Members, as you may be aware, the IHS Premier Soloist Competition is our primary award for promising young hornists, offering our soloists-of-the-future the chance to showcase their talents at the annual Symposium.

As part of our ongoing commitment to diversity, equity, and inclusion, we are currently consulting our members on how best to structure the repertoire requirements for future editions of the competition. We are particularly interested in creating requirements which challenge applicants both technically and musically while updating our repertoire to include works that go beyond the standard audition canon.

To that end, we want to hear from you! To submit suggestions, click here, log in with your member name and password, then scroll down to access the form. Please complete it by Wednesday, June 5, 2024. If you are not an IHS member already, please consider joining today in order to submit your suggestions and so that you may continue to participate in meaningful ways in the development of the IHS.

Our Competitions and Scholarships reformulation committee will review all suggestions in the selection process for new repertoire for the competition moving forward.

by Vidhurinda Samaraweera

Introduction

The southern coast of Sri Lanka will provide a picturesque backdrop for the world premiere of a captivating new composition by Italian composer Niccolò Faraci. Titled On the Wings of Music, this ten-movement work for horn, vibraphone, and strings offers an auditory feast that will resonate within the historic walls of the Dutch Reformed Church in Galle. The event will serve as a testament to the nation's growing reputation as a hub for premiering contemporary classical works.

Composition and Composer 

Composer Niccolò Faraci

Niccolò Faraci, a contemporary Italian composer, will be present in Sri Lanka to witness the work’s debut, an eloquent synthesis of serial writing and jazz harmonies. His piece harnesses the horn's versatility, color, and range, including its lower registers which border trombone timbres. The composition is also notable for the engaging interplay between solo horn and the complementary sounds of a vibraphone set against the backdrop of a full string orchestra.

Performance

Srimal Weerasinghe, Conductor

The Gustav Mahler Orchestra of Colombo, under the musical direction of Maestro Srimal Weerasinghe, will bring the complex and nuanced score of On the Wings of Music to life. I have the privilege of playing the solo horn part which is central to conveying the expressive potential of Faraci's work.

Cultural Significance

This premiere, a collaborative presentation of UNESCO, the Embassy of Italy in Sri Lanka, and the Gustav Mahler Society of Colombo, highlights a flourishing period for Sri Lankan music, as local and international composers increasingly choose the island as a locale for first performances. The Gustav Mahler Orchestra of Colombo has become a cornerstone in this cultural landscape, providing a platform on which new compositions may be heard and appreciated.

Venue and Attendees

The Dutch Reformed Church, Galle

The Dutch Reformed Church in Galle, recognized as a UNESCO heritage site, adds to the event's splendor, enhancing the cultural and historical significance of the occasion. The premiere will be attended by distinguished guests, including the Honorable Ambassador of Italy to Sri Lanka, the President of UNESCO—Sri Lanka, and numerous music aficionados, all of whom will bear witness to this unique premiere.  

Remarks

On the Wings of Music is more than just a new addition to the horn repertoire; it is a symbol of the vibrant international collaboration and cultural exchange thriving in Sri Lanka. The performance will celebrate not only the horn's rich sonority and versatility, but it also affirms the country's position as an important destination for the arts. The premiere signifies a bright future for contemporary composers in Sri Lanka and for the audiences who come to revel in their works.

by Inman Hebert

Many horn students seek paid opportunities to play the horn as they become more advanced. Finding these “gigs,” which can range from part-time orchestral work to playing at churches, can prove challenging. For students starting this search, understanding what is available in one’s local region and building interpersonal connections can unlock your first opportunities.

Research will help students identify opportunities in a geographic area. Students who live in a city will not need to look as far as those in more rural locations who may need to broaden their region to include nearby counties or parishes, states or provinces. Become familiar with the smaller, part-time orchestras, their schedules, principal horn players, and personnel managers. Also, delve into non-orchestral work possibilities, such as church performances, particularly in holiday seasons. Engaging with teachers and other professionals in the field can provide valuable insights into what is available, where and when.

Relative to orchestral playing, students can utilize websites (such as musicalchairs.info) for auditions available in their area. Some of these auditions will be for per-service work, and others may be for salaried positions. Additionally, some orchestras hold auditions for their sub lists, providing top players the chance to obtain work as substitute and extra players.

Opportunities can also be obtained through forming and maintaining interpersonal connections. Many orchestras do not hold auditions for their sub list, meaning players often land on these lists by knowing the principal horn player or the orchestra's personnel manager. Asking the principal horn players of local orchestras for lessons can initiate this connection. If one plays well, these lessons can secure them a place on the sub list for the orchestra. Also, be aware of the role of the local musicians’ union. Local unions often maintain lists of musicians from which employers hire. The horn community is interconnected, so our interactions with our peers, mentors, and others in the music community can determine whether we get referred for a “gig.”

After obtaining these first opportunities, we must always bear in mind that professionalism on the job influences subsequent invitations and future success. Professionalism often boils down to being prepared, on time, easy to work with, and respectful to new colleagues. While these steps sound simple, they are critical to building a positive reputation. Securing paid work performing as a horn student hinges on reputation and networking. It is crucial to establish yourself as a skilled, collaborative, and professional musician.

by Katy Carnaggio

When a horn player gets a request to teach a soprano singer, you know things are about to get interesting.

One chilly January morning, I opened my inbox to find a life-changing email. The sender, who we'll call “Beyoncé” for the sake of anonymity and dramatic flair, had spent the previous year auditioning for graduate programs in vocal performance. Though stunningly talented and powerfully expressive (as I’d soon learn), she had received no offers. Now back on the audition circuit with another disappointing audition under her belt, she was on the hunt for a teacher.

Her message melted my heart:

I find it virtually impossible to sing freely and openly. It’s a losing battle between my mind and body. I’ve tried breathing exercises and positive thinking, but no matter what, I end up in the same terrified, tense state.

I knew instantly that I was perfect for the job.

Of course, I had no singing skills and zero experience teaching vocalists, let alone the ability to speak loudly enough to be heard in a crowded restaurant. And opera? Not my specialty. But so what? I know a thing or two about body vs. mind battles, and I was determined to help.

What I didn’t know was what to expect for our first lesson. So naturally, I panicked and did what any rational person would do: I tried to learn everything! With her next audition just a week away, I spent 48 hours in impassioned hyperfocus, writing out everything I knew about performance science, organizing it into an easy-access database, and frantically filling in my knowledge gaps.

Now, before you get too excited, I should mention she ended up getting into her top-choice program, but it had almost nothing to do with my heroic database of answers. What quickly became clear was that she didn’t need answers. She needed questions to help her notice, trust, and follow the tiny sparks already within her that lit her path forward better than if the real Beyoncé herself had been in the room coaching her instead!

As a musician (and, really, in life), I’ve learned that when I’m struggling to move forward, it’s often because I’m trying to force an answer that just isn’t there. Instead, I need to step back and ask a different question. Interesting questions help us uncover approaches which are uniquely and perfectly suited to us—ones that no one else could ever offer. It’s not just our music that reflects our artistry. When we take a break from searching for answers externally and instead look within, our process, our way of being, and our connection with the audience all become expressions of our artistry, too.

So if you are trying to change something in your practice or performance, but you’re feeling stuck, I made this monthly reflection and planning guide for you! (Well, actually, I made it for “Beyoncé,” but you all can use it, too!)

It’s a simple start to help you track your wins, leverage your lessons, and give you essential info about how to get to where you want to go next.

Who knew that asking just the right questions could make designing a strategic plan for the month ahead easy, breezy, and fun!?

Click here to save it to your Google Drive for when you’re ready to knock out a planning session for June!