IHS 58—Symposium Updates
Winter in Poland will give way to a beautiful Symposium summer this coming July, and now is the time to prepare for IHS 58. Registration is officially open.
Dormitory reservations can be made. Other accommodations will become available in the next few weeks; watch for options and reserve your preferred location early.
Competitions include those for Horn Quartet in 4 divisions, Horn Ensemble in 3 divisions, Natural Horn and Jazz Horn competitions, plus the IHS Premier Soloist Competition and the Frizelle Orchestral Audition Contests. Check the website for applications and to familiarize yourself with the requirements and rules.
Chamber Music Corner—Trevor Zavac’s “Fringe”
by Layne Anspach
Trevor Zavac’s “Fringe” for horn, violin, and piano (2022) will be the focus of this month’s Chamber Music Corner. Trevor Zavac (b. 2000) is a composer and hornist. He received a BM from Indiana University and is currently pursuing his MM in Composition at the University of Southern California. Zavac was the 2024 ASCAP Morton Gould Award winner, and his works have been performed by the Indianapolis Ballet, the Indianapolis Chapter of the American Guild of Organists, and other ensembles.
“Fringe” was premiered during the 2022 Brevard Music Center Summer Institute. Zavac included the following program notes for the work:
“Fringe” (2022), for horn trio, is inspired by the idea of pulling at a loose thread on a piece of woven fabric. The music, like fabric, is tightly woven and very compact, but with time, it unravels—being slowly disassembled as the pattern is pulled apart, slipping and snagging on the way, until it dissipates entirely.
Receiving Honorable Mention in the International Horn Society’s 2022 Composition Competition, “Fringe” was subsequently performed at the 2023 International Horn Symposium in Montréal.
The work is in a single movement marked Allegro. The three players begin with short staccato hits using various timbres or techniques: the violin starts pizzicato and the horn plays stopped. As the section progresses, each member has slightly longer motivic elements stacked together. A descending sixteenth-note passage in the violin tumbles into the next section in which we hear continuous lines from all members, and this builds to heavy accents in the violin and horn.
As the music grows to a collective downbeat, the texture changes dramatically and an ostinato is heard in the left hand of the piano. Once the right hand joins, the horn plays a melodic line which the violin subsequently assumes. The ostinato stops leading to more fragmentation, as Zavac puts it, unravelling. The staccato prevalent at the outset of the work disappears, giving way to longer and longer phrases. A new ostinato emerges in the piano, more soothing than the first. This, along with the continued elongation of lines in the violin and horn, brings the work to a measured conclusion.
The reference recording is from a live performance in Auer Hall at Indiana University’s Jacobs School of Music. The hornist is Andre Richter.
Student Column—Horn Ambassadors
by Inman Hebert
As horn players, we have an unofficial obligation to serve as ambassadors. A key part of the International Horn Society’s mission revolves around building global fellowship in the effort to educate and to promote the instrument. These ideals rely, in great part, on us being representatives of the horn to non-musical family, friends, and communities. As spokespeople, articulating why the horn matters encourages us to find shared connections which illustrate the horn’s impact in society.
While iconic classical horn moments, such as the solo in the second movement of Tchaikovsky’s Symphony No. 5, the trio in Beethoven’s Eroica, or Wagner’s “Short Call,” may lack mainstream familiarity, using popular culture and highlighting the role of the horn in film and popular music can foster comprehension as we communicate.
First and foremost, we must understand that not everyone recognizes the horn’s sound. To remove this barrier, we can point out specific moments in popular media that feature horn solos. We must also endeavor to perform more in our own communities. Playing in chamber music ensembles, like brass quintets or horn quartets or performing pops concerts, can provide an entry point for the general public to appreciate the instrument’s captivating tone.
Renowned for its unique rich sound—the sound which we work so hard to develop—the horn features prominently in a variety of films of almost every genre from Westerns to Sci-fi classics to modern superhero movies. To name a few, the horn is featured in the title themes of The Magnificent Seven, Star Trek: First Contact, Band of Brothers, and The Avengers.
For the elevator pitch, “Think of the most epic moments in any movie you have ever watched, and the horn will be present in those triumphs.” Consider, for example, The Lord of the Rings. Highlighting a few horn features in cinematic music can serve as common ground for discussion.
The Star Wars fan can relate to the famous “Princess Leia’s Theme” or “Binary Sunset” (Force Theme), the first of which portrays the character’s emotional depth while the latter elicits hope throughout one of the most iconic movie franchises ever created.
The over one billion people who have been estimated to have seen the Harry Potter movies can easily recognize “Hedwig’s Theme,” the song playing during the opening credits that then permeates the film series. Within this theme, the horn takes over the melody from the glockenspiel, lending its unique sound to the mystique of Rowling’s wizard world.
Additionally, The Beatles, one of the most popular bands ever, feature Alan Civil’s horn playing in their hit "For No One,” which recently surpassed 100 million streams on Spotify.
Through pop culture references, we can promote the horn’s sound, show the extent to which the instrument pervades familiar music (particularly in movies and television), and share the horn’s role in storytelling and in evoking emotion. By engaging with our audience through shared experiences, we go a long way in fulfilling our roles as ambassadors for the horn.
Lowell E. Shaw—A Love of Making Music on the Horn
by Jeffrey Snedeker, Central Washington University, Ellensburg WA
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Lowell E. Shaw (2016)
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The April edition of The Horn Call will feature an article on the life and work of Lowell “Spike” Shaw who passed away on December 8. The article was originally planned as a celebration of his 95th birthday (July 7, 2025), presenting a new updated biography, compiling and combining the work of others, with additional information from Shaw, his family members, friends, and former students. Now, with recent events, it will be expanded to include tributes from friends and colleagues.
It should be noted that Lowell Shaw’s life has been summarized a few times in the past, and the forthcoming article in The Horn Call builds on the following:
Heather Lankford, “Lowell Shaw (b.1930): His Musical Career and Contributions to Horn Ensemble Literature” (DMA dissertation, University of North Carolina at Greensboro, 2000).
Wallace Easter, “Ride of the Fripperies: An Interview with Lowell E. Shaw,” The Horn Call Vol. XXX, No. 2 (February 2000): 47-50.
“Lowell Shaw (1930-2025)," International Horn Society website.
Born in Joliet, Illinois, Shaw grew up in a musical family that was very supportive of making music and attending concerts by many area groups. Performances by the Chicago Symphony were especially inspirational, particularly during World War II when Helen Kotas was Principal Horn. Spike decided to become a professional musician at a relatively early age, after inspirational experiences at the National Music Camp in Interlochen, Michigan, and an opportunity during his sophomore year in high school to play with the Oak Park-River Forest Symphony, a group in which his father played. The orchestra needed a horn player for an upcoming concert that included Humperdinck’s Hansel and Gretel, and Spike played second horn to none other than future IHS President and Honorary Member James Winter who was then working on an advanced degree at Northwestern University. These experiences sparked Spike’s interest in making horn his career.
While in high school, Spike had lessons with Max Pottag who was teaching at Northwestern University, so when he decided to make a career of it, continuing his studies at NU was an easy decision. Pottag taught at Northwestern for 18 years, and his teaching stressed the development of musicianship, focusing on tone and facility, which connected well with the idea of playing in a horn ensemble. The horn ensemble experience was significant, involving small and large groups playing repertoire that consisted of Pottag’s arrangements of music from a variety of sources and some original works. Pottag also encouraged the students to make their own arrangements, and this led to what would be Spike’s first published transcription, “The King’s Prayer” from Wagner’s Lohengrin for horn quartet, eventually published by Belwin in 1960.
After finishing his bachelor’s degree at Northwestern in 1951, Spike enlisted in the Air Force, and joined the US Air Force Band at Sampson Air Force Base near Geneva, New York. Many of the band members were Eastman graduates, and everyone was encouraged to compose and arrange music for numerous parades, park concerts, school presentations, social events, and even a weekly radio broadcast. The band program also maintained a few jazz ensembles. Occasionally the dance band would be short a trombone, and Spike filled in, learning a range of jazzy styles. In all, his time at Sampson was extremely important to his future as a composer, arranger, and musician.
After four years in the Air Force, Spike returned to Northwestern University for a master’s degree. In 1956, Shaw heard about a second horn opening with the Buffalo Philharmonic. He auditioned for it and won the position. The orchestra was apparently a good fit for him—he remained Second Horn with the Philharmonic for thirty-eight years until 1994. Spike claimed he was never interested in playing principal horn, although the position was available several times during his career with the BPO. He just loved playing second horn, often quoted as saying he didn’t feel he had the chops or the temperament to be a first chair player. Fortunately, the second horn position also came with many chamber music opportunities.
While playing in the Philharmonic was a good job, in 1956 the symphony season lasted only 22 weeks, so Spike started gigging, teaching privately, and even sold insurance for a brief period to supplement his income. He was soon invited to teach part time at the University of Buffalo in 1957. Shaw’s UB studio usually numbered between six and ten. With an easy-going yet meticulous attitude, he emphasized fundamentals as a means of developing light and fluid technique to make playing the horn easier. And, considering his Northwestern University experience, it is not surprising that he combined this approach with heavy doses of ensemble playing, including frequent duets and trios with his students. Heather Lankford wrote:
The horn students at the university were fascinated by the inclusion of the horn in the dance band and were eager to participate themselves. They approached Shaw about writing parts for an entire horn section, a request with which he complied, and soon he added four horns to the band's roster. Before the horn players were allowed to rehearse with the dance band, Shaw believed the students must be prepared for the different rhythms required by this style of music. Since horn parts typically were not included in jazz or dance bands, horn players generally were unfamiliar with the characteristic rhythms and performance styles.
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Lowell Shaw in 1972
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Shaw’s university horn choir was a great teaching and learning environment for the students, but it also soon became a community gathering place. Together with other area horn teachers and players, Spike initiated the Buffalo Horn Club, meeting regularly at UB on Saturday afternoons. The membership ranged from five to twenty-five members, from junior high school to professional players. The club was primarily a recreational organization that shared information, read ensemble literature, and gave occasional performances. The initial repertoire included some Los Angeles Horn Club arrangements, other traditional horn ensemble pieces and arrangements, and new works, all written, adapted, or arranged by Shaw. The rehearsals were generally informal, usually lasting two or three hours, providing a venue where the sole purpose was to enjoy the sound of horn and to communicate with each other. Younger students would meet first, and professionals would come later. Many former students remember the day they were invited to stay on and play with the older folks.
The idea of publishing Shaw’s music was suggested by one of the horn club members, Jack Nyquist, a chemical engineer with the DuPont Chemical Company. Jack was moving out of Buffalo and asked if he could take some of the music with him. In the 1960s, photocopying technology was expensive and the idea of writing out all parts by hand was not appealing, so Nyquist suggested publication. 
Four members of the horn club, Nyquist, Charles McDonald, a hornist in the BPO at that time, John Park, a music teacher in western New York, and Shaw, provided approximately one hundred dollars each to consult with an attorney for the purpose of printing the first three publications: Fripperies, vol. 1, Four Quartets, and Bach Trios, vol. 1. In an interview in 2000, Shaw said:
The business gradually grew from there.… Two of the original investors left the area and one took a break from the horn, so I was left doing most of the chores. Gradually it became clear that it was really a one-man operation and I bought the others out. What started out as a spare time activity now keeps me quite occupied in my retirement.
The rest is history. The works published by The Hornists’ Nest include over 130 works by 45 composers and 17 arrangers. In the “frippery” style, the total is 40 Fripperies, 19 Bipperies, 8 Tripperies, 4 Mini-Tripperies, 8 Quipperies, and 13 Just Desserts for solo horn “in Frippery style” with optional string bass parts. There are also a few wind quintets and other unpublished arrangements that include the jazzy styles. Since the first volume appeared, the Fripperies, as well as his many other arrangements and compositions for horn ensembles, have become a source of great joy for hornists worldwide. A definitive recording of the Fripperies Volume 1-8 was released in 2001, and a second recording, …ipperies ’n Stuff, was released in 2008.
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Wallace Easter, Tim Schwartz, Lowell Shaw, Jeffrey Snedeker, Calvin Smith, 2001
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There are also two additional recordings released that include music published by The Hornists’ Nest: The Hornists’ Nest (Mark Records MES-29088, 1972) and From Fripperies Back To Bach (Hornists’ Nest Records #2, ca. 1974). These last two were released on vinyl and can be found in libraries and occasionally on eBay. While the Fripperies and similar works have become a staple of horn repertoire, The Hornists’ Nest also features many of Shaw’s arrangements—the most frequent composer from whom he has drawn is J. S. Bach, but there are many others. Heather Lankford’s dissertation devotes an entire chapter to Shaw’s compositional style and includes plenty of examples. The Hornists’ Nest also includes original compositions and arrangements of many other composers.
As IHS members know well, The Hornists’ Nest has been a committed presence at numerous workshops and symposia all over the world. Spike attended the very first annual horn workshop at Florida State University in 1969 and was actively involved with the formation of the International Horn Society, begun in 1970 and finally completed in 1971. He was also a strong voice for the inclusion of horn ensembles in workshop programming, and conducted large groups and led late-night reading sessions that became very popular over the years. He gave many presentations and participated on panels on composing for horns, Frippery styles, and orchestral playing at numerous regional and international workshops.
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Late night ensemble with Shaw conducting, Ithaca NY, 2016
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In 1990, the International Horn Society recognized Spike’s contributions at a national level with a Punto Award. In 2010, he was awarded the society’s highest honor, Honorary Membership, in recognition of his impact at the international level.
From a broader perspective, it is easy to see a connection between Shaw’s values of playing music together and enjoying each other’s company, and the growth of the sense of community in the International Horn Society and among horn players in general. In that same 2000 interview, Spike said, “I feel fortunate that I discovered an unfilled niche and had the background and experience to take advantage of it.” Horn players all over the world feel fortunate, too, and mourn the loss of a dear friend and influential force in music for horn.
Learn more about Lowell Shaw and his impact on the horn world in the April issue of The Horn Call.
Pedagogy Column—The Successful Studio
by Charles “Skip” Snead, Professor of Horn, The University of Alabama
Teaching can be an incredibly rewarding experience; it is the willful acceptance of a sacred trust between teacher and student. When a student entrusts the teacher with goals and dreams, that brings serious responsibility for each. It is important to treat every student as an individual and to intentionally try to meet them where they are. Each has different skill sets and a different personality; each will respond to different approaches and teaching styles. A successful teacher must practice flexibility, offering each student the best opportunity to progress and succeed.
Being a successful teacher requires a balance of three important roles: teacher, mentor, and psychologist. The teacher must have the teaching skills to offer the student what they need to learn, the mentoring skills to provide the inspiration and guidance that is required, and the psychology necessary to bring these things to bear in the most positive way for each individual.
While always being absolutely clear and honest with every student, keeping a positive forward-looking attitude is crucial. When working with a student, it is not productive to discuss what is bad or what has failed. It is more productive to support the positives that are present while also clearly outlining every opportunity for the improvement of flaws with a specific plan for how that can be achieved. This must occur with an equal eye on the technical, musical, and stylistic requirements of any given work. Encouraging the student always to look forward, learning from past mistakes, is vital; looking backward, showing undue concern about the past, is not a productive mindset. Focusing on what can be achieved and what can be corrected is what will bring success. The instilling of a proper attitude and a solid work ethic in every student is crucial to ongoing development. This is best accomplished with encouragement, a clear vision of possibilities, and active mentoring and support through the process.
The practice of honesty builds their trust in you. Students must also know that you believe in them, support opportunities for their success, and are willing to go the extra mile to help them get there. If a student is struggling, one encouraging word can be more productive than a paragraph of negative comments.
Like the relationship that is forged between the teacher and student, similar relationships between studio colleagues should be encouraged as well. Students learn effective skills, both musical and personal, by working with and supporting each other. When all players understand their roles in and commitment to the overall studio community, all grow stronger as a group. A positive, productive attitude between students is crucial. When the correct attitude is achieved, anything is possible. Then, the greatest reward for any teacher is seeing the results, whether small steps or large achievements, and the joy that ultimately follows.
Hornbasics and Daily Warm-ups—A YouTube Premiere Series
by Christoph Ess
Dear horn players, I am excited to announce a special project for the season. Starting on November 15, I began releasing one play-along video each day until Christmas, featuring exercises from my book Hornbasics and Daily Warm-ups. Each video offers a guided warm-up for play-along, designed to build consistency, sound, and musical focus. Join me on YouTube for daily premieres, and make these holiday weeks a time of musical growth and inspiration!
During covid, I began to write down my daily warm-up; it became a book of exercises and explanations. I released the book last year, together with play-along videos on my YouTube channel. The series includes numerous exercises assembled for maintenance and development. You will see much of what I have learned from my own teachers as well as exercises from masterclasses in which I have been inspired by colleagues. The exercises provide ways to deal with the different challenges of playing horn, to remain fit, and to improve by regular application.
This system can be changed/adapted depending on daily mood and how much time is available for practice. There are seven sections which cover the most important playing parameters. I believe it is very important to deal with all seven parameters daily; it enables me to be completely and fully warmed up, even if I have just a little time to practice, and to proceed with a rehearsal, a concert, or another practice session. To that end, each section provides exercises which you can vary based on your ability and needs. Normally, I try not to start with extreme registers or dynamics since the muscles need to be warmed up—relaxed, comparable to athletic preparation. Only then can we expand downwards, especially upwards, and finally to advance to more extreme dynamics. Another basic principal of the system is to combine opposing parameters in one exercise—slow/fast, tongued/slurred, or forte/piano—in immediate succession so that our lips and the airflow can prepare for these real-world challenges.
Join the YouTube series, and happy practicing!
Student Column—Summer Music Festivals
by Inman Hebert
At this time of year, as horn students finish the fall semester, we must look ahead to summer opportunities. Music festivals serve as training programs for young professionals. These programs provide intensive experiences to learn orchestral repertoire and to gain professional performance experience in an immersive setting. The link below lists summer music festivals open to students in 2026.
In the early stages, to narrow your list of potential options, identify the cost of transportation, tuition, housing, and food, in combination with any potential scholarships which may be offered. Check your calendar for any conflicts, and understand that music festivals often require you to arrive earlier and stay later than the festival dates listed on the main website.
Audition lists typically include one or two concerto expositions along with selected orchestral excerpts. Some require that the video be played in a single take, while others allow submissions through multiple takes. Consider whether you already have these pieces prepared or if you have sufficient time to create a competitive presentation.
Explore the resources offered by the festival. What combination of rehearsals, performances, masterclasses, sectionals, private instruction, and competitions does the festival offer? Can you find the repertoire for summer 2026? Are biographies of musicians they accepted the previous year included? Learn about the faculty. Once you have completed your research, rely on your own teachers to help you focus your choices and prepare the auditions.
Understand the cost of the opportunity. Your limited resources may best be placed in a few well-crafted applications, and some of these may require recommendations, resumes, essays, and headshots—in addition to the audition video. No matter the outcome, investing time in preparing the audition repertoire will make you that much more well prepared for the next opportunity that comes your way.
Here are major offerings for summer 2026.
