Norman Schweikert was a huge influence not only on stage but through his teaching. In the 80’s and early 90’s, he conducted the horn choir at Northwestern University. Norman transcribed a number of works, but the Vaughan Williams struck me as a wonderful tribute to him. With the Chicago Symphony Orchestra dedicating a concert to Norman last November 1st, I thought the timing was right for a large horn choir with former students and current students. It would have been the way Norman would also want to be remembered.

Gail Williams, Horn Professor
Northwestern University

This concert turned into more than I ever expected. I would suggest it to one horn player, and the word got around about the recital - more and more people wanted to play. Brian Thomas, 2nd horn of the Houston Symphony and a former Schweikert student, provided me with programs from his era at NU. The program included a few works from those programs and in this order! Nu Horn students Chicago Symphony Horn Section joined by former students Chicago Horn Consort The Wilder work was performed with Norman many years ago. Vaughan Williams with 45 Hornists and Tuba, Gene Pokorny We sent Norman a huge lovely sound and certainly a memorable tribute.

By Ben Jacks

The first thing I’ll always remember about Barry was his eyes. I first met him backstage at Perth concert hall when I was about 15 after hearing him play the Brahms trio. It was an inspiring performance, delivered in a very matter of fact way but with amazing control and fearlessness. 

Years later in Melbourne I met him again, and those intense eyes immediately grabbed me. He had a way of seeing through things and making his thoughts clear without saying very much. His control of the instrument was incredible. The ease with which he seemed to be able to go across registers, control dynamics at both ends of the spectrum and convey a musical line was amazing.

Barry was also an incredibly funny man. His wit was first rate; at times I’ll admit I laughed without quite understanding his joke and then hours later when the penny dropped I appreciated it all the more. 

As an Australian trailblazer he showed all musicians, not just horn players, what was possible with not only talent but determination. To scale the heights that he did is almost unimaginable today and yet he did it all.

A few years ago I was lucky enough to have the opportunity to record an album with Barry conducting. I learned so many things. He taught me that preparing for a long recording is quite different from a solo concert and that maintaining a clear and pure musical line was the most important thing. His humour again was always on display during this process and many of jokes I cannot repeat in this forum!

I remember vividly one occasion during this week when we were enjoying a quiet beverage at the end of a long day. An acquaintance of mine walked past and stopped to say hello. I introduced Barry and was on the verge of giving a colorful introduction. He stopped me and said, “I used to be good at what I did a long time ago.” Even after all Barry had done, he remained a humble and generous soul and one I was lucky enough to count a friend.

Ben Jacks is Principal Horn of the Sydney Symphony, Orchestra Brass Co-ordinator at the Australian National Academy of Music, and a much sought-after soloist and chamber musician.

by Geoff Collinson:

The author with Barry and his student Lin Jiang, Principal Horn of the Hong Kong Philharmonic.

I will always count myself a very lucky person to have spent so much time with Barry over the last 17 years. To hear firsthand stories of an incredible life and to gain insights into the person behind the onstage presence that I previously had only known from a distance will always be one of the most treasured experiences of my life. His life was music and horn was his voice. He has touched the lives of many people around the globe with his music and unique sound. That sound was formed from one concert he attended of the Vienna Philharmonic in Scotland when he was in his early twenties. Hearing their principal horn, Gottfried van Freiburg, stuck in his mind. Van Freiburg would never know that in the audience he was inspiring a young man who would go on to become a legend of our instrument. 

My greatest inspiration from my friend is the thought of a 19-year-old boy getting on a boat from Australia to the UK in 1949 with a horn in an old leather rucksack with not much else but a dream and a great musical gift. The rest, as they say, is history.

Geoff Collinson is the founder of the Melbourne International Festival of Brass, was head of the University of Melbourne brass department, and has served as principal horn and guest principal horn of major orchestras throughout Australia. 

Tributes by Jerry Domer, Randy Gardner, Geoffrey Winter, Mike Simpson, Mike Graef, Keith Eitzen,  Mike Hettwer, Roger Kaza and Marian Hesse.

Many thanks to Marian Hesse for curating this collection!

From Jerry Domer, Chris Leuba’s best friend:

Jerry Domer provided us with some stream of conscious thoughts about his dear friend, Christopher Leuba.

Chris considered himself an expert on Belgian beer and loved train travel.

He loved going to hot springs. In the early 70's, he visited us in Montana and would insist on being taken to a hot spring pool near the Idaho border in western Montana. Flipping a coin, we would sometimes take him cross-country skiing, which he also enjoyed despite having virtually no skill and terrible balance. When he fell (often), he would ungraciously reject any attempt to help him up. Just try to imagine the vision of Chris in a pair of baggy swim trunks emerging from a hot spring pool, or gingerly trying to co-ordinate skis and poles while bundled up in cold weather gear…smiling yet?

Chris drove only Volkswagens. Old VW's. For a few years, he owned three black VW Beetles, which he named Three, Blind, and Mice. Usually, only one was drivable at any given time, but there were others, a Karmann Ghia, which was a Beetle that looked like a sports car, and a VW bus. Later there were a couple of other models, but they were old when he acquired them. He would never consider buying a new car. There was one exception, an ancient Mercedes sedan. Not a VW, but still German.

Though he would vehemently deny it, he loved cats, all cats, even the ones who disliked him. He would tease those. Whenever he had a working camera with him when he visited us, he would take pictures of the cats, just the cats, unless my wife Joan had one in her lap, then she would be included. (Note from Marian: Jerry’s wife and Joan Watson were two of the important people in Chris’ life. Jerry told me he referred them as his two Joans.)

No one was ever like Julian Christopher Leuba, and no one will ever be like him. Our lives were vastly enriched by him. 

In his ascent to Valhalla, he either rode a train or drove a VW. He didn't like horses!  

磯部保彦

English version

 私は、東京フィルハーモニー交響楽団(Tokyo Philharmonic Orchestra)の首席ホルン(principal horn)として活動しながら、休日には野球のアンパイア(Baseball umpire)をしています。

ホルンを高校で始めるまで、野球部に所属して野球をやっていました。

オーケストラに入団した後、仲間を集めて野球チームを作り定期的に試合をしていました。

しかし、家庭を持ったり転職したりと、メンバーそれぞれの環境の変化により、だんだんと試合するにも集まらなくなり、活動がなくなっていきました。

一人でも野球を楽しむ方法がないかと思案していたところ、メジャーリーグ(MLB)のアンパイアを目指している方と知り合いました。

彼とアンパイアについての話しの中で、今度メジャーリーグの審判学校の方が日本で講習会を開催するから参加しませんか？とのお誘いを受けました。

私はさっそくその講習会に参加する事を決心し、Jim Evans Academy of Professional Umpiring（審判学校。MLB公認）の校長をしている、Jim Evansから直接、初心者の私が指導を受ける機会に恵まれました。

さらに、その講習会に参加していた方に勧められて、首都圏野球審判協会(MBUA=Metropolitan area Baseball UmpireAssociation )に加入する事になりました。

それ以来、月に数試合ですが、コンサートやレッスンのない休日に、アマチュア野球のアンパイアをしています。

ゲームでは、キャッチャーの後ろという野球を楽しむには最高のポジションに位置しています。

ピッチャーの投げた抜群のコントロールを判定し、バッターが打った打球を追いかけ、俊足のランナーが駆け抜けて行くベースを見つめてコール！

Strike!  He’s Out!  That’s a Catch!

何故か、アンパイアした翌日はホルンを吹くと調子が良く感じます。

年間に50試合ほどしかできませんが、身体の丈夫な限り続けていきたいと思っています。