Fearless Performance—Commanding the Spotlight
Three Tips to Elevate Your Stage Presence
by Katy Carnaggio
Ahhh, the electric thrill of stepping on stage! The hush of the audience, the weight of expectation, the spotlight…it can be both exhilarating and daunting. Here are a few tips to help you direct that energy into a mesmerizing performance your audience won't forget!
1. Perfect the Prelude
Have you ever considered the first impression you offer your audience? It's not the first note you play, nor the introduction you give. It's that humble, often overlooked gesture: the bow. Think of it as the opening line to your favorite song. A shaky bow might hint at an unsure performer, while a confident one sets the tone for a stellar act.
Live music is deliciously unpredictable, but one thing is for certain: you’ll step on stage, and applause will greet you. It's a given. So why not prepare for it? Set your phone up, hit record, and take a bow. Watch it. Critique it. Perfect it. If you're hunting for inspiration, there are countless examples out there, from the poised to the hilarious. Nail this simple act, and it's a small victory to bolster your confidence, setting you on the path to a resonant start.
2. Embrace the Stage (It’s part of your instrument!)
Once you've nailed that bow, it's time to see the stage as more than just wood beneath your feet: it’s your dance partner, your co-star! Great performers understand that their sound isn't solely produced by the instrument they hold. The stage, with its intricate acoustics, your body, even the distant corners of the hall, are all integral to your performance.
Feel the space. How does your sound dance within it? Does it echo warmly off the walls or playfully flirt with the hall's farthest reaches? As a mental exercise, instead of just projecting outward, envision yourself joining with the walls that are already vibrating in harmony with you. Your challenge? Make the entire room groove!
3. Heroism vs. Authenticity: The Balancing Act
Who doesn't love superheroes? Their strength, their capes, their...ability to never need a bathroom break!? In the world of performance, it's easy to feel like you should be superhuman, powering through every moment without pause. Yet it's authenticity, not caped heroics, that truly leaves a lasting impact on your audience.
Whether it's a sip of water or a moment to catch your breath, honoring these small needs can make a world of difference in the quality of performance you share. Besides, a well-timed water sip can be its own kind of performance art!
Stage presence might seem like it's all about charm and charisma, but it's built by learning to be present in little moments like these: perfecting your bow, leveraging the hall's acoustics, and mindfully attending to your needs. Cheers to creating great memories that linger for you and your audience!
A Reflection on Transitioning Careers
by Michal Emanovský
Every so often, we find ourselves standing at a crossroads, where one chapter of our life converges with the beginning of another. For me, a pivotal moment came when I transitioned from my position as the Associate Principal horn with the Seoul Philharmonic Orchestra to take on the role of director at the Czech Center in Seoul. This move was not just a personal evolution but also mirrored the broader dialogues frequently occurring amongst horn players; it raised questions about longevity, the persistent pursuit of quality, and evolving definitions of success and fulfillment within a musician's career.
After the global upheaval caused by covid, I was surprised to find myself considering a position far removed from my dedicated path as a musician. The offer to apply for the position of director at the Czech Center Seoul initially felt beyond my realm of expertise, but I found myself curious. My wife had no doubts—she encouraged me to apply right away. After a period of self-reflection, I decided to step up to the challenge, embarking on this new chapter at the beginning of 2022. Initially, the administrative responsibilities felt like a drastic change from my orchestral life. I had to manage payroll, learn to handle Excel files, and streamline workflows using macros—all tasks with which I had little experience. Despite the steep learning curve, I was keen on developing projects while still finding time to maintain my skills on the horn. This period introduced me to a new network of people involved in the cultural sphere, expanding my horizon and understanding of the industry.
Working primarily as an administrator brought a significant transformation in my relationship with the horn. As a full-time musician, I often played principal horn parts while battling a lingering self-doubt. The constant comparison and the relentless chase for perfection had, at times, overshadowed the joy derived from music. Distancing myself from a full-time commitment allowed me to experience a renewed sense of fulfillment in making music, a rediscovery of the freedom and depth music offered. Each concert, whether a one-time chance to perform with the Gürzenich Orchester Köln or return to the Seoul Philharmonic Orchestra as a guest, now feels more like a celebration, a gift, rather than a stringent evaluation of my skills. I found myself cherishing each composition, wondering if it might be the last time I would be engaging with it.
My current role and my background as a horn player sometimes intersect in interesting ways. I have come to appreciate the fact that my musical background brings a distinct touch to my directorship and can enhance the depth of events and collaborations. For example, I have integrated Czech music into the opening of the Emil Zátopek exhibition or played a horn quartet fanfare at the 30th anniversary of Czech Centres in Prague. Looking ahead, I face the challenging question of how long I can sustain high-level horn playing alongside my demanding job. It’s a constant balance of honing my skills to remain competent as a horn player and steering the rich and varied programming at the Czech Center. I am yet to see whether this pathway is my final destination or a stepping stone to something else.
Sharing this narrative isn't just a recounting of personal experiences; it's an invitation to fellow musicians to embrace the myriad of possibilities that lie outside the familiar terrain. Our training and experiences as musicians equip us with resilience and a unique perspective that can be applied successfully in diverse fields. It is alright to harbor doubts and to critically assess our paths; it is okay to change tracks, to rediscover passions. It is a journey of continual learning, of embracing change with all its uncertainties, and finding a space for growth that accommodates both the old and the new.
Enjoy listening to one of my final concerts as a full-time musician.
My personal project during covid—our horn quartet performing Bach together with sand art.
Album Release—Mélodies Volées
Album Release—Mélodies Volées
by José Sogorb
José Sogorb, horn, Éadaoin Copeland, piano, and other guest musicians; 7 Mountain Records. Listen on Spotify.
Despite current trends and narratives about recording an album, I still felt the need, perhaps a much-too-romantic idea nowadays, to create an all-around, long-lasting musical statement through which audiences could get a proper idea of me as an artist.
I have been playing together with Irish pianist Éadaoin Copeland for quite some time already. Of course we enjoy playing the repertoire written originally for the horn in our recitals, but reflecting on my musical inspirations—works written for other instruments and from very different music styles—led us to start including some of these unconventional works into our concert programs. The “stealing” of these tunes led us to the idea of making an album exclusively of stolen melodies. Indeed, the simple act of translating the album title into French, Mélodies Volées, signifies the transformational element central to this album.
Every tune, no matter how great it is, doesn’t necessarily sound good on the horn; so, with careful consideration, we chose pieces where the instrument has the chance to shine and display its unique voice. The album presents eleven works arranged for solo horn, for horn and piano, and for horn with larger ensemble. In these various settings, you can find music ranging from the iconic first cello suite of Bach to the mellow atmospheres of jazz standards, from the virtuosities of a Paganini Caprice to the eclectic sounds of Björk.
The recording location that we chose for the album was Westvest90, a charming church near Rotterdam with warm, embracing acoustics that make it almost seem as if it was made for the horn sound. The church also houses a beautiful Steinway & Sons concert grand piano and has been running its own chamber music concert series for some years.
Frerik de Jong, sound engineer and owner of the 7 Mountain Records label, took care of all the technical aspects of the recording, guiding us very patiently through the entire process. Recording days are long and intense, so it is of great importance that the producer has a certain intuition to create a sense of ease to help the musicians give their very best.
To finance the project, we set up a crowdfunding campaign on Voordekunst, a Dutch platform which helps artists finance their projects. We are enormously grateful to everyone who believed in our idea and supported us through this platform and other means.
We can’t wait to share the album with you!
To get the album, please visit www.josesogorb.com.
Composer Spotlight—Arturo Márquez
by Caiti Beth McKinney
Hello everyone! This month, I’m excited to share the works of Arturo Márquez with you! You may already be familiar with this composer because of his ever-popular Danzon No. 2, but he also has a rich repertoire of chamber music, including a woodwind quintet entitled Danza del Mediodía (which is one of my favorite pieces at the moment).
Márquez was born in Mexico to a family with a rich history of music-making. His father was a mariachi performer, and his grandfather was a folk musician as well. Their influence on the young Arturo cannot be overstated, as it is their instruction in a wide variety of Mexican musical styles which would later influence Márquez’s compositions. The composer had eclectic musical tastes in his childhood, stating that “…[his] adolescence was spent listening to Javier Solis, sounds of mariachi, the Beatles, Doors, Carlos Santana, and Chopin.” Additionally, Márquez had classical training at the Mexican Music Conservatory and the California Institute of the Arts, and he also took private composition lessons in France with Jacques Castérède.
Danza del Mediodía is an incredibly fun and challenging wind quintet inspired by the various musics drifting out of Mexican salons and cafes. Márquez made sure to feature every instrument at various times, including a lengthy and virtuosic horn solo towards the middle of the piece, which alternates in conversation with the bassoon. The solo is highly stylized, leaving plenty of room for artistic expression. The piece is unmistakably in Márquez’s voice, calling to mind clave rhythms and elements of Cuban and Mexican dance and folk music. Please enjoy this recording:
The Origin Story of Wynwood Mutes
by Josh Cote
As I sat on stage performing Strauss’s Don Quixote with the New World Symphony, I struggled to project my horn part through the straight mute I was using. The muted tones were a bit muffled and out of tune. As a professional horn player, I was frustrated with the limited options for high-quality mutes, especially in the extreme low range as in the famous Pines of Rome excerpt.
After the concert, I couldn't stop thinking about that insufficient mute. I had experienced the same issues with many mutes during my career when playing muted passages in orchestral works like Mahler 1 and 7, Shostakovich 5, Debussy’s La Mer, Daphnis and Chloe, and others. I started researching mute construction and materials, looking for ideas on how to improve intonation and tone quality. When I discovered the capabilities of 3D printing, everything clicked.
With 3D printing, I could design mutes in intricate shapes to specifically control volume and tone color. I could experiment with small design tweaks quickly and cost-effectively through rapid prototyping. Best of all, I found a 3D printing material that mixed wood particles into the plastic, creating a warm, natural sound. This was the perfect material for achieving the refined muted tone I sought.
As I delved into 3D printing, I realized there was also an artistic side to designing mutes. Just like a painter with a blank canvas, I could create unique outer mute shapes and internal structures.
Creating these mutes fused my passions for horn performance and design. But I also had a larger vision of helping horn players everywhere achieve more expressive playing through better equipment. To bring my dream to life, I tapped into Miami's bustling startup community. I found designers, engineers, and business experts to support turning my ideas into a real mute production company.
It wasn't always smooth sailing. Early mute prototypes had issues with fit, durability and consistency of sound. The 3D printing process involved tweaking many settings like temperature, print speed and layer resolution in order to print mutes with the right balance of strength and acoustic properties. After extensive trial-and-error, I honed in on the optimal printing methods.
As news of my mutes spread, I received orders from prominent orchestras including the Philadelphia Orchestra. The mutes have developed a following for particular low horn excerpts because they play in tune throughout the range. It has been incredibly fulfilling to hear my mutes contribute to moving performances across the country.
While my mute designs have continued to advance over the past few years, my core mission remains the same: give all horn players access to equipment that unlocks their peak artistic expression. When I reflect on my journey creating Wynwood Mutes, I'm grateful that one frustrating performance led me to establish a company that brings the beauty of the horn to audiences worldwide. Although the path of designing, testing, and building mutes was challenging, the rewards have been infinitely greater.
I can't wait to see what the next chapter holds for Wynwood Mutes as I develop new mute innovations and help more horn players elevate their performances.
Meet the People—Horn and More Proofreader
Meet the People—Horn and More Proofreader
by Heather Thayer
Happy October, horn friends! A few months ago, I was pleased to be asked by my dear friend Mike Harcrow to be a part of the Horn and More team. I enjoy getting a first look at the newsletter as I proofread the articles, and I am thrilled to be a small part of our vibrant, friendly, and active horn community.
As is typical for many of us, my experience with the International Horn Society began when my undergraduate horn professor, Dr. Willard Zirk, took us to events like regional workshops and the International Horn Competition. As a young horn player, I was deeply impressed by the amount of information and experiences available as well as the community and relationships built among horn players from all over the world. Since those early days, I have continued to attend and perform at regional workshops and international symposia. Two of my recent performances took place last year with the Arkansas Professors Quartet at the Mid-South Horn Workshop in Fayetteville, Arkansas, and with the HornPipe Duo (flute and horn duet) at the 55th International Horn Symposium in Montréal.
After earning my music degrees (BS in Music, Eastern Michigan University, MM in Horn Performance and Music Theory, Bowling Green State University, and DMA in Horn, University of North Texas), I have had the honor to spend my life working with college students as a horn, aural skills, and music theory professor. I began my college teaching career at Ouachita Baptist University, and I am currently at Henderson State University in Arkadelphia, Arkansas. I deeply cherish the opportunity to assist all of our music majors grow as musicians and find their place in the world. While here in Arkadelphia, I have developed a deep love of chamber music and have made it my focus for performance. I perform with my colleagues at HSU and in the HornPipe Duo, and I am the founder of the Arkadelphia Chamber Players which has performed several concerts for our students and community members. I enjoy performing with the Natural State Brass Band in Little Rock, Arkansas and the Lone Star Wind Orchestra in Dallas, Texas. For fun, I love playing alphorn quartets in South Dakota with Amy Laursen, Todd Cranson, and Kurt Hackemer.
I wish you all the best as you prepare for rehearsals, performances, and classes this year. I hope to meet many of you in Colorado this summer for IHS 56!
IHS 56—Horns on the Horizon
by John McGuire
Organ Hall, Colorado State University
Hello again from Colorado State University in beautiful Fort Collins, Colorado! IHS 56 is another month closer (July 29-August 2, 2024), and preparations are well underway at this point. We have so many things that are in process and being developed by a wonderful team in order to make IHS 56 a tremendous experience for all. But the only way you will know is to make sure you have plans to be here!
This month, I want to bring your attention to a couple of things. First, the website for IHS 56 and IHCA—don’t forget that we’re doing a collaboration with the International Horn Competition of America—has been launched. You can find it at www.hornsonthehorizon.com as well as links for it on the IHS website and on social media. (Please follow us on Facebook and Instagram.) There, you will find tabs with information on Featured Artists, Contributing Artists, Exhibitors, Planning Your Trip, and much more. Please note that while there is a good deal of information already up, there will be much more coming in the next several weeks and months!
Of particular note this month is that under the tab for Contributing Artists is a link to the application for any who would like to submit a proposal to perform, present on a topic, or both. The application will remain open through December 15, 2023, so make sure you get your proposal in soon.
Last, we will be rolling out several announcements starting in mid-October, including information about the Featured Artists lineup. Stay tuned to Horn and More, the IHS website, and IHS social media because you won’t want to miss anything!
