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IHS54 se lleva a cabo en el Complejo Educativo Musical Kingsville de la Universidad Texas A&M, una hermosa y espaciosa instalación terminada en enero de 2020. La Universidad está ubicada en la histórica ciudad de Kingsville, Texas, construida en las tierras donadas del mundialmente famoso King Ranch.

Las tradiciones ganaderas continúan siendo una forma de vida aquí y uno solo necesita aventurarse una corta distancia para encontrar abundante vida silvestre. Esta área inspira el tema del simposio corno salvaje. Deje que también inspire sus presentaciones, actuaciones y composiciones para el simposio.

¡Da rienda suelta al vaquero que llevas dentro y únete a nosotros del 1 al 6 de agosto de 2022 para el 54º Simposio Internacional de cornos!

1-6 de agosto de 2022 en Kingsville, TX, EE. UU.

¡Consiga el libro!

Este volumen que conmemora el 50 aniversario de la International Horn Society se presenta en un formato acorde con dicha celebración. El libro combina fotos y otros aspectos visuales que se encuentran en los libros de mesa con relatos históricos narrativos de la formación de la sociedad y sus actividades durante su primer medio siglo. El libro tendrá una cubierta de piel sintética y aproximadamente 210 páginas a todo color, cubriendo todos los talleres y simposios, publicaciones, programas y proyectos de comisionamiento, becas y otros programas, y una mirada a las personas que componen la comunidad de IHS. Ordenar ahora.

Symposium Reports - IHS LA 2015


What initially struck me about IHSLA was the superb organisation of our hosts Annie Bosler and Andrew Bain – the efficient staff, the Colburn School and the many varied and superb venues, the detailed and comprehensive schedule of events and the impressive line-up of featured artists. That was just for starters. As a “seasoned professional” and many times a featured artist myself, I have experienced both unsuccessful and successful Symposia over the years and was therefore both interested and excited in the build-up to IHSLA. An added interesting to me was how this event would impress my 14-year old step-daughter – who, although coming from a musical family on both sides, was at her very first Horn Symposium. On speaking with her about the week, she said that what delighted her most was watching and hearing the great players, then meeting them afterwards – the people, like Andrew Bain and Sarah Willis, whom she had seen on the TV and were here in person – and then amongst us chatting and having a laugh. The Berlin Phil horns was especially interesting for her coming from Germany and having a father who plays principal double bass in the Essen Philharmonic. Los Angeles was a wonderful venue and held many more attractions that just the IHS Horn Symposium – which for a 14-year old, having first-hand knowledge of how much of the world of film and TV come from this part of the world was an added bonus and one that fulfilled all expectations. LA 2015 will be one Symposium my family and I will not forget in an hurry and my thanks and due respect go to primarily Annie Bosler, with Andrew and the team behind her who worked together in making this event such a resounding success – congratulations to you all.
Frank Lloyd

ihsla4The IHS Symposium in Los Angeles was a marvelous experience. This year I was there as a member of the Advisory Council and not as a guest artist. So for me there was a lot of time to hear so many very interesting programs. Of course it was not possible to go to every recital or concert. So many very good players, too many to mention them all. For me it was so good to see again Yu-Ting Su; for me: Tina Su. She was a student during my first master class in Taiwan in 1992. Very gifted already and now she brought a new CD called Watercolors. She played a very good recital with several pieces of this album. Great to see somebody after 23 years, doing so well. Some concerts I have to mention and really were highlights of the symposium. The concert with Arkady Shilkloper, Stefan de Level Jezierski, and the fantastic Big Band of Gordon Goodwin. Such a great pleasure to hear the horn in another way than we hear it normally. Then the tribute to the Los Angeles Horn Club at the Los Angeles Theatre. To hear James Thatcher during this great concert was a very special gift. The concert at the Hollywood Bowl with the Schumann Konzertstück, played by Stefan Dohr, Andrew Bain, Tim Jones, and Sarah Willis was an outstanding performance. Andrew, who organised the symposium together with Annie Bosler, did also a great job in the same program with Till Eulenspiegel of Richard Strauss. Besides many great artists like Julie Landsman and Jennifer Montone, I was very impressed by the horn quartet of the Berlin Philharmonic. Stefan Dohr, Andrej Žust, Stefan de Level Jezierski, and Sarah Willis played two great concerts. I was impressed that they came as a quartet to LA after a very busy year with the Berlin Philharmonic. A great chance once in a life time for many of the visitors to hear this beautiful ensemble – thank you Stefan, Andrej, Stefan, and Sarah. Last but not least, thanks to Annie and Andrew who did an incredible lot of work and organising for this great workshop. You can be sure, Annie and Andrew, that everyone who was there will never forget this event, which the two of you made possible for all of us.
Ab Koster
Hamburg, August 27, 2015

The highlight to me, because of the venue and the atmosphere, was the concert in the Hollywood Bowl, For a Welshman to experience all that, following what I knew of the work that Alf Brain did there was amazing. On the recital side, the playing of Stefan Dohr was amazing, and also that of Andrej Žust (this guy is some player – good musician too). Sara was great, solid, and dependable on fourth. I know I have “gone“ for the BPO, but this time they were outstanding, better than the London performances. I will not associate “Nessun Dorma”any more with Pavarotti, but with the last “scream” of Stefan Jezierski. Ha, Ha. I didn’t go much into the area of mouthpieces and exhibits. The work that Annie had put in was amazing. I know Bain was in the title, but the day to day running was totally down to Annie, and she was superb. The Colburn was a blessing – we had everything on one site, everything was so close and convenient (well, except the Hollywood Bowl, Japanese Cultural Center, and Los Angeles Theater). I don’t know why they had to go to other theatres (apart from the Bowl) when they had the Colburn Halls? It is going to be, in total, one hell of a Symposiun to follow. Said enough now. Ha – Ha.
L8 (Leighton Jones)

IHSLA was fanatastic! It was so great I didn’t get to see anything I wanted to do while I was there! I had a very ambitious program of seeing the beach, the Walk of Fame, Beverly Hills and maybe the desert close by. Instead, I spent my whole days listening to great horn playing, new pieces, old pieces played in a new way, great talks, ideas that changed my approach to teaching and playing, concerts of awesome bands, orchestras, chamber music groups and just horn players. But above all, I found a united community of people who share the same love as I do for the magnificent sound of a musical instrument! I just can’t wait for next year!!!
Los mejores deseos,
Louis-Philippe Marsolais

IHS 45 Review

by Kate Pritchett

The theme of the 45th International Horn Symposium, hosted by Dan Phillips at the University of Memphis was “Horn and Song.” It was an excellent theme and was evident in every recital and concert program at the symposium and in many of the other presentations and lectures.

The University of Memphis campus is moderately large and attractive. The events did not take place in the Music building but rather two venues that were just across from each other – the Michael Rose Theater and University of Memphis’s University Center (student union). The larger Rose Theater could seat more than the 700 participants who came but, with the less resonant acoustics of a theater, the performers found they needed to play from near the front of the stage and some of us found that sitting close to the stage allowed for a better acoustical experience. In contrast, the small hall in the University Center had very nice acoustics but limited seating. Even the tiny grand in that hall sounded fine.

The University Center’s upper floors housed the exhibits in several rooms, some with many exhibitors and a few with one or two. The layout seemed well organized and there was enough time during the day to visit the exhibits repeatedly.

Typical of the majority of recent International Horn Symposia, often two or three events were scheduled simultaneously so we all had to select carefully until the single evening performance. For example, on the first morning I chose to hear Engelbert Schmid’s lecture on horn acoustics (where he performed a work after about 25 years of just making horns). Jeff and Nina Nelsen and Luiz Garcia shared an afternoon recital that included very nice works well performed. Carmen’s Toreador Song for soprano and horn duet may have been the hit of the show. That evening Frank Lloyd and his wife, Rachel Robins, and tenor Randal Rushing performed a variety of works, including the rarely heard Heart of the Matter by Britten.

On Tuesday morning I chose to hear Karl Kemm’s lecture on the history of brass and the horn, and I was very glad that I did – it was a superb presentation with instruments, slides, and live performance on a variety of historical ancestors. After an enjoyable participants’ recital in the same hall, we went off to lunch.

Each day two or three horn ensembles performed at lunchtime in the cafeterias. Fortunately (or unfortunately), the programming and playing on these events was much tastier and imaginative than the food – the chef must own a can opener and be able to also open frozen vegetable packages and boil the contents. When meatloaf is the star of the week.... And the huge plastic glasses for soft drinks were the ones that NYC’s major was trying to ban not long ago! And boiled okra?

At 1 pm, Liz Freimuth (principal, Cincinnati) and Jasper de Waal (principal, Concertgebouw) performed some opera duets on the first half of the program and Jonathan Boen (principal, Chicago Lyric Opera) performed an entire transcription of Scriabin’s piano etudes. Although this was probably too much music from one composer, his legendary technique was well demonstrated.

Afternoon lectures were well done and the prelude to the evening concert was billed as the Chicago Horn Consort, which it was, but some of us wrongly anticipated some of the symphony or opera section to be members. The evening’s concert featured a first half performed by Eric Ruske. Ruske’s stage presence was exemplary – he performed his entire set from memory, and remained on stage and introduced works while his pianist, then harpist, the pianist came and went. After intermission came the premiere of Cantata No. 4: Canticum Sacrum, “Canticle of Zechariah” by Robert Bradshaw featuring Bill VerMeulen, horn soloist, also with a vocal soloist, strings, horn quartet, percussion, and off-stage trumpet (performed by Mark Boren who commissioned the work). Kudos to Bill and the horn quartet for nailing the parts!

Each day began with a warm-up session featuring various teachers, followed by a selection of lectures, recitals, and/or master classes. I tended to go to the recitals where I could often hear new music (to me). At least 20 works were premiered during the symposium!

Joan Watson’s recital of songs my mother taught me that afternoon was enjoyable. After reading her bio in the program booklet, I expected the presentation to be more substantive.

The rest of the afternoon and evening was take up by a trip to the Redbirds minor league baseball game where a group of some 200 hornists performed the National Anthem. Following this was a barbeque and the game watched from high in the bleachers outside third bass. Fortunately, the game didn’t go into extra innings (the Redbirds lost in the final inning). The trip was fun for all although I personally expected the barbecued ribs to be more outstanding.

Highlights of Thursday included an afternoon recital featuring hornists Abel Pereira and Jasper de Waal. A faculty bassoonist joined Pereira in works for the two (with piano). Pereira is a wonderful player but the literature did not show his abilities very well. Jasper de Waal’s Brahms Trio performance was a highlight of the week (as was his Mozart Concerto No. 3 later in the week).

The prologue to the evening’s concert was a half-hour performance by The Four Hornsmen of the Apocalypse, whose well-oiled and humorous presentation earned them a standing ovation. The following concert was “unique.” Angela Barnes, second horn of the London Symphony presented a very solid performance of several standards from memory. The ensuing performance with a men’s choir and horn quartet from the Memphis Symphony was enjoyable. The final work of the evening, the premiere of Walden at Evening for choir, horn solo (Boen), and percussion by Pamela Marshall was well received; I am not sure that it will ever be performed again, but the premiere was very well prepared and executed by all.

The Friday afternoon recital featured music of Eric Ewazen, who was in attendance, conducted his works and led composer discussions during the week. Ewazen’s jolly nature is infectious! Bruce Richards performed on Wagner tuba in that recital and we heard a horn quartet that had won an IHS Commissioning Assistance award. This was an interesting recital.

The Friday evening concert was designed to be the artistic peak of the week and was. Following a fine performance of Rossini’s Overture to Semiramide was the premiere of a horn concerto by Tinoco, with Abel Pereira as soloist and we got to hear him for really the first time. There was Britten’s In Memoriam Dennis Brain performed by The Four Hornsmen of the Apocalypse. A horn trio (Boen, Luff, Watson) performed Beethoven’s “Abscheulicher” recitative and aria from Fidelo with soprano. Following intermission we heard two marvelous performances of Mozart’s Concerto No. 3 (de Waal) and Britten’s Serenade (Lloyd and School of Music Director, Randal Rushing, tenor).

The final Saturday’s morning events included the annual IHS General Meeting, surrounded by the guided warm-ups, lectures, and a contributing artist recital. The afternoon was the time for the participant choirs conducted by Nguyen and Faust as well as an “All-Star Horn Big Band” conducted by Matlick. After a prelude by the Florida State University horn choir, the evening “performance” was supposed to be a humorous departing event featuring Prof. I.M. Gestopftmitscheist (Kendall Betts) and company in “world premieres,” including the music of Otto Fisch (first introduced at the Symposium in Manchester, UK), and a surprise visit from Elvis. Let’s just say that the Florida State University Horn Choir was the highlight of the evening.

Thanks to Dan Phillips for organizing a wonderful Symposium and his students who made it run smoothly. Special thanks to all the collaborative musicians (pianists, singers, instrumentalists) who contributed their time and musical excellence in making the performances first class.

IHS 46 - Londres, 2014

con albertEs difícil escribir un informe de Horn Symposium: uno tiene expectativas de actuaciones y exhibiciones, pero estaban los olores y las vistas no relacionadas con Symposium (un Ferrari chapado en oro), y las conversaciones no programadas en el desayuno, en un pasillo, o incluso, este año, en un pub. Llegar al Imperial College de Londres fue difícil para muchos: la larga caminata por el aeropuerto de Heathrow, las líneas más largas para el boleto de metro y luego la caminata desde la estación de South Kensington hasta el sitio. Al llegar, sin embargo, encontramos las instalaciones muy próximas. El Imperial College, la instalación que el anfitrión Jonathan Stoneman eligió para el Simposio, no es una escuela de música sino una escuela técnica, por lo que las salas de espectáculos eran aulas grandes: ¡Jonathan compró suficientes soportes de alambre para una orquesta! Si bien el lugar puede no haber sido ideal para una convención de música, fue excelente para un fácil acceso a las exhibiciones, un comedor, dormitorios y salas de conferencias.

El clima era fresco, llovió un poco y los dormitorios eran pequeños pero cómodos. Los desayunos se comieron en un gran comedor con estudiantes y participantes de varias conferencias; la comida era la misma todas las mañanas, pero había una buena variedad y mucho para comer. Los participantes de IHS podían comprar un paquete de comida o valerse por sí mismos para el almuerzo y la cena. Con un poco de búsqueda, uno podría encontrar comida cara y muy razonable en la zona.

El Simposio se inauguró el lunes 11 de agosto por la mañana con los coros de trompas de la Royal Academy of Music y la Royal Northern Academy actuando de forma conjunta y separada en un divertido concierto. El primer recital de la tarde contó con Andrew Pelletier y Richard Watkins interpretando solo obras nuevas, todas difíciles pero bien interpretadas. La sección de trompas de la Filarmónica de Nueva York luego tocó arreglos de pop estadounidense y melodías de espectáculos (arreglos de trombón transcritos para trompas). Debido a que ese recital duró mucho, muchos de nosotros nos perdimos la siguiente entrevista y una presentación de John Cox (Oregon). A las 4 pm, el quinteto de trompas de la Filarmónica de Bergen interpretó arreglos de música noruega, seguidos por el American Horn Quartet interpretando el arreglo de Turner's Third Quartet y West Side Story. Siguieron los concursos de conjuntos. El concierto vespertino de BBC Proms contó con la Orquesta Nacional de la BBC de Gales; muchos asistentes al Simposio asistieron a ese concierto de pie y muchos se unieron a los cientos que estaban frente a la orquesta por £ 5.

Each morning began with a warm-up and advice on testing horns from a different clinician – Tuesday it was Eli Epstein. Simultaneous lecturers on the Alexander Technique by Kerin Black and Technology in Performance and Teaching by Lydia van Dreel were presented at 10 am. The 11 am performance by the Japan Horn Society, Horn Pure (Thailand), and Mallet Horn Jazz Band was moved to a smaller lecture room, so many stood in the back and side aisles. For many, the highlight of three fine performances was Horn Pure, an eight-member group of young hornists from Thailand who performed difficult repertoire with precision, accuracy, and a sense that they were having fun. Nick Smith presented a lecture concerning the European influence of American horn sections at noon, which was overlapped by the 11 am performance. Simultaneously, Ian O’Brien spoke on hearing damage to horn players. The 1 p.m. performance began with two solo pieces performed by Dylan Hart (LA), followed by Brazilian Radegundis Travares performing works with piano from his country’s composers. That “hour” concluded with a spectacular performance by the Budapest Festival Horn Quartet – a major highlight in this reviewer’s opinion. At 3 p.m. one could choose from a Spanish Brass master class on quintet playing or a lecture on the influence of Louis Dufrasne on the US by Jeroen Billiet. At the 4 p.m. hour we heard three works for horn and chamber orchestra conducted by Michael Thompson – Alec Frank-Gemmill beautifully rendered Butterworth’s Romanza, Ab Kostser performed a flawless Mozart Concerto No. 2, and Frank Lloyd concluded with a brilliant performance of Gordon Jacob’s Concerto. Unfortunately, Zdenek Divoky was ill and could not perform. Following that recital Jeff Nelsen presented his lecture on Fearlessness. The evening BBC proms concert was again the BBC National Orchestra of Wales performing the music of Peter Maxwell Davies, Walton, and Sibelius.

Wednesday opened with another warm-up with Ilene Chanon, followed by a lecture on the Viennese Sound Concept with Gergely Sugar, against another Alexander Technique session with Black. Because Zdenek Divoky was ill, the Czech-American Duo with Steven Gross was not able to perform on the 11 am concert but the South Queensland horn ensemble stepped in with a contemporary work followed by the American Horn Quartet’s rendition of Tippett’s Sonata. At noon there were three simultaneous lectures by Engelbert Schmid (acoustics and craftsmanship), Tiffany Damicone (Bohemian Singing Sound), and Vincent Andrieux (French horn players from 1899- 1929). The 1 p.m. recital featured the two excellent Hawkins Competition winners, Ana Beatriz Menezes and László Gál. A Japan Horn Ensemble then played Eric Ewazen’s Bridge of Dreams (with the composer present), followed by the Jim Rattigan Trio (horn, violin, piano) performing works from his latest jazz CD. There were two events at 2 p.m. and if you didn’t make it into Sarah Willis’s Horn Hangout with Terry Johns by 2 p.m. it was streamed without you. Randy Gardner reminded us of our practice fundamentals at 3 p.m. The 4 p.m. recital was again spectacular featuring the Spanish Brass who performed a plethora of music from all sorts of genres over 45 minutes from memory, and Trompas Lusas, who belted out an amazing assortment of quartets. At 7:30 p.m. a one-man, one-act play inspired by Jasper Rees’s book was performed. The sole actor, Jonathan Guy-Lewis, did an outstanding job with all sorts of “in” horn humor and actually performed the second and third movements of Mozart’s Concerto, K. 447 as Rees may have, improving as he went along. It was an outstanding and moving performance.

Thursday began with either a guided warm-up with Martin Lawrence or a lecture by Randall Faust on the history of the IHS Composition Contest. At 10 a.m. John Humphries lectured on 19th-century horn players in London against another Alexander Technique presentation by Black. The 11 a.m. performance was unfortunately moved to a venue that could not seat the crowd. Here a group of trompes-de-chasse led by British Horn Society President Chris Larkin performed works by the Dampiere and Kling. Ensemble Mengal from Belgium then performed octets for six natural horns and two trombones by Mengal to stirring applause. Natural horn virtuoso Anneke Scott played last due to the fact that her train had been delayed that morning. She did not disappoint with a flawless performance of variations on a Donizetti melody for horn and piano. When she discovered the last page missing from her stand, she turned and read from the piano part – those of us close enough were treated to an exotic hand display in her bell. The noon hour included another presentation by Eli Epstein about “finger breathing” opposite one in a series of interviews during the week by Tony Catterick. Unfortunately Anthony Halstead was not able to attend due to illness. At 1 p.m. we heard horn duets with Anneke Scott and Joseph Walters, the group of British players again, this time on Vienna horns, performing works by Weber. Jean-Pierre Dassonville performed an Intermezzo by Dupont on a six-piston-valve instrument made by Adolphe Sax – impressive! Likewise was the performance of Gallay’s Quartet for four horns in four keys led by Anneke Scott – brilliant! At 2 p.m. there was a lecture by Jeffrey Snedeker on the nineteenth-century Paris Conservatoire followed at 3 p.m. by either a master class with Anneke Scott or a panel led by Daren Robbins on alternative careers in music. The 4 p.m. performance began with Jeffrey Snedeker playing Weber’s Concertino on natural horn followed by the Ensemble Mengal, this time performing on piston-valved instruments the music of Ryeland and Dubios – very impressive. 5 p.m. was a light-hearted duet presentation by Sarah Willis and Klaus Wallendorf of the Berlin Philharmonic advertising their new CD. The British Horn Society held their annual general meeting between the duet presentation and the 7 p.m. orchestra concert. This concert began with Ligeti’s seldom heard Hamburg Concerto performed by Andrew Pelletier, followed by Richard Watkins in a performance of Colin Mathews’ concerto. The final work on the program was a rousing rendition of Schumann’s Konzertstück with the New York Philharmonic horn section. The Proms concert that evening included works by Sibelius, P. M. Davies, and Bridge, performed by the BBC Philharmonic.

Friday’s warm-up hornist was Tim Thorpe of the BBC Wales Orchestra, followed with simultaneous lectures by Peter Kurau (Transference Learning) and Kerin Black (Alexander Technique). The 11 a.m. recital feature Bernardo Silva, Rose French, and the Budapest Festival Horn Quartet. The quartet performed the Schneider and Hübler Concerti for four horns. At noon a quartet from the Berlin Philharmonic performed light-hearted quartets mostly arranged by Wallendorf, to the enjoyment of the audience. That concert began and ended late so the picnic at the Albert Memorial in Kensington Park, about ten minutes walk from the Imperial College, also began late. There was a quickly assembled performance of the Liberty Bell March for soloists and massed horn choir (music clipped on the lanyards for the person behind to read). Due to dark clouds and a bit of rain, the concert was called after about 10 minutes. While the participants ate a sack lunch, Horn Pure from Thailand and two quartets performed, one from South Texas that had won the quartet competition. The Symposium ended with Tim Thorpe performing with piano, the South Queensland horn choir, and then the Budapest and American Quartets joining for two Kerry Turner works, ending with Bronze Triptych by Turner for 12 horns and percussion. The IHS general meeting ensued followed by the BBC Scottish Symphony at the Proms, ending the day with a rousing Ein Heldenleben.

Gracias a Jonathan Stoneman por una semana excelente, bien planificada y bien ejecutada. ¡Es un muchacho excelente!

Informes del 43 ° Simposio Internacional de cornos

Vista de un profesor

Este fue mi primer simposio internacional de trompas; estas son algunas de mis impresiones.

Exhibiciones: En las exhibiciones se dispuso de una variedad de literatura y materiales didácticos. Tuve la suerte de localizar un cajero automático cercano, porque no todos los proveedores estaban preparados para aceptar tarjetas de crédito.

Uno de los muchos libros útiles para la enseñanza que descubrí fue un tesoro de siete páginas, Fprimeros insultos de labios para corno, por el Dr. Howard Hilliard (Cornocopia Press). Mis estudiantes principiantes e intermedios se están beneficiando de él porque enseña simultáneamente el uso del aire, el rango medio y bajo, arpegios, habilidades auditivas y conceptos de la trompeta natural. Los patrones incluyen algunos que incluyen saltos de un sexto que exigen un uso adecuado del aire al tiempo que ofrecen entrenamiento auditivo. Estos ejercicios también sirven como introducción a la transposición, ya que cada patrón se repite en combinaciones de válvulas descendentes en el corno F.

Talleres: BE: The Balanced Embouchure Method, presentado por Valerie Wells con Stephen Park. Este taller presentó un enfoque para el desarrollo de la embocadura que era 100% nuevo para mí. Valerie y Stephen demostraron los ejercicios de manera cercana y personal, lo cual fue esencial porque no tenía idea de que era legal o posible, y mucho menos beneficioso, hacer cosas tan raras con una cara. Solo tenía dos opciones: descartarlos como locos o intentarlo. Dadas las impresionantes demostraciones de Valerie de producir tonos súper altos, pianísimos y puros de la nada, y dado el magnífico sonido y la seguridad de Stephen como intérprete (busque a Steve Park para encontrar algunas actuaciones de video encantadoras), elegí la última. Y efectivamente, los ejercicios BE no exigen el temido "cambio de embocadura", pero conducen a una mejora de la embocadura en todos los registros. Recomiendo su sitio web (beforhorn.blogspot.com) como fuente de información para aquellos que no están en el taller.

Intérpretes e interpretaciones memorables: la interpretación de Frank Lloyd de JS Bach Toccata y fuga en re menor. ¡No tenía idea de que este tipo de agilidad sin esfuerzo fuera posible! Sin comprometer el tempo o la precisión, de alguna manera tocó todo el rango del órgano. ¡Impresionante!

Actuación de William VerMeulen de Steamboat Stomp. Advirtió a la audiencia que estábamos a punto de experimentar un viaje divertido y salvaje. ¡¡Qué puntazo !! Claramente se estaba divirtiendo tanto como nosotros.

Gail Williams, trompa y Benjamin Ring, percusión, Alec Wilder's Suite Solo para trompa y percusión improvisadora. La encantadora y artística colaboración entre la asombrosa y experimentada Gail Williams y este percusionista imaginativo y sereno de 13 años fue algo digno de contemplar. Creo que a todos nos conmovió tanto a nivel artístico como humano.

Gail Williams y Nicole Cash, con excelentes intérpretes de cuerdas, Beethoven's Sexteto en Mib Op. 81b. Todos hemos practicado las partes de trompeta para este trabajo. Solo se puede suponer que un factor en la entonación perfecta y el equilibrio entre los dos intérpretes de trompas fue que Nicole fue una ex alumna de Gail (así como de William VerMeulen).

CD: Un CD para que esté de humor para el 44º Simposio de IHS en Texas el próximo mayo: Texas Horns presenta a 12 trompistas de las Orquestas Sinfónicas de Dallas y Houston, incluidos tres de los artistas destacados en este simposio. El repertorio va desde Samuel Barber hasta Thad Jones, y no hace falta decir que el nivel de rendimiento es superior. Crystal Records CD774

Conclusión: Recomiendo encarecidamente a los lectores que reserven las fechas para el 44º Simposio Internacional de cornos, del 15 al 19 de mayo de 2012 en la Universidad del Norte de Texas en Denton.

- Jane Swanson, maestra de escuela jubilada que enseña en forma privada y toca la trompeta en San Luis Obispo CA

Sesiones amateur

¿Es "aficionado" el mejor término para nuestras sesiones sobre la creación musical comunitaria? Creo que un término más adecuado podría ser "músicos comunitarios". La palabra "aficionado" conlleva un estigma. "Entusiasta" es otra etiqueta que se ha propuesto.

Los grupos comunitarios en Tucson, Arizona (mi hogar) sirven para muchos propósitos y son importantes para la estructura de la comunidad y el disfrute de los residentes y visitantes por igual. Creo que estos conjuntos comunitarios son valiosos y que las sesiones sobre creación de música comunitaria o aficionados son un componente muy necesario en los talleres de IHS. La asistencia a las sesiones en San Francisco fue alta y espero que haya más sesiones en futuros simposios.

La primera sesión fue una clase magistral con Nicole (Nikki) Cash, corno principal asociado de la Sinfónica de San Francisco. Nikki comenzó abordando cuestiones prácticas para los trompetistas que tienen trabajos diurnos; principalmente la evidente falta de tiempo de práctica, dónde y cómo encontrar incluso diez minutos más o menos. Nikki, con un gran sentido del humor, hizo hincapié en instar varios períodos cortos de práctica, que incluían tocar el micrófono en el automóvil junto con las melodías de la radio, en su escritorio, etc., en lugar de dos horas. Sesión larga o más al final de la jornada, después de una jornada de trabajo, que puede o no estar disponible en términos de tiempo y / o energía. Los períodos cortos permiten la recuperación de los músculos y la concentración. Nikki se preguntó si uno realmente puede concentrarse durante un período de tiempo más largo y le preocupa la energía y el uso excesivo de los músculos. La visualización puede ser una gran herramienta y se puede practicar sin la bocina. Si solo tiene media hora para practicar, recomendó de 5 a 10 minutos de calentamiento, luego 20 minutos de estudios o repertorio.

Zumbar una boquilla con tono real e incluso articulación se ha convertido en una parte mucho más sugerida del calentamiento y la acumulación de la embocadura. En esta sesión, con la trompeta principal de la Boston Civic Orchestra, Kerry Thompson, quien tocó el Nocturno de Midsummer's Night's Dream de Mendelssohn, un breve período de zumbido aclaró el tono y la aproximación a la trompeta, que ha sido el caso cada vez que he observado esta técnica de enseñanza en un simposio. Nikki llevó a Kerry a un estilo de juego más tranquilo con su enfoque atractivo de "respirar como un fuelle" y zumbar.

La segunda voluntaria, Emily Craparo, una ingeniera aeronáutica estacionada en la Escuela de Posgrado Naval en la cercana Monterey, tocó el famoso solo de la Sinfonía No. 5 de Tchaikovsky. Nikki tocó junto con Emily después de la primera vez y pudo en un corto período de tiempo para liberar el juego de Emily. Nikki sacó a relucir cuestiones de postura y uso del aire y felicitó a Emily por la elección del material. Ella recomendó articular las negras punteadas como tres corcheas durante la práctica para mantener el ritmo estable a través de los compases de rubato.

Nikki aboga por tomar la cantidad de aire que necesita, no una cantidad excesiva, para producir una frase musical. Tocar musicalmente fue una frase constante en esta clase magistral.

Claramente, estas dos personas querían aprender. Parece el caso de que con más de un participante en una clase magistral, el primer participante a menudo recibe la mayor cantidad de energía y tiempo real en la sesión, y suele ser el más instructivo, y hasta cierto punto eso era cierto aquí.

Nikki es una maestra concienzuda y enérgica, así como una intérprete impecable. Ella imparte diversión y técnica con urgencia, lo que creo que es de gran valor para la persona que tiene un trabajo diario pero está emocionada de jugar bien, sin importar la hora o el lugar. Habilidades revitalizantes fue lo que observé con ella. Lo hizo sin un exceso de confianza, sino con un estímulo positivo, lo que hizo que el jugador quisiera hacer de inmediato lo que se sugirió ... zumbar, usar el aire e imaginar la acción de los fuelles de un acordeón o una parrilla de barbacoa, extendiendo los brazos hacia afuera y luego hacia adentro. Sentí que era una fuerte señal visual para todos. Como miembro de la audiencia, parecía divertido y realmente vital ser parte de la instrucción de Nikki.

La segunda sesión contó con un panel con Bill Scharnberg y Mike Hatfield, moderado por Marilyn Kloss. Los folletos de Bill incluían un formulario para guiar el pensamiento sobre dónde estaba uno en términos de maestría musical y dónde quería estar dentro de cinco o diez años. La sesión comenzó con Bill preguntando a la audiencia qué quería discutir, lo que desafortunadamente condujo a una discusión serpenteante. Sentí que los folletos, si se hubieran usado, habrían mejorado la discusión sin sentido, pero se usaron solo como una referencia fugaz.

Marilyn pidió sugerencias para futuras sesiones "amateur". Sugerí pedirle a un director de conjunto comunitario del área de Denton TX (sitio del simposio del próximo año) que aborde las necesidades y luchas de los grupos comunitarios. Los grupos de música comunitaria también tienen personal adjunto que promueve la vida musical del grupo; es decir, webmasters, artistas de volantes, recaudadores de fondos, cónyuges que actúan como acomodadores, etc. Quizás una de esas personas podría dirigir o participar en una sesión.

- Barbara L. Chinworth, Representante del Área de IHS Arizona y editora de Horn on the Range

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