from a break can be discouraging, and it can be easy to be impatient and overly self-critical. By practicing positive self-talk and by affirming your musical identity, you can approach each practice time with a growth mindset and a greater sense of thankfulness that you are back pursuing what feeds your passion.
Travel
There is no law declaring that you must take your horn with you on vacation. That choice is yours to make. The guideline is how the available time may or may not interrupt playing commitments. Players know their requirements, but here are some thoughts to consider:
- If you go on vacation for one week each year, it is perfectly reasonable to enjoy your travel “horn free.” You have 51 other weeks to be playing your horn.
- Taking a mouthpiece or visualizer is a great way to enjoy low-stress maintenance while still enjoying your vacation.
- Listen to professional models or upcoming repertoire. Listening is a different form of practice, but it is still highly beneficial to musicianship.
Let this summer be a time of rest and recreation. Do what you love, and love what you do. The time is yours for the making, so use it for good.
Chamber Music Corner—Charles Wuorinen’s Horn Trio
by Layne Anspach
The focus of Chamber Music Corner this month is Charles Wuorinen’s Horn Trio (1981). Charles Wuorinen (1938-2020) was an American composer, pianist, and conductor, who, starting his career early, decided by age of 12 that he was going to be a composer. In 1962, he co-founded the Group for Contemporary Music. He started his teaching career at Columbia University in 1964, continued at the Manhattan School from 1971 to 1979, and finally at Rutgers University starting in 1984. Wuorinen was the recipient of many awards, most notably a Guggenheim Fellowship in 1968 and Pulitzer Prize in 1970. Wuorinen wrote more than 200 works, ranging from staged and orchestral to solo and chamber works.
Horn Trio (1981) was dedicated to hornist Julie Landsman who performed the premiere with violinist Benjamin Hudson; Wuorinen himself was at the piano. It is a single movement work with nearly constant meter changes. The opening section is characterized by aggressive techniques with flutter-tongue in the horn and heavy accents and tremolos in violin and piano. An unsteady rocking in the horn snaps the intensity of the opening but finally abates with a softening in all parts a few moments later. Shifting to a soft section with alternating staccato entrances in each voice, the piano takes up a melody with the left hand. Surges of energy characterize the following minutes of the work, each episode losing volume or rhythmic intensity. Meandering triplets in the violin and piano act as a prelude to the second section; long, held notes in violin and horn are kept in time by a low quiet pulse in the piano.
A pleading melody from the horn emerges with the other voices adding support and commentary. The sound becomes agitated as the ensemble pulses forward with new resolve. The horn rocking can be heard momentarily before the aesthetic of the second section returns. There is an antagonistic turn that occurs, marked a tempo, which undulates with agitated purpose.
Following a short pause, the opening section dramatically returns. Repeated sixteenth notes in the violin and horn provide intensity. The ensemble has a unified concluding statement, thwarted when the piano continues. Following a final breath of chaos, the second section returns for a final time. The work ends with two repeated staccato eighth notes.
The reference recording is from the album Charles Wuorinen: Six Trios (Naxos). The hornist is William Purvis.
Student Column—Managing Burnout
by Inman Hebert
End-of-semester discussions with both my musical and non-musical peers have inevitably lead to how the accumulation of stress negatively impacts us as college students. In these conversations, the word “burnout” recurs. From computer science majors who never want to write another line of source code to overloaded double majors stressed merely by the inside of a classroom, burnout characterizes a state of chronic exhaustion reached after prolonged periods of unmanaged stress.
From a musical perspective, what does burnout mean? While musicians tend to pursue the field out of passion, such personal motivation does not exempt us from the stress of balancing classroom obligations with practice time, performances, and freelance opportunities. Unlike many other majors, breaks from the curriculum do not include a hiatus from the instrument; this can lead to fatigue.
As students, how do we ward off or deal with this phenomenon? Pinpoint the source as a first step. Do we feel languor in practicing or even in performing? Alternatively, has managing academic, personal, and other daily demands become overwhelming? Assuming the latter, more effective time management can prove valuable in averting burnout. Learn to politely and effectively use the word “no” to avoid overburdening yourself socially or professionally. With additional free time, the condition more readily subsides.
What if the former holds true? If the very act of playing the horn serves as a primary cause of debilitating stress, a viable option may entail considering a prolonged break or even reevaluating career priorities. Music requires too much dedication for career prospects for those not fully committed: we must love the process (long hours of practice) as much as we love the product (a single two-hour performance). That being said, students may be passionate about music while also feeling the effects of burnout. In fact, the desire to succeed may trigger harmful self-imposed pressure.
After self-compassion, appropriate rest, and realistic goal setting, what are some potential next steps? Restore balance through time spent in nature, a healthy hobby, or social interactions. Find inspiration to spark your inner passion by listening to horn recordings, attending orchestra concerts, exploring new routines, or interacting with others in the horn community.
While acknowledging our current state-of-mind, remember the obligations we owe our future selves. At a bare minimum, we must continue to exercise daily routines, regardless of our mental state. Likely, the end of a semester itself will bring the relief one has been seeking and allow for a reinvigorated approach to the horn. We may fear using the word burnout, but developing proactive strategies can help us alleviate the effects of our common stressors.
New in Online Music Sales
Freiberg, Aviram: Hanukkah Medley 2 for Horn Quartet
Hill, Douglas: Blue Hues and Joy! for Two Horns
