Student Horn Competitions at Horns on the Horizon: IHCA & IHS 56

by Inman Hebert

For student horn players, competitions can be our greatest fear but also our crowning achievements. While competing may (understandably) stress out many students, these events benefit all who participate, not just the winners. The preparation process and the experience of competing can prepare young horn players for that venture into the professional world in search of a job. Below, I have listed the horn competitions occurring this summer at and immediately before the International Horn Symposium. Each of these competitions offers unique opportunities for student horn players to develop their playing and gain valuable performance experience.

Having command of solo repertoire is important for any student horn player and is part of university auditions, recitals, job searches, and performances. For 2024, the International Horn Competition of America (IHCA) is hosting its biennial solo horn competition from July 26 to July 29, 2024, in conjunction with but preceding the International Horn Symposium at Colorado State University in Fort Collins, Colorado.

This solo horn competition hosts both a professional and university division. For the student division, the competition is open to all nationalities, but students must be enrolled at a university, no older than 26 years of age, have never signed a full-time performance contract, and have not been a previous division winner. High school students may participate with legal permission from an adult. The registration fee increases after March 31, 2024.

The first round requires an in-person performance of the first movement of a Mozart Concerto, no. 2, 3, or 4, with one rehearsal allowed with an IHCA accompanist. Original piano scores must be provided, but use of your own accompanist is permitted for the first round only. In addition, students will also perform one of the listed works for unaccompanied horn. Performers are expected to wear concert attire and are encouraged to perform standing; however, memorization at this level is optional. The semi-final round includes a choice from a list of works for horn and piano, whereas the final round consists of one of four complete concerti. See the IHCA’s university division repertoire for a full list.

Judges may name finalists, award first and second, or choose a combination depending on the performances. Regardless of the results, the most important part of IHCA is that all contestants will be provided copies of the judges’ evaluation sheets and be allowed to consult with adjudicators. This means that students can gain live feedback from distinguished horn players across America. The manner in which students constructively work through their IHCA comments to develop will define the success of their IHCA experience, not the results themselves.

A reminder that the International Horn Society (IHS) has a tab under Programs for Awards and Performance Contests. One event featured here is the IHS Premier Soloist Competition held at the IHS Symposium from July 29 to August 2, 2024. Hornists under 28 years of age planning to attend the IHS symposium must apply before March 18, 2024, and submit a mp3-format recording of the three repertoire requirements. Judging is based on anonymized recordings, and up to five finalists will be invited to perform the same concerto submitted to the judges. Awards include cash prizes and a one-year IHS membership.

At the Symposium, the IHS also hosts Frizelle Orchestral Audition Contests for full-time students under 25 years old. For the High Horn and Low Horn categories, judges may choose winners who will receive an orchestral coaching session and a free one-year IHS membership. Online registration remains open until July 17, 2024. These contests provide students with an opportunity to simulate orchestral auditions. Also, students with a weaker horn register can prepare the excerpts for that category, which gives them pieces to structure the development of their range. Judges at the competitions provide feedback sheets that help students understand their mistakes in the audition, which can inform their future work on the excerpts. Through this process, students can become better prepared to join the professional world.

Students under the age of 24 seeking financial assistance to attend the IHS symposium may apply for the Jon Hawkins Memorial Award by March 20, 2024. The application requires three short essays describing your background, future goals, and financial situation related to your plans and a recording of two contrasting works. In addition to cash assistance to attend IHS, the winner receives a private lesson or masterclass at the Symposium, gives a solo performance, receives a copy of Werner Perlinka’s Concerto for Jon, and a one-year IHS membership. I cannot place enough stress on the importance of this award. Attending an IHS Symposium offers an invaluable chance for students to gain inspiration and compete in the mentioned competitions, which can help wonderfully in their development.

As horn students, we must embolden ourselves to face the mettle of competing. Even if the results do not go our way, the process of preparation will prove valuable. This summer, the International Horn Symposium offers a chance for students of all ages and classifications to participate in the competition experience. Fellow students, come to the IHS symposium and compete!

by Katy Carnaggio

I know, I know…every musician on the planet enjoys performing the way they practiced.

“It’s exactly how I wanted it to go!” Right? And who doesn’t love getting what they want!

But you know what’s even better? Getting something beyond what you could imagine.

Let’s face it, we all know what it’s like to want something and work really hard for it, only to fall short. Yet, often, when you look back, you’ll find plenty of reasons to thank your lucky stars you didn’t get what you wanted. You shot for the moon, missed, but got a whole new galaxy instead!

And yes, there is power in developing NASA-levels of predictability…in the practice room. You want to be able to clearly envision every detail with commitment and confidence.

But in live performance, if you know everything will happen exactly the way you want, you take away unpredictability. If you take away unpredictability, you take away vulnerability. And without vulnerability, we lose the opportunity to create a deep and meaningful connection with our audience. All those incredible unplanned moments of transcendence? Gone.

So how do you surrender to unpredictability while having enough foundation to share what you planned? A simple pregame routine will do the trick. Let’s break it down:

First up, assess yourself to find your strengths. Review your successes, consult your practice journals, coach yourself, affirm your readiness. Remind yourself of the best parts of you!

Then, assess the situation. Ahead lies a task, an opponent, and a space where it all unfolds. A great pregame routine prepares you to navigate any one or all of these:

• Task: While we definitely set out to do things like win auditions or impress audiences, these are desired results, not tasks! The true task is to stay focused on executing your process moment by moment. This means that you’re present with the sounds you want to create, the lines you want to spin, and the narrative you want to express. Prime yourself by connecting directly to your process: center yourself, be present, review a key process cue…or two!
• Opponent: A challenging opponent keeps any game interesting, and performance is no different. But rather than a person, your opponent is the thoughts or situations that tempt you to abandon your self-trust. You KNOW there are probably a few habitual thoughts or less-than-ideal scenarios that tend to trip you up. Anticipate them, and decide now, while you’re level-headed, how you will choose to respond.
• Space: Like it or not, the hall gets a voice in your sound. Familiarizing yourself with it in advance, whether in-person or through envisioning, helps you to walk into the hall with certainty instead of questions.

Finally, decide that you are enough. You have assessed yourself and the situation, and you are here at this moment for a reason. Decide that you have all the knowledge and skill required. You want to feel a sense of certainty and determination. This is not about being egotistical, boastful, or even right about whether you’re good enough: it's about knowing that certainty and determination are essential tools in creating beautiful music. And as a musician, it's your responsibility to use these tools! In the words of performance coach Don Greene, “Courage is always the best option.”

When you’re connected to your strengths, you are familiar with salient aspects of your situation, and you’ve made the decision that you’re enough, that you don’t need predictability. Instead, you’re ready to perform with the skill, presence, and responsiveness required to communicate.  

Here’s to all the musicians deciding they’re enough! I see you! I am you! We got this!

Meet the People—Katy Carnaggio, Horn and More Columnist

by Katy Carnaggio 

It might sound a little unusual, but it all started the day my best friend cracked her head open playing Ghost in the Graveyard. Let's set the scene.

I was a fifth grader in elementary school, and my class was learning about different musical instruments to prepare for band enrollment. While our future director enthusiastically extolled each instrument’s virtues, we secretly cast our votes: cool, uncool, and “is that even an instrument?!” Our silent ballot was in full swing.

One day, we were ushered into the gymnasium to try them out. Painfully shy, I panicked as I saw my classmates gather around the fan favorites. 

That’s when I saw the horn: uncool, not even an instrument, and gloriously ignored. I quickly tried it for my band director. Luckily, playing felt natural, and he was excited that we had found an immediate fit. Feeling too timid to try anything else, I promised myself I’d take a shot at something cooler that night at parent-teacher conferences. With mom at your side, you can do anything!

But I missed the meeting. Fast forward through an after-school game gone wrong, and there we were: my best friend, now an emergency room VIP thanks to a headfirst dive into adventure (and bushes), and me, her loyal sidekick, swearing eternal friendship even if she didn’t make it—while a nurse desperately fought back giggles as she administered two stitches.

Dale Clevenger often asked, “Why did you pick the horn?” The anticipated and often true answer is because we love the sound. But for me? I chose horn because of connection. Initially, it was through an act of solidarity with my friend. I chose it again because my “sectionals” were hilarious one-on-one lessons with my band director. (Believe it or not, nobody else wanted to play a “Christmas ornament.”) And now, I choose the horn because it remains the most honest and sincere way that I connect with others. 

We think so much about mastering the horn that we forget it’s an instrument for something far greater. Don’t get me wrong. Anybody who reads “Research to Resonance” knows I’m obsessed with mastery. I tailored my doctoral studies to specialize in skill acquisition. I spend each morning exploring research insights through my practice. Then I get to go to my pinch-me job at the Jacobs School of Music creating performance education materials, reviewing recitals, and planning workshops—all aimed at helping students advance their abilities.

But human connection in your music must come first. An impressive high range is only powerful if you use it to express emotional depth. And a great sound is only captivating if you have something genuine to say. And a performance is only memorable If your ideas are clear and direct. If you forget connection, music can quickly become uninteresting, forgettable, and not to mention, way harder to make. 

So, when you struggle to look beyond the horn and the challenges it can inspire, the International Horn Society is our first-line defense to get connected to those who also decided to play “not-even-an-instrument.” Whether through this Newsletter, The Horn Call, regional workshops, or global symposiums, we are surrounded by extraordinary individuals ready to share invaluable lessons. 

To start, here are five things I’ve learned from my major teachers. To meet me is to meet the people who deeply matter to me, after all.

Paulette Velazquez—College of Dupage

Instead of: Comparing yourself to others and judging yourself for the ways you feel you fall short…. 

Try this: Remember, it’s not about where you are; it’s about where you’re going. Set a direction, believe you will get there, and take the next step. 

Randall Faust—Western Illinois University (BM)

Instead of: Believing you’re not important until you’ve “made it….”

Try this: Know that you can learn something from everyone. Seeking the lesson in every handshake and the story behind every face enriches your knowledge and builds a community where everyone is valued.

Jeff Powers—Baylor University (MM)

Instead of: Feeling stuck because you’re tired/doubtful/confused/too-happy-to-focus/totally depressed/have standards that are too high/have standards that are too low/basically-anything-ever….

Try this: Show love through action. Love, when consistently expressed through actions marked by diligence, integrity, and devotion, inspires deep and lasting transformation. 

Dale Clevenger—Indiana University (DM)

Instead of: Allowing personal losses or hardship to distance you from music….

Try this: Put it all on the horn. Happiness, heartbreak, excitement, longing…explore it all through your music.

Katy Woolley—Present Mentor

Instead of: Trying to fix everything by focusing on your flaws….

Try this: Recognize that safety isn’t a place, it’s a presence. Creating a reliable presence within yourself built upon unconditional acceptance and positive belief enables you to act with the courage you need to aim higher and venture further than you ever thought possible.

Dear Subscriber,

March has arrived, and depending on your location on the globe, this also signals the onset of spring in the northern hemisphere and autumn in the southern hemisphere. In either case, it is a time of transition from extreme hot or cold weather, which is particularly significant for horn players, as it allows for more time spent outdoors in nature.

In line with this, please enjoy Pastoral, a piece I composed inspired using the natural sounds of the horn. The composition incorporates open sounds, stopped sounds, and echo effects, with indicated fingerings designed to mimic the natural horn, taking advantage of modern horn capabilities to swiftly change crooks. It begins with the gentle beating of a brass mute against the mouthpiece, followed by stopped notes producing a wah-wah effect, and even includes a whistle-like sound reminiscent of wind in the forest, and it allows time to remove the mute.

The horn, originating from the horns of animals, shares its name, not surprisingly, with them in most languages. The sound of a horn holds special significance when played in harmony with nature. So, I encourage you to take your horn outdoors and play! Better yet, invite your friends along, for while playing the horn solo is magical, the true glory of the instrument is revealed when played together in a group. I have a personal theory that, excluding some mythological creatures, all animals in nature have horns in pairs, which may explain why the horn sounds magnificent when performed as part of an ensemble.

In the March issue of the Horn and More Newsletter, as usual, you can expect a variety of articles to keep you engaged with your instrument. These articles may inspire your practice, introduce new music for your next recital, provide topics for your research, or simply offer more information related to our beloved instrument. The International Horn Society (IHS) has been a source of inspiration for me in so many ways, particularly through the opportunity to connect with a community of individuals who are passionate about playing, researching, or simply enjoying the horn. If you are not yet a member of the IHS, I encourage you to join our this wonderful community and experience the enjoyment it brings.

Ricardo Matosinhos, IHS Representative for Portugal