by Caiti Beth McKinney

Hi everyone!

In honor of the 56th International Horn Symposium, I wanted to write about a composer I adore—and, coincidentally, whose music I will be performing at IHS 56—Barbara York. While perhaps known more as a proponent of low brass chamber music, her works for horn are both challenging and rewarding.

Born in Canada in 1949, York studied both cello and piano as a child, demonstrating such skill and dedication that she began her bachelor’s degree at McGill University at age 16 and graduated by the age of 20. Barbara spent early periods of her career working in musical theater, elementary music education, and, perhaps most importantly, collaborative piano. Upon accompanying a tuba player, Michael Fischer, at his recital at Pittsburg State University, York was inspired by the dulcet tones of solo tuba playing and requested to write a piece for Fischer; thus began a long and fruitful career of over forty works for tuba or euphonium.

One of my favorites among York’s works is her trio for horn (or euphonium), tuba, and piano entitled Dancing with Myself, which the composer describes as a bit of “Bohemian Barbara,” reminding herself of her youthful days in Montréal. Clearly inspired by dance styles including jazz, tango, and polka, the piece interweaves all three instruments to great effect, creating a conversation between the performers, while also being deeply introspective and personal. Barbara spoke about the piece in an interview, discussing her thoughts on the work and its reflection of a past relationship, stating, “…then I realized that he didn’t want to have a discussion with me. He wanted to instruct me. I was trying to talk to him, but he wasn’t talking back. I was just really talking to myself, which was interesting…. There was no two-way communication going on. He wasn’t having any kind of discussion. When I did the story about going home at night by myself dancing because I wasn’t dancing with myself, I also thought about the fact that when you’re young, you’re so concerned with finding who you are and your own self-image. Figuring out who you are.”

York also composed several brass quintets, a suite for horn, euphonium, and piano, and an outstanding sonata for horn which is well worth a listen. Wishing everyone a fabulous August—and thank you for reading the Horn and More Composer Spotlight!

by Inman Hebert

As we prepare to begin a new academic year, I surveyed five horn professors about what they wished their students would know coming into college and asked for some general suggestions as students prepare for a major in music.

Dr. Jennifer Ratchford Sholtis, Professor of Horn, Texas A&M University-Kingsville, described the expectations a “fresh-faced freshman” would ideally bring with them to “tackle both the horn and academic worlds.”

“On the horn front, they've got a clear tonal concept, can breeze through major scales, their range hits a solid F2 all the way up to a C6, and their natural horn lip slurs flow like a river.

But it's not just about the music. To succeed at college life, they manage their time well, sticking to set schedules. They are fueled by their own ambition, never backing down from a challenge, and they have high standards when it comes to schoolwork. Plus, they have an insatiable curiosity, always wanting to dive deeper into whatever crosses their paths.

That's the dream combo for a freshman ready to take on both the horn and the college world.”

Bernhard Scully concurs in the need for “time management skills, general musicianship skills—including improvisational and compositional skills, writing skills, and interdisciplinary skills.”

Other professors reflected on exposure to musical concepts. Johanna Lundy, observes that “many high school students don’t have experience reading in bass clef or working with transposition.” She recommends starting “on both early for an easier transition to college.”

Desiring students to be ready with a “good background of major scales beyond the standard patterns” and an understanding of “basic [music] theory knowledge and vocabulary” underpinned the comments from Lanette López Compton. She also believes that “knowledge of repertoire from orchestral to solo, because it’s so accessible, would show genuine curiosity in a student.”

Dr. Martin D. King emphasized the word musicianship. “Basic musicianship is more important to me than specific skills on the horn. Being able to sight-read, play scales and arpeggios, and ensemble skills set students up for success. The specific horn skills and techniques are so much easier to teach if students are strong musicians.”

When asked about their suggestions for students, many thoughts centered around managing time. Johanna Lundy emphasizes this skill:

“Time management is another challenge for students transitioning into college. You think that you will have lots of free time! But it’s really just more unstructured time—if you spend it doing your assignments, you’ll be fine! If not, things will pile up quickly as the semester goes on. Start by creating a regular practice schedule and enter the times into your calendar. It’s easier to get the work done when it is visible in your schedule.”

Bernhard Scully asserts, “Music is a practiced art, and it is important to establish a consistent routine for practice.”

“Students need to embrace [a] ‘pay now, play later’ mindset. That means hitting the books and the practice room before chillin' with your buddies, diving into your favorite video game, or burrowing into your bed for a nap!” Dr. Jennifer Ratchford Sholtis

Some comments centered on the demands of college. “I know a lot of students who were surprised by how challenging music theory and piano proficiency classes could be. Any time you can put into these subjects before college will make things easier for you! For those already in college, don’t be afraid to ask for help if you don’t understand a theory concept. Bonus: taking piano lessons will help you learn about and better understand music theory.” Johanna Lundy

Others articulated the need for students to press beyond the familiar. “Read something that is new every day. Sight-reading should just be every-day reading of music. Always play something you are good at and love to play…but most of each session should be working on something new and not exactly comfortable. Spend time working on parts of playing that need attention, especially if you have the tools to do it.” Lanette López Compton

“A little nugget of wisdom: if something scares you, that's probably the exact thing you need to tackle head-on. It's all about pushing past those comfort zones.” Dr. Jennifer Ratchford Sholtis

The responses also included a helpful reminder to stay focused on our goals. “Plaster your goals all over your room. Make them impossible to ignore when you roll out of bed in the morning. Then, break them into smaller mini-goals that'll keep you on track to achieving those big dreams.” Dr. Jennifer Ratchford Sholtis

While focusing on goals, others prompted students to remember the importance of the journey. “Listen to lots of music, play in every possible different type of ensemble. Also, be patient. Learning to play the horn will take a lot of time. Students should focus more on practicing the right things every day and trust that the results will come in time.” Dr. Martin D. King

“School is a place where one can gain a broad perspective on music and begin to explore in many areas. My suggestion is to practice your horn as much as you are reasonably able to…get your playing fundamentals under control and get as broad an understanding of music as possible, ideally combining with a double major or as much comprehensive schooling and cross-discipline as possible to prepare oneself for the rapidly evolving landscape of the 21st century.” Bernhard Scully

Acknowledgments

Dr. Martin D. King, Assistant Professor of Horn, Washington State University
Lanette López Compton, Professor of Horn, Oklahoma State University
Johanna Lundy, Associate Professor of Horn, The University of Arizona
Dr. Jennifer Ratchford Sholtis, Professor of Horn, Texas A&M University-Kingsville
Bernhard David Scully, Horn Soloist, Artistic Director of Cormont Music and the Kendall Betts Horn Camp, Associate Professor at University of Illinois at Urbana-Champaign, former horn of Canadian Brass

by Ian Zook

Volume 16—Vitaly Buyanovsky 

This month, we will honor Vitaly Buyanovsky, a prolific performer, teacher, and composer who famously exemplified the characteristics of the Russian school of sound and interpretation. Buyanovsky recorded several albums, many of which have been compiled into a collected multi-volume set on compact disc released by a Russian label and available only as an import. The pieces we will examine, Beethoven’s Rondino in E-flat Major for Wind Octet and Sextet in E-Flat Major, Op. 71 for two clarinets, two horns, and two bassoons, still remain available only on the 1970 Melodiya vinyl release.

Vitaly Mikhaelovich Buyanovsky (1928-1993) was born in Leningrad (St. Petersburg) and raised in a musical family. His horn studies began with his father Mikhael Nicolaevich Buyanovsky who was principal horn of the Kirov Opera Orchestra and professor of horn at the Rimsky-Korsakov Conservatory. At 18, Vitaly joined his father in the Kirov section and also continued his academic studies, earning a master’s in art criticism and producing a doctoral thesis centered on Tchaikovsky’s scoring for horn in his symphonies and operas. In 1955, Buyanovsky became solo horn of the Leningrad Philharmonic under conductor Yevgeny Mravinsky and was also appointed to the faculty of the Conservatory. Additionally, he taught at the Music High School and maintained his teaching and orchestral performing throughout the next 40 years of his career. 

Hailed as a beacon of Russian artistry, Buyanovsky earned notable accolades, winning the International Reicha Competition in Prague in 1953 and the International Competition in Vienna in 1959. He made numerous recordings for the state-run Melodiya label, resulting in over three dozen interpretations of repertoire, including the Mozart concerti, Britten’s Serenade, numerous chamber works, as well as many of his own compositions. Buyanovsky described the Russian horn tradition as a combination of the Western romantic-classical style and Russian sacred vocal music that is present in the works of the great Russian composers until Shostakovich, and his recordings exemplify this beautiful lyrical merging. 

While many may be familiar with Buyanovsky’s compositions through his Four Improvisations (from Traveling Impressions)—and even moreso through the Espãna movement—he was a prolific composer across a breadth of genres. In summary, he either composed, arranged, or edited over forty-eight works, ranging from solo works for trumpet, trombone, horn, and timpani, to ballet scores, quintets for both brass and woodwinds, and several other chamber configurations. 

The International Horn Society bestowed on Buyanovsky Honorary Membership in 1985. 

Beethoven’s horn chamber works for horn are well-known, principally his Quintet for Piano and Winds in E-Flat, Op. 16, the Sonata for Horn in F and Piano, Op. 17, and the Sextet for Two Horns and String Quartet in E-Flat, Op. 81b. Much less frequently performed are the contents of this recording, the Rondino for Octet and the Wind Sextet, Op. 71. 

While these pieces do not feature the horns to the degree of virtuosity of the Sextet, Op. 81b, the precise ensemble and light timbre of the horns are noteworthy. Buyanovsky is joined by Vladimir Shalyt playing second horn in these chamber selections.

The Rondino begins with the melody in the first horn, harmonized by second bassoon. Curiously, Beethoven places the horns first in score order above the other winds, leading the way formally with this idiomatic opening:

The conclusion of the Rondino also features the horns with an indication to play the echoing calls con sordino. Buyanovsky and Shalyt opt to play shaded dynamics to achieve this effect as timing for a mute change is treacherous unless the senza tempo indication is truly indulged.

Beethoven’s use of the horns in the Sextet, Op. 71 is largely supporting rhythm and harmony, with a few standout moments. At the end of the first movement Allegro, the second horn is treated with an arpeggiated outburst to propel the closing coda:

In the final movement Rondo of the Sextet, Op. 71, the horns provide much of the underpinning dotted eight-sixteenth rhythmic motor. Again, divided triplets between the two horns accelerate the rhythmic rate of the tempo, so Buyanovsky and Shalyt let loose with vigor for a bombastic ending to this charming wind chamber work:

There is a rich trove of recordings and compositions Buyanovsky created to share his singular and characteristic musical craft with us all. Seek them out and be inspired. Thanks for reading Horn on Record!

by Katy Carnaggio

Here’s Why Developing Expertise Is So Hard (and how to enjoy it more)

When we work to improve our skills, we’re trying to transform something that requires conscious effort into something we can do easily and automatically. Think about riding a bike: at first, you wobbled and focused on every little movement. Now, you just hop on and go!

But here’s the kicker: expertise isn’t about finding and sustaining ease. It requires continuous and systematic effort to stretch your comfort zone further and further. Expertise involves the aspiration to improve and is thus resistant to automaticity. If you settle in that place of hard-fought ease for too long, research indicates that your skills can start to slip.

The Common Sidequest: How to Stay Focused

Many people hit a satisfactory level of quality and automaticity and then get stuck. They find it hard to stay focused because the skill no longer requires much mental engagement. But zoning out leads to mistakes, skill deterioration, and even anxiety. So, what’s the middle ground?

Seek The Extra Mile

Expert performers develop increasingly complex mental representations to attain higher levels of control and awareness. It’s like increasing the power on a microscope because you're curious to see a more complete picture—finer details, nuance, and relationships.

When we are curious, focus comes naturally. It's not difficult to get lost in a good book or show—you’re eager to find out what happens next. That same curiosity can continually add clarity to your ideas, refine your skills, and help you avoid the traps of overthinking or mindlessness.

So if you’re struggling with focus or feel stuck on a plateau, try training your curiosity instead. There are, in skilled action, several levels of bodily consciousness that cannot all be reduced to deliberate thinking or reflection. Yet, curiosity evokes wonder, receptiveness, allowance, and awareness. It opens us up to the kinesthetic logic of our bodies, allowing more effective exploration than verbal direction.

How to Practice Total Absorption in Music

Try this the next time you listen to your favorite hornist perform:

First, take a moment to settle your thoughts. Then, as you listen to the music unfold, vividly imagine that you are creating the sounds you hear. Consider: “If I were to play like that, how would I? and how would it feel?” Notice how your body naturally adjusts in subtle ways from head to toe. You might notice differences compared to your habitual approach, as certain places become supple, responsive or open and others engage to stabilize and support. Consider the breath, sensing where it originates and how it energizes, fills, and rests.

Then, listen beyond kinesthetics to horn sounds. Turn that aural microscope up to a higher power and challenge yourself to find more details about which to be curious. What is happening during the fronts, middles, and ends of notes? What shapes, vowels, colors, contrasts, connections, emotions, and silences do you hear?

Listen beyond the horn to everything in and around the piece: texture, interaction, other voices, balance, twists, and synergy. Strive to hear the composer’s presence; ask, “Why did they choose that note over another?”

Your curiosity will naturally lead you to more questions that will expand your abilities and genuinely interest you. However, it may take a few tries to find it. Listening is a fantastic way to practice without the added complexity of the instrument.

Hone Your Edge Daily

Expert performance is more than just creating inspiring sounds with purpose and precision; it's about demanding more of yourself day in and day out. Expertise thrives on humility and a willingness to be amazed by something you've known for so long. Even on days when you're not feeling it, commit to searching for that spark of intrigue. Go deeper instead of mindlessly executing. Allow curiosity to lead you beyond "pretty good," beyond anxiety, beyond boredom, into skills that stretch and fascinate you!