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—Samuel Coleridge-Taylor
by Caiti Beth McKinney
Hi Horn Friends!
For this month’s Europe issue of Horn and More, I want to share the music of Samuel Coleridge-Taylor with you. Although only one of his chamber pieces features the horn, Coleridge-Taylor’s Nonet in F Minor is a substantial and invaluable addition to any chamber musician’s repertoire, and his orchestral oeuvre is not to be missed!
Samuel Coleridge-Taylor, named after the poet Samuel Taylor Coleridge, was born in London in 1875 during the height of the Victorian Era to parents Daniel Peter Hughes Taylor, a doctor from the African country of Sierra Leone, and Alice Hare Martin, an Englishwoman. It is unlikely that Samuel ever met his father, who returned to Sierra Leone that same year, leaving the future composer to be raised by his mother alone. She was able to provide him with violin lessons from a local instructor from a young age, and in 1890 the musician entered the Royal College of Music in London. His talents were prodigious enough to catch the eye of a silk merchant, Herbert Walters, who would become Coleridge-Taylor’s patron and sponsor, paying for his education.
Coleridge-Taylor’s mixed-race ancestry had a profound impact on his life and career. During his daily commute to school, Samuel was forced to endure comments about his appearance and color, and insults and slurs would continue to follow him his whole life. Even supposedly well-meaning titles bestowed by fans were laden with problematic racialized terminology; for example, after a successful tour of the United States in the early 1900s, American musicians took to calling Coleridge-Taylor “the African Mahler.”
Despite both outright and microaggressions, Coleridge-Taylor’s music was widely celebrated during his lifetime, particularly his orchestral repertoire, including such pieces as Hiawatha’s Wedding Feast (1898), which he would later expand into a cantata trilogy entitled The Song of Hiawatha. The composer’s successes were so far-reaching that he was even received at the White House by President Theodore Roosevelt, and his music was championed by Edward Elgar. Coleridge-Taylor’s compositions frequently incorporated elements and melodies pulled from African music, Negro Spirituals, as well as British, Irish, and other cultural folk tunes, pulling together parts of his identities into a seamless whole.
The Nonet in F Minor, Op. 2 (1893), written while he was teenager and student at the Royal College, is one of Coleridge-Taylor’s earliest published works but is, nonetheless, a work of art. Full of lush melodic lines, contrapuntal interplay, and beautiful use of textural colors, this piece is an underappreciated gem. Enjoy!
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.
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.
Student Column—Managing the Busy Music Student Schedule
by Inman Hebert
As busy students, we navigate rehearsals, classes, assignments, projects, work, clubs, extracurricular pursuits, and other obligations. Because time is a finite resource, many of us struggle to find time to practice. Luckily, building good time management habits can be learned, and understanding the tools and strategies to manage our time consciously reduces stress, increases productivity, and prioritizes our activities.
To begin this process, we must evaluate how we spend our time. Examine commitments to determine if they align with priorities and interests. Identify time spent browsing social media, chatting, playing video games, and watching streaming services or live sports. Think about breaks between classes. This time accumulates throughout the day, detracting from productivity. In scrutinizing time management, we must visualize our future and examine whether it matches our intention.
To begin improving time management, leverage technology by creating a planner. Enter all classes, tests, deadlines, assignments, appointments, rehearsals, performances, and other time commitments. On this planner, try to schedule practice times. Too often, with busy schedules, it is easy to believe that we will practice music when we get around to it; however, without scheduling practice time, music loses priority in our lives. Do not wait until you are in the mood to practice, because motivation follows action.
While planners help us visualize our obligations, we must also understand what is necessary for completion. We underestimate the time required to complete work. Break longer-term projects into smaller tasks and set incremental deadlines. Try to create a realistic timeline but build in a buffer. Then, in planning ahead at the end of each day, build in accountability. Each weekend, reflect on the past week and prepare for the next week and month. The more routine, the less energy is expended thinking about when and what will be accomplished. Through this process, we can break up long-term practice goals, such as learning concertos or improving aspects of technique.
Using a planner effectively can reduce procrastination; however, inevitably, when we procrastinate, identifying the emotions behind the action can help us move forward. Is there insecurity, self-doubt, or anxiety about a task? If so, starting with a smaller measure of progress can make it more achievable. Is procrastination about infinite choices? Learning to say no sometimes to social invitations can be challenging, but setting boundaries with ourselves and with others helps us focus on our priorities.
Within our allotted practice time, we must also concentrate on one task at a time and stay in the present moment. Multitasking is a myth, so understand the costs of distraction. When switching between tasks, even briefly, for example, to respond to a text, the brain has to refocus and may take over twenty minutes to return fully to the previous activity. Eliminate distractions. Even having the phone within reach can reduce productivity, as willpower must be exerted to resist reaching for it. Our standards for practice assume that the time spent practicing music will be focused and deliberate. In addition to distractions, our sleep schedules can also affect our focus. Getting a reasonable amount of sleep can improve our focus and productivity.
Our commitments must not exceed our capacity to practice music and for self-care. By exercising better time management, we can maximize our available time, and this creates space for fun and balance in our lives, setting us up for success in both the present and the future.
Inman Hebert is a freshman music major at the University of Alabama and a member of the IHS Student Advisory Council.
The Origin Story of Wynwood Mutes
by Josh Cote
As I sat on stage performing Strauss’s Don Quixote with the New World Symphony, I struggled to project my horn part through the straight mute I was using. The muted tones were a bit muffled and out of tune. As a professional horn player, I was frustrated with the limited options for high-quality mutes, especially in the extreme low range as in the famous Pines of Rome excerpt.
After the concert, I couldn't stop thinking about that insufficient mute. I had experienced the same issues with many mutes during my career when playing muted passages in orchestral works like Mahler 1 and 7, Shostakovich 5, Debussy’s La Mer, Daphnis and Chloe, and others. I started researching mute construction and materials, looking for ideas on how to improve intonation and tone quality. When I discovered the capabilities of 3D printing, everything clicked.
With 3D printing, I could design mutes in intricate shapes to specifically control volume and tone color. I could experiment with small design tweaks quickly and cost-effectively through rapid prototyping. Best of all, I found a 3D printing material that mixed wood particles into the plastic, creating a warm, natural sound. This was the perfect material for achieving the refined muted tone I sought.
As I delved into 3D printing, I realized there was also an artistic side to designing mutes. Just like a painter with a blank canvas, I could create unique outer mute shapes and internal structures.
Creating these mutes fused my passions for horn performance and design. But I also had a larger vision of helping horn players everywhere achieve more expressive playing through better equipment. To bring my dream to life, I tapped into Miami's bustling startup community. I found designers, engineers, and business experts to support turning my ideas into a real mute production company.
It wasn't always smooth sailing. Early mute prototypes had issues with fit, durability and consistency of sound. The 3D printing process involved tweaking many settings like temperature, print speed and layer resolution in order to print mutes with the right balance of strength and acoustic properties. After extensive trial-and-error, I honed in on the optimal printing methods.
As news of my mutes spread, I received orders from prominent orchestras including the Philadelphia Orchestra. The mutes have developed a following for particular low horn excerpts because they play in tune throughout the range. It has been incredibly fulfilling to hear my mutes contribute to moving performances across the country.
While my mute designs have continued to advance over the past few years, my core mission remains the same: give all horn players access to equipment that unlocks their peak artistic expression. When I reflect on my journey creating Wynwood Mutes, I'm grateful that one frustrating performance led me to establish a company that brings the beauty of the horn to audiences worldwide. Although the path of designing, testing, and building mutes was challenging, the rewards have been infinitely greater.
I can't wait to see what the next chapter holds for Wynwood Mutes as I develop new mute innovations and help more horn players elevate their performances.
Chamber Music Corner—George Onslow’s Sextet in E-Flat Major, Op. 30
by Layne Anspach
Hello chamber musicians!
George Onslow’s Sextet in E-Flat Major, Op. 30, is the focus of this month’s Chamber Music Corner. Onslow was born to an English father and French mother in 1784. After early piano and cello studies, Onslow began composition studies with Anton Reicha in 1808, which inspired him to write chamber music. While Onslow gained great popularity in Germany and Austria, he was less well-known in his homeland of France. His wealth allowed him to compose as he wished, however, mostly ignoring the French public’s taste for opera. The 1830s and 40s saw the confirmation of his career with appointments to a number of institutions, an honorary membership in the London Philharmonic Society, for example, and election to the presidency of Athénée Musical. The decline of his health forced Onslow to give up composing in 1852; he passed away in 1853 in Clermont-Ferrand, France.
The Sextet Op. 30, scored for flute, clarinet, bassoon, horn, double bass, and piano, was written in 1825 and published a year later. Upon hearing bassist Domenico Dragonetti perform in London, Onslow started to incorporate bass into his chamber works. This may explain why the bass is included, but it is unclear whether Dragonetti inspired Onslow for this specific work.
The first of four movements, Introduzione. Largo - Allegro vivace assai, starts with a slow introduction carried mostly by the piano. The piano continues with running sixteenths in the exposition in the faster tempo. The winds play quick virtuosic runs to answer the pianist’s technical display. Interjecting on occasion, the piano cedes melodic content to the flute, clarinet, and bassoon during the development yet returns to the leadership role in the recapitulation.
The A section of Menuetto. Allegro is characterized by an octave leap motif initiated by the horn with chromatic runs in the piano. The B section, Piu lento, is of a playful character in the winds with an anacrusic eight-note motif. The horn leads the return to the A section with a startling entrance, and the movement ends with a delicate chordal conclusion.
The third movement is a theme and variations. Andante con variazioni starts with a piano melody, passing back and forth every four measures. Each variation is worth a listen as Onslow cultivates the melody: Var. I. Piu Presto, Var. II. Stesso moto, Var. III., Var. IV. Tempo I, Var. V. Piu Presto. (I especially enjoy Variation IV in which a flowing horn melody begins the variation.) The final movement, Finale. Allegro, disperses melodic content equally between winds and piano. It is light and upbeat in nature but does not develop in character as the previous movements have. The work comes to a delightful three-chord conclusion.
The reference recording is from Ensemble Initium’s album George Onslow—La musique de chambre avec vents (the complete chamber music for wind instruments) with hornist Stéphane Bridoux performing.
IHS 56—Horns on the Horizon
by John McGuire
Organ Hall, Colorado State University
Hello again from Colorado State University in beautiful Fort Collins, Colorado! IHS 56 is another month closer (July 29-August 2, 2024), and preparations are well underway at this point. We have so many things that are in process and being developed by a wonderful team in order to make IHS 56 a tremendous experience for all. But the only way you will know is to make sure you have plans to be here!
This month, I want to bring your attention to a couple of things. First, the website for IHS 56 and IHCA—don’t forget that we’re doing a collaboration with the International Horn Competition of America—has been launched. You can find it at www.hornsonthehorizon.com as well as links for it on the IHS website and on social media. (Please follow us on Facebook and Instagram.) There, you will find tabs with information on Featured Artists, Contributing Artists, Exhibitors, Planning Your Trip, and much more. Please note that while there is a good deal of information already up, there will be much more coming in the next several weeks and months!
Of particular note this month is that under the tab for Contributing Artists is a link to the application for any who would like to submit a proposal to perform, present on a topic, or both. The application will remain open through December 15, 2023, so make sure you get your proposal in soon.
Last, we will be rolling out several announcements starting in mid-October, including information about the Featured Artists lineup. Stay tuned to Horn and More, the IHS website, and IHS social media because you won’t want to miss anything!
