Chamber Music Corner – Esther Ballou’s Suite for Winds
by Layne Anspach
Hello musicians!
This month, Chamber Music Corner will feature Esther Ballou’s Suite for Winds (1957). Born in 1915 in Elmira, NY, Ballou was a composer, educator, and pianist. She obtained degrees from Bennington College (Vermont, 1937), Mills College (1938), and the Juilliard School (1943). She taught at Juilliard (1943-1950), Catholic University (1951-1954), and American University (1955-1972). In 1963, Ballou became the first American woman composer to have a work, Capriccio for Violin and Piano, premiered at the White House. She published a music theory textbook in 1971 entitled Creative Explorations of Musical Elements. While on sabbatical in 1973, she passed away in Chichester, England, due to a recurring illness.
Suite for Winds is a work for double woodwind quintet. It was premiered at Catholic University in 1957 by members of the United States Air Force Band. The work appears in three movements. The first, Allegro, is characterized by its uplifting mood, and it features each instrument paired with its counterpart. The opening section features the full ensemble with a few instances where the upper voices (flute, clarinet, oboe) alternate with the lower (horn, bassoon). The middle section features a soli from the oboes and a brief transition presented by the clarinets. The final section reprises a shortened version of the opening material before ending with a flourish.
The aptly named Lento e dolce holds a contemplative air. Only the woodwinds are featured in this movement. The first bassoon underscores much of the movement either as a supportive or solo line, but the flute is featured as the main melodic voice. The form of the final movement, Allegro, alternates between the entire ensemble and smaller groups in a dance-like triple meter. The opening section, which returns twice in the movement, uses all voices with a consistent reliance on fortepianos. The alternating sections feature a smoother and less dramatic ambience; a lovely oboe solo is prominent in the second iteration. The work concludes with a peaceful, somewhat anticlimactic coda.
The reference recording from the Atlanta Chamber Winds’ album, Wind Music (2020) from Albany Records. The hornists are Jason Eklund and Helen Werling.
Meet the People—Katy Carnaggio, Horn and More Columnist
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.
Ambitious Amateurs
by Marty Schlenker
Dear Fellow Ambitious Amateurs,
We begin column #4 with an introduction to Richard Davis of Franklin, TN. He originally contacted me so that I could put him in touch with Marilyn Bone Kloss to receive Cornucopia, then graciously agreed to be profiled here. Elements of his journey as an amateur are similar to my own and can serve as inspiration to anyone.
Richard grew up in Mason City, Iowa, USA, hometown of Meredith Willson of The Music Man fame. His father was the band director in town, and that set Richard on a course toward a music degree until he encountered 18th century counterpoint and changed majors. Nevertheless, his dedication to horn continued.
Richard is well into retirement but practices at least an hour each day. He notes, “People begin to lose muscle mass in their 50s, but you never need to lose much at all if you keep using it. You don’t need to stop challenging yourself.” He believes practicing is good and necessary, but also that one must play with a group. It’s a way to exercise the “performance gene,” challenge oneself on repertoire, and manage sound.
Richard is a member of the Brass Band of Nashville (https://brassbandofnashville.org/) and the Franklin Brass Quintet whose members all come from the Brass Band. He observes, “As we age, we can become generationally isolated. Music is a way around that.” He enjoys working with younger players. The youngest member of his quintet is 29.
Like me, Richard resumed lessons in middle age, with Dr. Jeff Snedeker of Central Washington University. Richard felt he needed to mix things up after doing too much of the same thing, and embarked on a study of jazz horn. He met his match in studying improvisation, gaining the appreciation that it is every bit as challenging as older forms of composition.
I’ll be happy to be going as strong on horn as Richard when I reach his age, and happy if the lessons I recently embarked on bear as much fruit as they have for Richard.
Now a quick note on my lesson saga. Last month, I mentioned the advice I got to quit tonguing so hard. I still don’t feel like I am at habit-strength with my new tongue position (farther back, more vertical), but it’s definitely heading me in the right direction.
I wrote last month that the new tongue position changed the shape of my oral cavity. The most obvious effect of this has been an improvement in my upper register. Within a couple of weeks of settling my tongue in on the first ridge of my palate, B-flat and C were coming out with the ease (a relative term, of course) that I used to experience for G and A. Hooray! At all dynamic levels? No, not yet. Whenever I might want them? Also no. But there’s hope!
Next month, I hope to have another profile for you of an ambitious amateur, plus the next bits of direction that I’ve received in my lessons, one of which has had immediate, unmitigated positive impact, and one of which has put me squarely in “get worse to get better” territory.
Ambitious amateurs, get in touch and share your stories. This column will be much more with your contributions.
Until next month,
Marty Schlenker, Amateur Hornist
Student Column—Compete!
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!
Research to Resonance—Pregaming Isn't ALL Bad
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!
Research to Resonance—How to Cultivate Achievement
…using your character strengths
by Katy Carnaggio
Let’s break this down: the best way to drive results in your playing isn’t to work on your weaknesses. It’s to work toward what you want. Otherwise, all those hours of, “That was sharp. I gotta fix that trill before tomorrow’s concert. The start of that note wasn’t clear,” build into a painstakingly vivid self-image of all the ways you fall short.
Imagine the breakthroughs you could achieve when you relinquish the burden of everything you need to fix and, instead, saturate your mind with sounds you love: “I want that D rich and centered! Fluid trills are on the agenda! Ooh, let’s get a crystal-clear front!”
I know, it sounds so simple. But, in my work expanding performance education resources at the Jacobs School of Music, I’ve found that even the world’s best musicians can at times fear that a step towards love and enjoyment also means a step towards complacency.
If you’re thinking, “Sounds familiar,” I invite you to try a simple, evidence-based exercise:
- Identify Your Strengths: Take this free assessment by the VIA Institute on Character to discover your top five signature strengths. These are unique qualities that you enjoy, value, and embody.
- Choose and Apply a Strength: Select one that resonates with you and brainstorm seven ways to apply it to your musical practice. For example, indulging my “judgment” strength (examining things from all angles) allowed me to track different factors that impact my playing using the Bearable App and connect persistently swollen, painful lips to a simple food allergy.
- Experiment and Reflect: Implement a new idea each day for a week and see which ones enhance your practice.
Research shows that using your signature strengths can boost your growth, productivity, and resilience. Yet, this method is more than just a practical tool; it's a way to discover joy and build self-trust.
I get it. I’d sooner rely on familiar tools like my trusty metronome, too, where hard work feels straightforward and goal-oriented. But your richest and most effective work lies in learning to find enjoyment in the process. That means separating yourself from your fears and defenses—letting go of judgements of who you are, what sounds you can make, or what you can do—and instead choose simply to be present with the horn and, using all your strengths, step towards what you love.
And love, in any context, is immensely powerful and inherently unpredictable in both the best and worst ways. Hard work might never end but love stories do; love demands vulnerability.
But the beauty of this risk? It's in the music you'll create when your authenticity and love blend seamlessly with your skill and discipline. That's where you find not just improvement but transformation.
Student Column—Summer Opportunities for Students
by Inman Hebert
Workshops, Festivals, Summer Camps, and More
Happy spring semester to all horn students! As far away as summer may seem, now—if not earlier—is the best time for planning. Various summer music festivals and camps cater to different groups of horn students. From colleges that host summer camps for recruiting high schoolers to large orchestra festivals, horn students have a great variety of opportunities to improve their playing through summer experiences. Additionally, students can attend regional workshops or horn days even before the summer begins. In this list, I have compiled opportunities for students of all horn levels.
First and foremost, when looking for horn-specific events to attend, the International Horn Symposium and IHS-affiliated regional workshops are the best places to start. This summer, in Fort Collins, Colorado, horn players of all varieties (professionals, students, amateurs) from around the world will meet for a week of competitions, concerts, presentations, and exhibitions that showcase every aspect of the horn. As a student who has attended the last two IHS symposia, I strongly advocate participation. These symposia offer opportunities for students to interact with their peers and to meet the horn players they idolize. In addition to social networking, the symposium offers students great opportunities to learn an assortment of pedagogical tips. My daily routines have been influenced by advice from IHS presentations.
Like the IHS symposia, regional workshops offer students similar opportunities to learn and network within their region much closer to home. These workshops may include featured artists, special presenters, concerts, competitions, masterclasses, exhibits, and presentations. Horn-specific events also exist in several states. These “horn days” often occur in winter or early spring and offer similar benefits to IHS symposia and regional workshops.
While deadlines for many summer fellowships with orchestras have passed, summer music festivals, orchestra programs, and camps have music programs that allow horn students to delve deeply into orchestral excerpts, perform in ensembles, or focus on technique and musicality with distinguished faculty members. Because of such prestigious leadership, many festivals can be valuable learning opportunities for the college horn student.
Some universities host honor bands for high school horn players during the school year and summer. These honor bands and music camps exist to recruit talented musicians to the university and provide opportunities for students to become familiar with the university’s music program. In addition, playing with gifted musicians under experienced conductors improves musicality.
Attending music workshops, festivals, and summer camps offers horn players a chance to improve and build a network of mentors and potential future colleagues. These opportunities, ranging from IHS symposia to orchestral festivals, can positively impact students’ careers and experiences.
IHS 56—Horns on the Horizon
by John McGuire
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Lanette Compton, IHS 56 Competitions Coordinator
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Greetings, everyone, from your IHS 56 team here in wintery Colorado! We hope you have seen IHS 56 posts on social media, and, assuming so, you likely saw that a few days ago we woke up to temperatures of -20 degrees Fahrenheit! But don’t worry…I promise that we will have much warmer temperatures in late July…no need to pack your parka!
Although we have already announced it on Facebook, Instagram, and the Horns on the Horizon website (www.hornsonthehorizon.com), I want to take a moment to tell you about some of the competitions that we have planned for IHCA-IHS 56. The biggest and most notable addition to this year’s programming is the collaboration with the International Horn Competition of America (IHCA), which has been in existence in various iterations for the better part of half-a-century. The 2024 IHCA will happen July 26-29, 2024, overlapping the first day of IHS 56, with the final rounds of both the University and Professional Divisions happening on our opening day. Over the years, winners and finalists from both of these divisions have gone on to establish themselves as some of the best players of their generations, a veritable Who’s Who among horn players! Make plans to witness the newest up-and-coming horn players at the highest level of artistry…quite literally “horns on the horizon!”
On the IHS side of the event, I am excited to announce that we will be hosting a university horn quartet competition as well as a university horn ensemble competition! Anyone who knows me knows how much I value and appreciate all my years of participation in quartets and ensembles and how much those experiences helped shape and mold me and my career. As such, it is incredibly important to me personally to provide opportunities for our younger players and future professionals, giving them the same chances to grow and develop that I had. Specific information will be provided on the IHS 56 website, including repertoire, time requirements, age limits, and other pertinent information. Please note that any and all members of each competing quartet and ensemble will need [1] to be members of IHS as well as [2] to register for the full week of the Symposium.
I would also like to publicly acknowledge Lanette Lopez Compton, horn professor at Oklahoma State University, for agreeing to help us organize these competitions. If you know or know of Lanette, you know how wonderful she is as a performer, teacher, and mentor—not to mention as a friend and colleague! IHS 56 is fortunate to be able to have someone of Lanette’s stature assist us!
