The Horn in Egypt
by Amr Abulnaga
There are two orchestras in Cairo, Egypt’s capital city: the Cairo Symphony Orchestra, and the Cairo Opera Orchestra, both of which provide full time positions with ten-month annual engagements. There is also a semi-professional orchestra in Alexandria on the north coast, the Alexandria Bibliotheca Orchestra, which performs once a month during their season.
Since I returned to Egypt in 2008, I have performed a few solo recitals. I also established the Cairo Horn Quartet and the Cairo Brass Quintet. These groups, regrettably, only lasted until 2017. Beyond these, there is normally little else in the way of regular featured horn performances or chamber music.
I have recently established the Mosaic quintet, a unique combination of musicians specializing in both Arabic and Western classical music. Besides myself, Hany Al-Badry performs on nay (or ney, a traditional end-blown flute), Mohamed Essam on piano, Ahmad Osman on double bass, and Hisham Kamal on percussion. Mosaic’s instrumental line-up recalls jazz combos in which one or more solo instruments (here, horn and nay) become the protagonists of the show, accompanied by a rhythm section. But in Mosaic, the horn adds a Western classical flavor while the nay provides the color of traditional Arabic music. The result is of interest to a large segment of the Egyptian audience which enjoys Western harmonies and Arabic melodies alike. The Western ear is not accustomed to the Arabic maqamat [musical modes], but the dialogue created between the horn and the nay appeals to those listeners’ tastes, as well. My colleagues and I share the same passion and the same inspiration, believing that we can present something new and “outside the box.” Mosaic’s concerts have been very successful, and this has encouraged us to continue our work and to think more deeply about realizing our mission.
We have three faculty members at the Cairo Conservatoire including myself and two senior faculty members, Khalaf Farag and Maha EL-Ghandour. Farag studied under Georges Barboteu in France in the 1980’s, and EL-Ghandour received her education in Cairo.
Generally, the horn is a less appealing instrument for Egyptian students because it is more expensive than trumpets or trombones. Additionally, music classes are not offered in the K-12 school system; the only place to learn the horn is to be admitted to the Cairo Conservatoire where we normally accept just 4 to 6 students annually. Another difficulty is the funding needed to obtain instruments so that performers and teachers can establish a community and events through which our future players can grow and flourish.
From the 1940’s to the 1970’s, Egypt had fine hornists, most of whom were foreign players hired from Europe. Today, while our numbers are still small, there are enough local players who are strong enough to fill the sections of the two orchestras in Cairo.
Amr Abulnaga
Dr. Abulnaga received his Bachelor of Music degree from the Cairo Conservatoire, a Master of Music degree from the University of Southern Mississippi, and his DMA from the University of Alabama in 2007. He has been a member of several orchestras both in Egypt and across the southern United States, and he has appeared as a soloist with many of these orchestras. He has performed as soloist on the recordings of Mozart’s Symphonie Concertante with the Orchestre Pour La Paix, and St. Säens’ Romance with the Alexandria Bibliotheca Chamber Orchestra.
Dr. Abulnaga is the former principal horn with the Cairo Symphony Orchestra. He currently serves as horn professor in the Cairo Conservatoire, and he is also a member of the faculty of The American University in Cairo where he teaches introduction to music, world music, and music fundamentals courses.
América Latina em duas novas vozes
por Gabriella Ibarra
Olá a todos da nossa maravilhosa e única comunidade de trompistas!
Da América -latina, tenho o prazer de apresentar a vocês dois novos projetos que nasceram durante estes últimos tempos de pandemia:, E POR QUE NÃO! e o Octeto Feminino Brasileiro, ambas as ideias têm mantido uma motivação constante para produzir conteúdos audiovisuais inovadores e com características muito bem definidas.
Graças aos seus criadores, pude obter em primeira mão uma contagem do nascimento, formação , participantes, lançamentos e status atual.
Verónica Guardia: ¿¡Y POR QUÉ NO!?
“É um projeto que nasceu do interesse de demonstrar a trompa em um palco completamente oposto e alheio à música clássica. YPQN é um projeto que nasceu de Daniel Zárate na minha pessoa, (Vero la Cornista) promovendo os estilos latino-americanos que temos em nossa música, como uma nova linguagem para a trompa. Normalmente a trompa francesa é catalogada como um instrumento sinfônico, mas há já algum tempo, pela mão de grandes trompistas, este instrumento começa a fazer parte de casts de jazz, salsa, merengue, reggaeton, entre outros.
A ideia deste projeto é continuar promovendo novos artistas emergentes que estão envolvidos nesses estilos musicais. Sem descurar os nossos grandes expoentes.
Em 2021, tivemos três versões, com a presença de grandes mestres de diversos países da América Latina, como Nuez Orquestra do Chile, Emilio Galvez do Chile, Claudio Bande da Argentina, Arturo Ortiz do México, Víctor Prado do Brasil, Melany León do Equador, Diego Parra da Colômbia e a coctelera del indio da Espanha... Encerramos também com um especial, com a presença de grandes trompistas do mundo da música popular como Joshua Pantoja, Giovanni Hoffer, Pau Moltó, Dante Yenque.
Para este ano de 2022 estamos programando as novas temporadas, com novos temas e novos convidados. Você não pode perdê-los!!
Não se esqueça de se inscrever no canal do YouTube YPQN FRENCH HORN e nos seguir em nosso Instagram para fazer parte de nossas interações semanais
@y_porque_no_frenchhorn”
Paula Guimarães: Octeto Feminino do Brasil
“O OFB - Octeto Feminino do Brasil - surgiu como uma tentativa de reunir mulheres trompistas brasileiras de diversos estados para trocarmos experiências e tocarmos em uma formação que ainda não é muito explorada no país. Inicialmente, nos reuniríamos no encontro da ATB - Associação de Trompistas do Brasil - em 2020, porém os planos mudaram completamente por causa da pandemia. Então, eu decidi entrar em contato com as trompistas que eu sabia que iriam aceitar começar o projeto mesmo que de forma totalmente online e marcamos uma reunião para colocar em prática a realização desse grande sonho. Ao lançarmos nossos primeiros vídeos, a comunidade brasileira de trompistas apoiou totalmente a ideia, nos incentivando a continuar e contribuindo com partituras, sugestões e parcerias. As mulheres e meninas trompistas brasileiras, para quem especialmente dedicamos nossos vídeos, automaticamente abraçaram a ideia e começaram a se enxergar através desse trabalho, o que certamente nos motiva a continuar todos os dias. Houve dois destaques no ano de 2021. Primeiro, conseguimos realizar o projeto Série Mozart, onde gravamos um arranjo para quarteto e solista convidada de um movimento de cada concerto de Mozart para trompa. Depois, para o encerramento do ano, lançamos em dezembro um vídeo muito especial da canção Bohemian Rhapsody (Queen), muito conhecida no mundo inteiro, que contou com a participação de muitos convidados, tendo um total de 31 músicos. Esperamos muito em breve poder nos reunir pessoalmente pela primeira vez e estamos ansiosas pelo caminho que ainda iremos trilhar!”
Para curtir o último vídeo e se juntar ao canal do Youtube dele, siga o link abaixo:
https://youtu.be/tMxXEzNsCo0
Como membro desta comunidade, é maravilhoso ver como a América Latina está se envolvendo cada vez mais com todos os tipos de atividades da Sociedade Internacional de Trompistas e mais uma vez: todos são bem-vindos!
Latinoamérica en dos nuevas voces
por Gabriella Ibarra
¡Hola a toda nuestra maravillosa y Única comunidad de cornistas!
Desde Latinoamérica estoy feliz de presentarles dos nuevos proyectos que nacieron durante estos últimos tiempos de pandemia: ¿¡Y POR QUÉ NO!? y el Octeto Femenino del Brasil. Ambas ideas han mantenido una motivación constante por producir contenidos audiovisuales novedosos y con características muy bien definidas. Gracias a sus creadoras pude obtener de primera mano un recuento del nacimiento, conformación, participantes, lanzamientos y el estado actual.
Verónica Guardia: “¿¡Y POR QUÉ NO!?, es un proyecto que nace a raíz del interés de demostrar el corno francés en una etapa completamente opuesta y ajena a la música clásica. YPQN es un proyecto que nace de Daniel Zárate y mi persona (Vero la cornista) para promover los estilos latinoamericanos que tenemos en nuestra música, como un nuevo lenguaje para el corno francés. Normalmente el corno francés está catalogado como un instrumento sinfónico, pero desde hace un tiempo atrás y gracias a grandes cornistas, el instrumento está empezando a formar parte de elencos de jazz, salsa, merengue, reggaetón, entre otros.
La idea de este proyecto es seguir promocionando artistas nuevos, emergentes que se involucran en estos estilos musicales. Sin dejar de lado a nuestros grandes exponentes.
El año 2021, hemos tenido tres versiones, contando con la presencia de grandes maestros de diferentes países de latinoamérica como son la Nuez Orquesta de Chile, Emilio Galvez de Chile, Claudio Bande de Argentina, Arturo Ortiz de México, Víctor Prado de Brasil, Melany León del Ecuador, Diego Parra de Colombia y La Coctelera del Indio desde España... Además cerramos con un especial, con la presencia de grandes cornistas del mundo de la música popular como Joshua Pantoja, Giovanni Hoffer, Pau Moltó, Dante Yenque.
Para este año 2022 nos encontramos programando las nuevas temporadas, con nuevas temáticas y nuevos invitados. No te los puedes perder!!
No sé olviden suscribirse al canal de Youtube YPQN FRENCH HORN y seguirnos en nuestro Instagram para ser parte de nuestras interacciones semanales
@Y_porque_no_frenchhorn”
Paula Guimarães: El OFB - Octeto Femenino de Brasil surgió como un intento de reunir a las mujeres cornistas brasileñas de diferentes estados para intercambiar experiencias y tocar en una agrupación que aún no es muy explorada en el país. Inicialmente, nos reuniríamos en el simposio de la ATB - Asociación Brasileña de Cornos - en 2020, pero los planes cambiaron completamente debido a la pandemia. Así que decidí ponerme en contacto con las cornistas que sabía que estarían de acuerdo en iniciar el proyecto, aunque fuera completamente de forma remota, y planificamos una reunión para poner en práctica la realización de este gran sueño. Cuando lanzamos nuestros primeros videos, la comunidad de cornistas brasileños apoyó totalmente la idea, animándonos a continuar y contribuyendo con partituras, sugerencias y asociaciones. Las cornistas brasileñas, a quienes dedicamos especialmente nuestros videos, automáticamente abrazaron la idea y comenzaron a verse a sí mismas a través de este trabajo, lo que ciertamente nos motiva a continuar todos los días. En el año 2021 hubo dos hitos. Primero, logramos llevar a cabo el proyecto Mozart Series, donde grabamos un arreglo para cuarteto y solista invitado de un movimiento de cada concierto para trompa de Mozart. Luego, para fin de año, lanzamos en diciembre un video muy especial de la canción Bohemian Rhapsody (Queen), muy conocida en todo el mundo, que contó con la participación de muchos invitados, con un total de 31 músicos. ¡Esperamos poder reunirnos en persona por primera vez muy pronto y esperamos con ansias el camino que tenemos por delante!”
Para disfrutar del último video y unirse a su canal de Youtube, sigan el enlace a continuación: https://youtu.be/tMxXEzNsCo0
Como miembro de esta comunidad, es maravilloso ver cómo Latinoamérica está cada vez más involucrada con toda clase de actividades en la Sociedad Internacional de Cornistas y una vez más: ¡todos son bienvenidos!
Latin America in Two New Voices
en español
em portuguêsby Gabriella Ibarra
Hello wonderful One horn community!
From Latin America, I am happy to present to you two new projects that began during the pandemic: ¿¡Y POR QUÉ NO!? and Octeto Feminino do Brasil. Both have been working with the motivation to produce innovative audiovisual content with distinguishing characteristics. Thanks to their creators for providing us with first-hand information on the genesis, configuration, participants, releases, and current status of the projects.
Verónica Guardia: ¿¡Y POR QUÉ NO!? (AND WHY NOT!?)
“This project was born as a result of the interest to show the horn in a setting completely opposite and alien to classical music. YPQN is a project that arose from Daniel Zárate and myself (Vero la cornista) to promote Latin American musical styles as a new language for the horn. Usually, the horn is intended to be a symphonic instrument; but thanks to numerous fine horn players, the instrument is beginning to be a part of jazz, salsa, merengue, reggaeton, etc. The purpose of this project is to continue promoting new and emerging artists who are involved in these musical styles without neglecting our great past.
“In 2021, we had three releases which included contributions from great players from several Latin American countries: Nuez Orquesta and Emilio Galvez from Chile, Claudio Bande from Argentina, Arturo Ortiz from Mexico, Víctor Prado from Brazil, Melany León from Ecuador, Diego Parra from Colombia, and, from Spain, La Coctelera del Indio; and we concluded with performances by great horn players from the world of popular music: Joshua Pantoja, Giovanni Hoffer, Pau Moltó, and Dante Yenque.
“For 2022, we are programming the new season with new themes and new guests. You shouldn't miss them!
“Don't forget to subscribe to our YouTube channel, YPQN FRENCH HORN, and follow us on Instagram to be part of our weekly activities: @Y_why_not_frenchhorn”
Paula Guimarães: Female Octet of Brazil
“The OFB, Female Octet of Brazil, emerged as an attempt to bring together Brazilian women horn players from different states to exchange experiences and play in a format that is not yet widely explored in the country. Initially, we were to meet at the symposium of the ATB (Brazilian Horn Association) in 2020, but the plans completely changed because of the pandemic. So, I decided to get in touch with the horn players that I knew would agree to start the project, even if it was completely online, and we arranged a meeting to put into practice the realization of this great dream. When we released our first videos, the community of Brazilian horn players fully supported the idea, encouraging us to continue and contributing with scores, suggestions, and partnerships. Brazilian women and girl horn players, to whom we especially dedicated our videos, automatically embraced the idea and began to see themselves through this work, and this genuinely motivates us to continue. There were two highlights in 2021: first, we managed to carry out the Project Mozart Series in which we recorded an arrangement for quartet and guest soloist of one movement from each Mozart concerto; then, for the end of the year, we released a very special video of the song Bohemian Rhapsody (Queen) in December—very well known around the world—which had the participation of many guests for a total of 31 musicians. We are looking forward to being able to meet in person for the first time very soon and to the road ahead!”
Enjoy their latest video and follow them on Youtube.
As a member of this community, it is great to see how Latin American horn players are becoming more and more involved with all kinds of activities related to the IHS—and, once again, everyone is welcome!
IHS 54 Exhibitor Video
Meet the Manila Symphony Horns
by Michael Estrella
They are not just a group of horn players, they are a family who makes music together.
Dennis, Michael, Jovina, and Celso (L-R in the photo) constitute the horn section of the 96-year old Manila Symphony Orchestra (MSO), one of the oldest orchestras in Asia, and the most active, living artistic institution in the Philippines. Although the players vary widely in age, their passion for playing makes it natural for them to keep learning and mastering their craft for the benefit of their section and, certainly, of the orchestra to which they belong. It is not just about playing their instruments; it is about tuning into each other and harmonizing with the music and the collective whole.
Let’s get to know the horn players of the Manila Symphony Orchestra:
Celso De Leon Jr. was born into a family of musicians and has been playing the horn for several decades. He started to play the instrument at age 10 under the guidance of his uncle, Virgilio De Leon, a clarinetist, and he is the third generation in his family to become a member of the MSO. Celso was one the pioneering members when the MSO was reorganized in 2001, and he is currently principal horn. Although Celso studied Business Management at the University of the East in Manila, music is his passion. He pursued his career as a horn player under the tutelage of Prof. Leopoldo Lopez and Danielle Kuhlman. Aside from his work in MSO, Celso has also been a member of the Manila City Band since 1987.
Michael Estrella has been a member of the Manila Symphony Orchestra since 2014 and is currently assistant principal of the section. In 2020, he was named first runner-up in the Philippine Hornplayers Society’s First Leopoldo Lopez Horn Competition in which he performed Richard Strauss’ Andante for Horn and Piano. In the same year, he also won 2nd place in the individual French Horn/Mellophone Open Class in the Asian Virtual Championships, a well-known marching band competition. Michael was the principal horn player for the Bureau of Fire Protection NCR Marching Band in 2009. He was recently appointed to be a leader and teacher of beginner musicians of the marching band, Malabon Banda Cuatro. He remains active in chamber music (woodwind and brass quintets), and he is also a member of Philippine Hornplayers Society.
Dennis Cruz was also one the pioneering members when the MSO was reorganized 21 years ago. He was born into a family of musicians and started learning music when he was 10 years old. He earned his Bachelor of Music degree in French Horn and Percussion at the University of the Philippines in the classes of Prof. Leopoldo Lopez (horn) and Prof. Leo Roque (percussion). Dennis has served as a percussion mentor for the Darangan Drum and Bells in 2016, Mabuhay Drum and Bells in 2018, and Dona Justa Guido Madrigal Drum and Bells from 2017-2019. He was a member of The Metro Manila Community Orchestra (2000-2001) and UP Symphonic Band (1994-1996). Along with the MSO, Dennis is also presently a member of Quezon City Symphonic Band and Binangonan Youth Band 83.
Jovina Francisco-Halcon’s love for playing the horn began when she attended a camp held by the Philippine Youth Symphonic Band in 2004. She continued to participate in the music camps, and this had a profound impact on her as it enabled her to develop her playing and so ignited her passion for the instrument that she decided to pursue a degree in music. Jovina graduated with her Bachelor of Music degree in French Horn from the University of the Philippines (UP) Diliman, having studied with professors Leopoldo Lopez, Neptalie Villanueva, and Mahler Villanueva. While pursuing her degree, she was a member of the UP Symphonic Band and the UP Orchestra. Jovina joined the Manila Symphony Orchestra in 2015, right after her graduation.
As individual musicians and as a group, the MSO horns work constantly to cultivate their sensitivity to the sound of every note, practicing not only their orchestral pieces but also horn quartets to maintain the tightness of the section, and to improve ensemble playing and harmony with the rest of the orchestra. Following the lead of their principal and working collectively, they create a more melodic, cohesive sound that leaves the audience in a place of awe.
A Tribute to Dale Clevenger
by David Griffin
Dale Clevenger and David Griffin together in Salzburg, Austria.
(photo credit Todd Rosenberg)
Many people will remember Dale for his epic Mahler and Strauss horn calls, his fearless rides into the stratosphere, and his endlessly long lyrical lines. Of course, those are all very true and memorable, but I will most remember Dale for his kindness and patience when I was a new member of the Chicago Symphony Orchestra horn section.
Rather than pointing out shortcomings, Dale did whatever he could to encourage and welcome newcomers. Suggestions were few and far between, which greatly helped a new player feel comfortable in an unfamiliar situation. On the rare occasion when Dale addressed the horn section in rehearsal, he always phrased the request in the politest form possible.
After I had been in the CSO for about a year, I mentioned to Dale that he never seemed to be worried about anything. He looked me straight in the eye and said, “David, I’m a very good actor.” I suppose so, because his outwardly carefree attitude, during even the most high-pressure situations, demonstrated to the section that communicating the musical content took precedence over just hitting right notes on the horn. In my lessons with Dale, he spoke about “controlled abandon” as a goal for performances. Later as a colleague, what incredible joy it brought me to hear him up close in the orchestra, performing so fearlessly and with controlled abandon.
Dale’s spot-on imitations of conductors kept us laughing. Speaking of conductors, none ever rattled him. Rather, the occasional inexperienced conductor might quickly learn not to try and fix what wasn’t broken.
Everyone has their own favorite playlist of Dale’s greatest moments, on which I cannot improve. An interesting comparison, though, would be to listen to Mahler’s Third Symphony with then-Music Director Jean Martinon conducting the orchestra in a live performance from 1967, Dale’s “freshman year.” He sounds very good, but in hearing that recording, there’s no way to imagine the type of musician and horn player into which Dale would evolve. Given the chance to serve as CSO’s principal horn, Dale seized the opportunity and performed in a manner that raised expectations for all horn players in ways previously unimagined.
The 20th century is well documented with many commercial and live recordings of the entire orchestral repertoire. No one sounded like Dale prior to his tenure—although not long after establishing himself in the CSO, everyone was trying to sound like him. Dale was a pivotal artist who forever changed orchestral horn playing.
Some have described the first horn role as “either bored to death or scared to death.” Nothing could be further from the truth for Dale who lived for the finest details: smooth, legato lines with a clear sense of forward direction, an infinite variety of articulations, and the most dramatic dynamic level for the moment. He took equal pride in accompanying colleagues in a breathtaking pianissimo as in riding on top of the full brass section in a massive Bruckner chorale.
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| CSO horns section in St. Petersburg, Russia April, 2012. Clevenger, Jim Smelser, David Griffin, Oto Carillo, Sue Gaunt, and Dan Gingrich (photo credit Will Berndt) |
Like his music-making, which was always moving towards a higher level, Dale became his best person in his golden years as evidenced by a selfless devotion to his students and a genuine care for others. I will miss Dale’s unexpected phone call just to check in on me and catch up on the news.
Thank you Dale! Your glorious horn playing and passion for great music making will continue to inspire me forever.
