Pedagogy: André Cazalet
A l’instigation de mon ami Ab Koster, qui m’invite à intervenir dans la rubrique pédagogique de l’IHS news letter, permettez-moi ces quelques lignes, qui, je l’espère, susciteront votre intérêt.
Il est très difficile de théoriser sur la pédagogie, qui se réfère plus à l’enfant, et sur la didactique, plus à l’enseignement, en raison de leur étymologie. Le professeur d’instrument de musique se doit de maitriser ces deux disciplines.
Si la pédagogie est généraliste, la didactique est spécifique et concerne une discipline particulière.
Mon expérience de professeur de cor au Conservatoire National Supérieur de Musique et de Danse de Paris (ci nommé après CNSMDP) depuis 1985, soit 31 ans cet automne, m’incline à penser que la relation psychologique qui s’établit entre l’enseignant et l’étudiant est primordiale et déterminante pour l’évolution de ce dernier.
Interview of the Month: Dr. Noa Kageyama
Many of you are likely familiar with Noa Kageyama’s blog, The Bulletproof Musician. In it, he offers insights and tips about how to get the most out of your practicing, how to maintain your focus under pressure, how to make the performance that comes out of your bell sound closer to the one in your head, as well as many other topics essential to mental mastery. We at Horn and More are most fortunate to have him to ourselves in this feature! I felt creatively nourished reading his words and know you will too. Many thanks to Jeff Nelsen for asking all the right questions. -KMT
Jeff Nelsen: How did you get into all this performance psychology stuff?
Noa Kageyama: Like most interesting things in life, my getting involved in performance psychology was partially just being in the right place at the right time. I was a first-year master’s student at Juilliard, and remember standing in the hallway on the second floor by the registrar’s office browsing through all the courses that were being offered. Mostly, I was looking for something that didn’t involve theory, history, or ear training, and the one that caught my eye was called “Performance Enhancement.”
The instructor was Don Greene, who was ex-military, and a sport psychologist who had worked with Olympic athletes. I’d never heard of sport psychology before, and I had no idea what to expect from the class, but it certainly sounded interesting. After a lifetime of inconsistent performances with way too many highs and (mostly) lows, I was intrigued.
So I signed up, and totally got hooked on the fact that there were concrete, specific skills I could work on to help me perform better on stage: anxiety management, confidence building, focus, and mental toughness. It wasn’t abstract, theoretical stuff, but actionable, research-based techniques and strategies that made a big difference in how I prepared for performances, how I approached performing, and how I felt about performing.
And since I wasn’t really sure what I wanted to do when I finished my degree, and didn’t feel like I was ready to go out into the “real world” quite yet, pursuing a degree in psychology seemed like the most intriguing of my options at the time.
One thing led to the next, and as I kept following this area of natural curiosity, it gradually grew into teaching, writing, and working with musicians in a way that I never would have imagined.
Meet Your Makers: Darin Sorely
This month, our feature for “Meet Your Maker” is Indiana-based horn builder Darin Sorley. We hope you enjoy this look behind the scenes of a one-person horn shop!
Andrew Pelletier: What brought you to the horn? What is your horn back-story?
Darin Sorley: I began playing the horn at age 12 in the public school system in Indianapolis, Indiana. My older brother had played the horn a bit, so I knew how to get a sound out of it. My brother’s horn was also the beginning of my repair career starting with the bending back of the bell after one of us tripped over it. I was lucky in that the Junior High School I attended had a repair room and the band director allowed me to do basic maintenance on some of the school instruments, which sparked my interest in how things worked.
I do not have the “typical” career path of most horn makers in that I began my career as a band director. I attended Butler University and received a Bachelor Degree in Music Education and most importantly, met my wife of 30 years, Rebecca. I then taught instrumental music in grades 5-12 for the next 3 years in Indiana. During that time, I started taking lessons with Philip Farkas at his home in Bloomington in order to begin auditions for my master degree in horn. I was accepted into the Cleveland Institute of Music and began studies with Richard Solis, and after a wonderful two years at CIM and attending Cleveland Orchestra concerts, I received my Master Degree in Horn Performance.
After Cleveland, I returned to Indiana to teach for four more years before pursuing my Doctorate degree at Indiana University where I studied with Michael Hatfield. While at IU, I studied natural horn with Rick Seraphinoff, which eventually lead to my horn-building career. It was three years after finishing my course work at IU, teaching at the University of Evansville and then a one-year position at Southwest Missouri State, that I began my horn-building career.
After moving back from Missouri to Indiana, I started my freelance-playing career in the Indianapolis area. I had always had an interest in building a horn so I contacted the only person I knew doing it...Rick Seraphinoff. During the summer of 2000, I built my first (and only) natural horn, 3 crooks and 2 couplers all under the guidance of Rick. I like to tell everyone, that during that summer, I built my one horn and Rick made six!
A Life at La Scala, Milan
by Roberto Miele
When I was invited by Kristina Mascher-Turner to write an article about myself and how the horn functions in theopera house, I was proud and honored. I started studying the horn when I was seven, in the local band of my hometown. I was immediately facinated by the shape and then especially by the sound of the horn, which was warm, intense, andenveloping.
In the years before arriving at La Scala, thanks to my teachers, Domenico Sebastiano and Luciano Guiliani, I was introducedto playing in an orchestra, chamber music, and solo playing. I worked for several years with the Accademia Nazionale di Santa Ceciliain Rome, with the Maggio Musicale in Florence, and the Teatro Lirico of Cagliari. In 2000/2001 I won the international audition in LaScala in Milan. For nearly 17 years I have had the honor and privilege of playing in this great theater. A season in this theater presentsmany diverse opportunities to play under and be in touch with the most famous conductors. The daily routine is structured like othertheaters with rehearsals and performances, that is often a rehearsal in the morning or afternoon and a performance or ballet in the evening.
There are various types of programs such as Operas, Symphony concerts, and Ballets. One can taste and experience the differentopportunities this repetoire presents. My typical day is practicing, rehearsing, and performing. In La Scala we have the opportunityto play under such conductors as: Muti, Abbado, Barenboim, Sawallish, Giergiev, Mehta, Termirkanov, Chailly, Luisi, Harding, Dudamel,Chung etc. The atmosphere from the moment a conductor steps on the podium for the first rehearsal of an opera, symphony or ballet isindiscribable. The greatness and comunication is often done with a gesture or a simple glance and is something unique.In this theater one has the opportunity to play in many different groups and chamber ensembles such as La Scala Brass, Ensemble Strumentale Scaligero, I Corni della Scala, I Cameristi della Scala, I Virtuosi della Scala, and Quintetto dell'Opera di Milano.
In conclusion, in an all around view of this lecture of the horn, I considered a career conducting, a soloist, and above all I founded a trio,Trio Morgen, (www.triomorgen.eu) with which to expand my activities concerned with chamber music and lieder, in order to get the broadest view of the horn.
Strauss: Concerto #2, mvt. 1&2
English translation by Dale Clevenger and Giovanna Grassi
Interview of the Month: Erik Ralske, Principal Horn, Metropolitan Opera Orchestra, New York
Kristina Mascher-Turner: First of all, Erik, Tell us about that famous week back in July 2010!
Erik Ralske: In 2010 I was lucky enough to end up in the unique position of winning two major principal horn jobs in the same week—at the Metropolitan Opera and the LA Philharmonic. The crazy part was that my story got picked up in a front-page article in the NY Times about the large number of vacancies in the NY Philharmonic at the time. I had been a member of the NY Philharmonic for 17 years--initially as third horn and later 6 years as Acting Associate Principal. Prior to my years with the NYP, I played first horn in Houston (Associate Principal), Vancouver, Florida, and Tulsa, so playing first horn again was a return to my old life. Playing third horn in a great orchestra and brass section such as the NY Philharmonic was not only essential experience and training for the skills and endurance needed in my current job, but also an education in excellence. Choosing between 2 such different jobs in 2 very different cities wasn’t easy, but my NY roots helped tip the scales. I grew up in the suburbs of NY (Long Island), went to school at Juilliard and have always identified myself as a New Yorker. I have family here. I also felt that the opportunity to play completely different and yet major horn repertoire at the MET, would make for a very complete and varied musical life and career. To have played the Mahler Symphonies with the NY Philharmonic and the prospect of playing the Wagner operas at the MET is something that intrigued me at the time of the decision. For me it was the right choice, but I can understand others may have chosen differently. In short, I felt I had done most of the orchestral repertoire on both first and third horn and working the MET provided a chance to do something refreshingly different.
A Life at La Scala, Milan
by Roberto Miele
English version
Quando ho avuto l'invito di Kristina Mascher - Turner a poter scrivere un articolo su di me e sul corno nell'opera ne sono stato orgoglioso e onorato.
Ho iniziato lo studio del Corno all'età di 7 anni nella banda del mio paese. Mi ha subito affascinato la sua forma e soprattutto il suo suono così caldo, intenso, avvolgente.
Nel corso degli anni prima di arrivare alla Scala ho avuto modo grazie ai miei insegnanti Domenico Sebastiano e Luciano Giuliani di avvicinarmi al Corno sia in orchestra, sia in formazioni da camera, sia in veste di solista. Ho lavorato per diversi anni tra l'Accademia Nazionale di Santa Cecilia Roma, il Maggio Musicale a Firenze, Teatro Lirico di Cagliari e poi nell'anno 2000 2001 ho vinto il concorso internazionale presso il Teatro alla Scala. Sono ormai 17 anni che ho l'onore e il privilegio di suonare in questo grande teatro.
Avendo quest'ultimo una programmazione molto fitta si ha veramente l'opportunità di lavorare sia con i più grandi direttori ma soprattutto di poterli incontrare anche più volte nel corso della giornata. Di prassi il lavoro è strutturato come tutti i teatri fra prove e concerti e spesso si hanno prove di un titolo nella mattina o nel pomeriggio la sera spettacolo o un balletto.
Meet Your Makers: Ricco Kühn, Oederan, Germany
I am glad to have this opportunity to be able to write in detail about myself, my little workshop, and the history of Ricco Kühn Horns. “Meet Your Makers” is a fantastic idea that helps readers get to know the faces behind the great horns you see at exhibitions and on websites.
As is the case with every colleague, I have my own story about how I came to this beautiful craft. It was a spontaneous decision in a rather frustrating life situation! After it became clear that I wouldn’t be allowed to follow my originally chosen career path in the time of Communist East Germany, I had to decide on a course of study. Since I didn’t have a “better” idea, my parents figured this would be a good way to combine my musical and technical interests.
Furthermore, we had a long musical tradition in the family. My great-grandfather, grandfather, and father all played the trumpet in the local wind band. Thus I had no choice in the matter - I would learn the trumpet as well. To be honest, I wasn’t the most dedicated student. Indeed, my interest in technical things was growing, and I had way too many ideas (and therefore, no time to practice.)
I completed my “Metallblasinstrumentenbauer” (Brass Instrument Maker) training with B&S in Markneukirchen, in the company where Hans Hoyer horns were built. In the school, there were many photos and catalogs from the most varied sorts of horn models. Since double horns always look rather complicated to the eyes of a trumpet player, this naturally awoke my technical interest. Although I was only allowed during my studies to assemble valve sets for most instrument models, the desire to build horns was strong in me. Therefore, after my studies I went to Heinz Börner in Chemnitz, Oskar Reissmann’s successor. Oskar Reissmann had an excellent reputation up through the 1950’s as a horn builder, even well outside the borders of Germany. Heinz had a small, old workshop with very little in the way of machines and technical equipment. The horns were assembled manually under the simplest of conditions. For me, it was a very interesting time in which I was able to delve deeply into horn building. I also learned back then how to play the horn; indeed, I practiced more during this period than I did on the trumpet in my entire childhood. I was fascinated by everything about the horn! I played in various configurations, from chamber orchestra to brass ensemble, also traveled solo for a while and therefore got to know almost every situation that a horn player has to master.
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| Oskar Reißmann |
The bells made at that time were somewhat wider cut, similar to the C.F. Schmidt models constructed at the time. It is not known whether both companies might have had the same bell supplier. For me, the Reissmann tradition is important because I had many new ideas about building on these grand experiences after completing my final Master’s project.
Shortly after my master’s diploma in 1986, I began the preparations for my own company. It was not easy to initiate an independent existence in the former socialist system, so I delayed this plan until the autumn of 1989. Before then, I had to serve in the Army, and afterwards, the procuring of tools and technology took some time. After I finally received official permission and was ready for everything, the fall of the Berlin wall and change in the political system happened. By this point, I had already made many contacts with horn players in the former DDR. My ideas were good, so the liftoff should be successful, I thought!
I shouldn’t regret it now, but for my business it was an unfortunate fact: the borders were once again open, Germany reunited soon afterwards, and so of course most of my customers were more interested in the renowned horn from Mainz than in my ideas. As a result, I was off to a bumpy start.
In the months immediately afterwards, I was constantly on the move, introducing my horns. During this time, I made the acquaintance of new suppliers in the western part of Germany. I had even more new ideas. Financially, it was a near catastrophe, but in this manner I was able to bring my horn models to a new standard in an extremely short period of time.
Perhaps fortune follows persistence? I got to know new business partners who opened a new market to me outside the German “problem zone.” Because of this, I never really had to make concessions to the German Alexander brass players, and until just two years ago, didn’t have an Alexander-compatible model on the program. Perhaps certain readers will wonder why I mention the name Alexander so openly. However, it is simply the reality of every German horn builder that a large portion of horn players are only interested in the horns from Mainz. Throughout this situation, I have never blamed the Alexander Company. They are nice people, and the horns are good, as are their marketing and production processes. If there’s any issue to be taken here, it’s perhaps with the horn players who have never tried other horns and who therefore take away the chance for other dedicated manufacturers to thrive in the market. Luckily, the world is a big place, and times are changing! In the meantime, the German market has already become a significant proportion of our business.
Often at horn workshops, I’m asked if we see ourselves more as trumpet or horn builders. Many people have read about the trumpets on our website. I’d like to tell a story about this – this is no joke, it’s the truth. Most trumpet players know the tale:
Shortly after the beginning of the company, I had a colleague who, though diligent, wasn’t yet qualified enough to build horns. With him, “just for training purposes,” I built a few trumpets, and did the same with all subsequent colleagues. Besides, with trumpets I could quickly try out my new “toy” – a computer measuring system. Somehow these trumpets made their way into the right hands. Suddenly I had a huge demand for our trumpets, even though I had never advertised them.
In the years that followed, a few new models followed. We were able to sell many trumpets, won the “Deutsche Musikinstrumentenpreis” for our B-flat trumpets in 2010 and 2015, and in the meantime became one of the most sought-after trumpet manufacturers in Germany. Despite this – and most trumpet players are aware of it – my heart beats for horn building. We’re horn builders who also make trumpets, not the other way around!!!
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| Florian Kühn receiving his master diploma |
For me, professional musicians are on a level with professional athletes who achieve great physical feats; in addition, they are creative artists and need to be able to practice their art up through an advanced age, should they so wish. We as manufacturers of this “sports equipment” need to take this responsibility seriously. The musicians trust us, and we shouldn’t disappoint them.
In conclusion, I’m happy to announce that after our son Florian is now working full time in our workshop, after having completed a long and rigorous course of study including brass instrument construction, economics, as well as his master’s exam (his final project, was, of course, a “Reissmann” double horn)! Florian is also a horn player and will certainly build many more beautiful horns in the future.
Thank you very much for your interest. Perhaps we will see each other at one of the upcoming IHS shows!
Ricco Kühn
(English translation: KMT)
A Wagnerian Summer in Bayreuth
by François Bastian
auf Deutsch
Jouer les opéras de Wagner au Festival de Bayreuth est une consécration pour un corniste ayant étudié en Allemagne. Dans la salle des cors du Festspielhaus est accroché un immense tableau, faisant la liste de tous les cornistes ayant joué dans l´orchestre du Festival, depuis 1876 jusqu´à cet année. Quand on se tient devant ce tableau, lire les noms de ces illustres cornistes nous fait réaliser l´honneur et la responsabilité que nous avons de pouvoir faire perdurer cette tradition musicale.
Le Festival de Bayreuth dure pour nous 10 semaines, de fin juin à fin août, et il y a le plus souvent besoin de 18 cornistes par été. Sur ces 18 cornistes, 4 ne jouent exclusivement que du Tuba Wagner, c´est une particularité par rapport aux autres maisons d´opéra. Un membre du groupe est choisi pour jouer le fameux "Siegfriedsruf". Cette année, Carsten Duffin, mon collègue cor solo de l'Orchestre Symphonique de la Radio Bavaroise, a fait ses débuts dans cet exercice. À noter que le record du nombre de „Ruf“ est détenu par Gerd Seifert, avec 157 représentations.
La manière de jouer dans la fosse d´orchestre à Bayreuth est assez spéciale. L´orchestre étant presque complètement recouvert, et les cors positionnés à l´arrière de la fosse, donc carrément sous la scène, il faut exagérer toutes les nuances. Si on schématise, chaque passage doit être relevé d´une nuance. Un piano equivaut au minimum à un mezzo forte, etc... Les sons bouchés et autres effets, en particulier pour les cors graves, sont joués le plus fort possible afin d'être audibles par le public. Cela me rappelle à chaque fois l'importance de la méthode qui m'a été enseignée par Marie-Luise Neunecker: 5 minutes par jour de trilles, et 5 minutes de sons bouchés dans le grave sont indispensables pour devélopper et maintenir ces compétences.
