Chamber Music Corner—Zdeněk Fibich’s Quintet in D Major, Op. 42
by Layne Anspach
Hello musicians! This month’s Chamber Music Corner features Zdeněk Fibich’s Quintet in D Major, Op. 42. Fibich is known as one of the “big three” Czech composers in the second half of the 19th century, Smetana and Dvořák being the other two. Fibich was born in 1850 in Všebořice, Bohemia. At the age of seven, he began piano lessons with his mother but went on to study music in Prague (1864-65), Leipzig (1865-67), and Mannheim (1869-70). Between 1875 and 1881, Fibich worked as conductor and choirmaster at the Provisional Theatre in Prague in addition to being choirmaster at the Russian Orthodox Church there. Starting in 1881, he focused only on composing and private teaching. His compositional output was mostly opera, with at least seven operas and seven melodramas in his oeuvre; his orchestral works include three symphonies and six symphonic poems; and he composed piano music as well. Fibich died of pneumonia in Prague in 1900.
While most of his chamber works were written early in his career, the Quintet in D Major, Op. 42 (1893) for piano, clarinet, horn, violin, and cello is considered his most important chamber piece. Fibich’s diary indicates that the work was inspired by his relationship with Anežka Schulzová, pupil turned collaborator and lover, who wrote the librettos for his final three operas. The work also exists in a version for the standard piano quintet which includes string quartet.
Following a typical sonata form, the first movement, Allegro non tanto, starts with the clarinet introducing the first melody, characterized by an initial upward leap. Within the first fifteen measures, each player has taken a turn presenting the A theme. After a tutti passage, the piano introduces the B theme, a slow reserved ascent contrasting the energetic opening. The development combines the key motivic elements from each melody, upward leap and stepwise ascent, building energetically towards a prominent peak by the piano which dissipates quickly into the recapitulation. The coda is signaled by a strong statement in the piano which brings the ensemble to the end of the movement. The piano takes the lead throughout the breathtakingly beautiful second movement, Largo. The unique sonorities of the ensemble come through as the differing timbres interweave. Sprinkled throughout are lovely cadenzas or little features for each instrument.
The Scherzo. Con fuoco e feroce starts “with wild humor,” as instructed by Fibich. The first of two trio sections features a prominent horn solo. The violin later joins, adding a continuous commentary to the horn melody. In the final ten measures of the first trio, the piano alone leads the ensemble back to the scherzo. The second trio, Allegretto vivace, features the cello and clarinet while the violin and horn rest. Fibich creates momentum with syncopation in the right hand of the piano. The movement ends with the return to the scherzo, outlining the rondo form. The final movement, Finale. Allegro con spirito, is jovial, alternating between light and lyrical sections. Fibich again writes so as to highlight the contrasting timbres of the instruments. The work ends with a Grandioso featuring the first theme with violin obbligato, followed by an energetic and familiar conclusion.
Hornist Vladimíra Klánská is heard on the reference recording: Fibich: Piano Quartet, Op. 11 & Quintet, Op. 42.
Student Column—Supporting Our Fellow Student Horn Players
by Inman Hebert
The International Horn Society describes itself as a community of horn players from around the world, with respect and collaboration being core values. The horn studios of which we are members serve as microcosms of this larger community. To gain admission to these programs, we had to audition to demonstrate suitable skills. We compete for awards and scholarships, in performance contests, and for open positions; however, in a horn studio, creating a culture of supporting and cheering for our horn colleagues generates a healthy studio which encourages every member to hone their skills and be well-rounded in all areas of musicianship.
In a horn studio, we are all trying to master an instrument characterized as having an intense learning curve and being notoriously challenging, intimidating, and perplexing. Fear of the scarcity of opportunities may lead to unhealthy competitiveness, outweighing the need for a positive studio atmosphere. A false dichotomy often exists between striving for personal excellence and supporting our fellow horn players. Unhealthy competition focuses externally and places our value only in comparison to others; however, we are all on different journeys as we seek to master technique and musicianship. In this long personal development process, we should push beyond our existing barriers, focus on our own progress, and identify our next challenge. Commitment through hard work and dedication can set the standard in our studios and encourage all members to work towards higher achievement.
How can we be more supportive colleagues? While getting to know those in our horn studios, we can show genuine curiosity in learning about their lives and encouraging them to achieve their goals. When fellow horn students struggle, we must show empathy and learn to listen. Encourage open communication and feedback. Welcoming constructive criticism from professors and our peers is how we grow as musicians. As we are asked to provide commentary on other’s performances, we must choose how to frame our observations in a manner that can lead to improvement. A healthy studio will not diminish its members. In providing analysis of performances, compliments can do much for morale. Respect and civility should underlie all of our interactions in the horn studio. Although we are all busy, we should take the time to attend concerts and recitals and celebrate our colleagues’ achievements. Success for one member strengthens the horn studio and benefits everyone.
Horn studios are filled with students with an energy and passion to play music at a higher level. We can motivate each other to push harder, learn as we observe our peers overcome obstacles, and celebrate goals achieved. In encouraging our fellow horn players, we can create a more wholesome environment which supports the success of our horn studios and their members.
Horn on Record
by Ian Zook
Volume 12—André Van Driessche
Since this month’s IHS Newsletter is devoted to European content, we will take a tour of Belgium and listen to André Van Driessche’s 1986 vinyl recording of Jacques-François Gallay’s Twelve Grand Caprices, Op. 32.
André Van Driessche (1936-2014) was a luminary performer and teacher who exemplified and expanded upon the Ghent school of horn playing. He began his horn studies at age sixteen at the Ghent Conservatory under the tutelage of Jean-Baptiste ‘Maurice’ Van Bocxstaele. Here, Van Driessche was trained in a playing style that emphasized the notable Ghentian trait of lyricism. Success followed quickly, joining the Royal Antwerp Symphony Orchestra as Principal horn in 1957. He subsequently held the same position with the Brussels Philharmonic and the Flemish Radio Orchestra from 1962-1996.
Van Driessche was Professor at the Royal Conservatory of Brussels and established himself as a pedagogical authority for a standardized embouchure technique. Both Van Driessche and Philip Farkas (himself a protégé of the Flemish-trained Louis Defrasne) strived for uniform embouchures that could meet the technical and endurance demands of the contemporary orchestral and solo literature while maintaining the quintessential tone quality of the F horn. For his expertise in addressing deficient embouchures, Van Driessche was regarded as the “Brass Clinician of Brussels.” He was an active member of the International Horn Society and frequent participant in the International Symposia spanning from the 1970’s through the 1990’s.
We are thankful for the biographical information and a contextualization of the importance of André Van Driessche and the long lineage of Belgian hornists that is comprehensively and compellingly captured in Jeroen Billiet’s dissertation Brave Belgians of the Belle Époque: a study in the late-romantic Ghent horn playing tradition.
Each of Gallay’s Caprices are wonderful musical miniatures. They are defined by their compact and efficient form that create contrast and allow expressive interpretive decisions for each performer regarding pacing and fluidity. As such, two complete renditions of these Caprices, as interpreted by André Van Driessche, will be highlighted:
Gallay Caprice No. 1:
Gallay Caprice No. 10:
In both examples, we can enjoy the firm and sonorous tone of Van Driessche that is colored with the slightest shading of vibrato. His intervallic leaps can be very pliable through generous portamento, and then contrasted with immediate and athletic juggling of rapid passagework with equal ease and assurance. As Jeroen Billiet highlights in his chronicle of the Belgian style, lyrical phrasing is tied to narrative and poetic interpretive principles. I believe Van Driessche’s performances of these Caprices beautifully encapsulates these musical virtues.
Gallay’s Caprices can find equal footing in your practice room or as a selected suite of solo pieces for a wide range of public performance situations thanks to their brevity and musical merits. What a treat to have these pieces definitively preserved by André Van Dreissche!
Fearless Performance—Commanding the Spotlight
Three Tips to Elevate Your Stage Presence
by Katy Carnaggio
Ahhh, the electric thrill of stepping on stage! The hush of the audience, the weight of expectation, the spotlight…it can be both exhilarating and daunting. Here are a few tips to help you direct that energy into a mesmerizing performance your audience won't forget!
1. Perfect the Prelude
Have you ever considered the first impression you offer your audience? It's not the first note you play, nor the introduction you give. It's that humble, often overlooked gesture: the bow. Think of it as the opening line to your favorite song. A shaky bow might hint at an unsure performer, while a confident one sets the tone for a stellar act.
Live music is deliciously unpredictable, but one thing is for certain: you’ll step on stage, and applause will greet you. It's a given. So why not prepare for it? Set your phone up, hit record, and take a bow. Watch it. Critique it. Perfect it. If you're hunting for inspiration, there are countless examples out there, from the poised to the hilarious. Nail this simple act, and it's a small victory to bolster your confidence, setting you on the path to a resonant start.
2. Embrace the Stage (It’s part of your instrument!)
Once you've nailed that bow, it's time to see the stage as more than just wood beneath your feet: it’s your dance partner, your co-star! Great performers understand that their sound isn't solely produced by the instrument they hold. The stage, with its intricate acoustics, your body, even the distant corners of the hall, are all integral to your performance.
Feel the space. How does your sound dance within it? Does it echo warmly off the walls or playfully flirt with the hall's farthest reaches? As a mental exercise, instead of just projecting outward, envision yourself joining with the walls that are already vibrating in harmony with you. Your challenge? Make the entire room groove!
3. Heroism vs. Authenticity: The Balancing Act
Who doesn't love superheroes? Their strength, their capes, their...ability to never need a bathroom break!? In the world of performance, it's easy to feel like you should be superhuman, powering through every moment without pause. Yet it's authenticity, not caped heroics, that truly leaves a lasting impact on your audience.
Whether it's a sip of water or a moment to catch your breath, honoring these small needs can make a world of difference in the quality of performance you share. Besides, a well-timed water sip can be its own kind of performance art!
Stage presence might seem like it's all about charm and charisma, but it's built by learning to be present in little moments like these: perfecting your bow, leveraging the hall's acoustics, and mindfully attending to your needs. Cheers to creating great memories that linger for you and your audience!
A Reflection on Transitioning Careers
by Michal Emanovský
Every so often, we find ourselves standing at a crossroads, where one chapter of our life converges with the beginning of another. For me, a pivotal moment came when I transitioned from my position as the Associate Principal horn with the Seoul Philharmonic Orchestra to take on the role of director at the Czech Center in Seoul. This move was not just a personal evolution but also mirrored the broader dialogues frequently occurring amongst horn players; it raised questions about longevity, the persistent pursuit of quality, and evolving definitions of success and fulfillment within a musician's career.
After the global upheaval caused by covid, I was surprised to find myself considering a position far removed from my dedicated path as a musician. The offer to apply for the position of director at the Czech Center Seoul initially felt beyond my realm of expertise, but I found myself curious. My wife had no doubts—she encouraged me to apply right away. After a period of self-reflection, I decided to step up to the challenge, embarking on this new chapter at the beginning of 2022. Initially, the administrative responsibilities felt like a drastic change from my orchestral life. I had to manage payroll, learn to handle Excel files, and streamline workflows using macros—all tasks with which I had little experience. Despite the steep learning curve, I was keen on developing projects while still finding time to maintain my skills on the horn. This period introduced me to a new network of people involved in the cultural sphere, expanding my horizon and understanding of the industry.
Working primarily as an administrator brought a significant transformation in my relationship with the horn. As a full-time musician, I often played principal horn parts while battling a lingering self-doubt. The constant comparison and the relentless chase for perfection had, at times, overshadowed the joy derived from music. Distancing myself from a full-time commitment allowed me to experience a renewed sense of fulfillment in making music, a rediscovery of the freedom and depth music offered. Each concert, whether a one-time chance to perform with the Gürzenich Orchester Köln or return to the Seoul Philharmonic Orchestra as a guest, now feels more like a celebration, a gift, rather than a stringent evaluation of my skills. I found myself cherishing each composition, wondering if it might be the last time I would be engaging with it.
My current role and my background as a horn player sometimes intersect in interesting ways. I have come to appreciate the fact that my musical background brings a distinct touch to my directorship and can enhance the depth of events and collaborations. For example, I have integrated Czech music into the opening of the Emil Zátopek exhibition or played a horn quartet fanfare at the 30th anniversary of Czech Centres in Prague. Looking ahead, I face the challenging question of how long I can sustain high-level horn playing alongside my demanding job. It’s a constant balance of honing my skills to remain competent as a horn player and steering the rich and varied programming at the Czech Center. I am yet to see whether this pathway is my final destination or a stepping stone to something else.
Sharing this narrative isn't just a recounting of personal experiences; it's an invitation to fellow musicians to embrace the myriad of possibilities that lie outside the familiar terrain. Our training and experiences as musicians equip us with resilience and a unique perspective that can be applied successfully in diverse fields. It is alright to harbor doubts and to critically assess our paths; it is okay to change tracks, to rediscover passions. It is a journey of continual learning, of embracing change with all its uncertainties, and finding a space for growth that accommodates both the old and the new.
Enjoy listening to one of my final concerts as a full-time musician.
My personal project during covid—our horn quartet performing Bach together with sand art.
Album Release—Mélodies Volées
Album Release—Mélodies Volées
by José Sogorb
José Sogorb, horn, Éadaoin Copeland, piano, and other guest musicians; 7 Mountain Records. Listen on Spotify.
Despite current trends and narratives about recording an album, I still felt the need, perhaps a much-too-romantic idea nowadays, to create an all-around, long-lasting musical statement through which audiences could get a proper idea of me as an artist.
I have been playing together with Irish pianist Éadaoin Copeland for quite some time already. Of course we enjoy playing the repertoire written originally for the horn in our recitals, but reflecting on my musical inspirations—works written for other instruments and from very different music styles—led us to start including some of these unconventional works into our concert programs. The “stealing” of these tunes led us to the idea of making an album exclusively of stolen melodies. Indeed, the simple act of translating the album title into French, Mélodies Volées, signifies the transformational element central to this album.
Every tune, no matter how great it is, doesn’t necessarily sound good on the horn; so, with careful consideration, we chose pieces where the instrument has the chance to shine and display its unique voice. The album presents eleven works arranged for solo horn, for horn and piano, and for horn with larger ensemble. In these various settings, you can find music ranging from the iconic first cello suite of Bach to the mellow atmospheres of jazz standards, from the virtuosities of a Paganini Caprice to the eclectic sounds of Björk.
The recording location that we chose for the album was Westvest90, a charming church near Rotterdam with warm, embracing acoustics that make it almost seem as if it was made for the horn sound. The church also houses a beautiful Steinway & Sons concert grand piano and has been running its own chamber music concert series for some years.
Frerik de Jong, sound engineer and owner of the 7 Mountain Records label, took care of all the technical aspects of the recording, guiding us very patiently through the entire process. Recording days are long and intense, so it is of great importance that the producer has a certain intuition to create a sense of ease to help the musicians give their very best.
To finance the project, we set up a crowdfunding campaign on Voordekunst, a Dutch platform which helps artists finance their projects. We are enormously grateful to everyone who believed in our idea and supported us through this platform and other means.
We can’t wait to share the album with you!
To get the album, please visit www.josesogorb.com.
Composer Spotlight—Arturo Márquez
by Caiti Beth McKinney
Hello everyone! This month, I’m excited to share the works of Arturo Márquez with you! You may already be familiar with this composer because of his ever-popular Danzon No. 2, but he also has a rich repertoire of chamber music, including a woodwind quintet entitled Danza del Mediodía (which is one of my favorite pieces at the moment).
Márquez was born in Mexico to a family with a rich history of music-making. His father was a mariachi performer, and his grandfather was a folk musician as well. Their influence on the young Arturo cannot be overstated, as it is their instruction in a wide variety of Mexican musical styles which would later influence Márquez’s compositions. The composer had eclectic musical tastes in his childhood, stating that “…[his] adolescence was spent listening to Javier Solis, sounds of mariachi, the Beatles, Doors, Carlos Santana, and Chopin.” Additionally, Márquez had classical training at the Mexican Music Conservatory and the California Institute of the Arts, and he also took private composition lessons in France with Jacques Castérède.
Danza del Mediodía is an incredibly fun and challenging wind quintet inspired by the various musics drifting out of Mexican salons and cafes. Márquez made sure to feature every instrument at various times, including a lengthy and virtuosic horn solo towards the middle of the piece, which alternates in conversation with the bassoon. The solo is highly stylized, leaving plenty of room for artistic expression. The piece is unmistakably in Márquez’s voice, calling to mind clave rhythms and elements of Cuban and Mexican dance and folk music. Please enjoy this recording:
