Experiences and Strategies in Teaching
by Frøydis Ree Wekre
I believe in music as a wonderful human art form with great impact for a better life. I do also believe strongly in the importance of the best possible teaching for all pupils and students. What, then, characterises good teaching, as the students experience it, and as results arise? How can each and every one of us improve our teaching skills? Maybe we could open up between our studios to a larger degree, and exchange our ideas and philosophies and tricks of the trade - not only between horn players, but also including teachers of other instruments, when relevant? While waiting for this to happen, I am happy to share some of my own thoughts on teaching here. These points were originally notes for a lecture.
Teaching, in my experience, is about sharing information, encouraging, inspiring, helping, and trusting the potential.
To me, teaching feels like a pleasant obligation, a sort of “payback” to my own teachers. In earlier years I mostly trusted my instincts, but nowadays I am more conscious about what to do - or not to do - in the various teaching situations. Experience can help, if we reflect upon it.
Timbre and Taste
by Jeffrey Snedeker
As many of you also know, the natural horn has been an important part of my musical life and career, beginning with sharing First Place in the Natural Horn Division (with Javier Bonet) of the American Horn Competition (now the International Horn Competition of America) almost 25 years ago. The pursuit of this instrument has had an interesting effect on the following:
- my performing in general, including an influence on technique and musical decisions;
- my teaching, which has adjusted to include student experiences with the instrument;
- my recital repertoire, ranging from the earliest Baroque pieces to new pieces for the instrument
- my concept of the aesthetic of pieces that call for the instrument, historical or contemporary;
This last item, my concept of the aesthetic of the pieces that include the instrument, is the one that has been on my mind recently, especially after hearing a range of live and recorded performances that provoke a question: when composers wrote notes that require some sort of hand-stopping, what should those notes sound like?
The approach to stopped timbres has two obvious extremes, both of which we hear in public and on recordings. One is to bring the volume of the stopped notes up to that of the open notes in a passage, most frequently creating a raspy timbre like a “modern” stopped sound. The second is to do the opposite, to modify the volume of open notes that the timbre is more even and the changes are subtler. The 18th- and 19th-century methods that comment on timbre generally encourage the second way, yet many modern performers, for whatever reasons, seem to choose the first way.
Meet Your Makers – Richard Seraphinoff, Historical Horn Maker
I thrive on variety. I teach modern horn, early horn, and brass literature and history at the Indiana University Jacobs School of Music, play horn, make horns, do research into horn design, construction and history, and write about the horn. “But wait a minute!” the astute reader will say, “That’s not variety. That’s all about horn!” Well - OK, it is all about the horn, but as we all know, there’s a lot of variety under the subject of horn. Teaching is about working one on one and in classes with our talented IU horn players, helping them to develop their skills and move toward their goals. Playing is sharing music with the people who you are playing for, and the people you are playing with. Writing and researching are the academic side of things, and not done in real time with real people, but rather alone and at a leisurely pace, and often involve interesting travel. Horn making is just me and the metal, but I’m still working with people, making something that will be a tool that will make their work easier and more enjoyable. Over the past nearly forty years, each one of these things has been an antidote to all of the others, and whether I am sitting on a stage, teaching horn at IU, sitting at my computer, or in my workshop, I always have the pleasant feeling of “I like this part best!”
But when Jeff Nelsen and Kristina Mascher-Turner asked me to write this, they were specifically interested in the instrument maker side of me, sometimes known as my second full-time job. I started making reproductions of historical horns because I needed appropriate horns when I began seriously playing with period instrument groups in the 1970s. At that point the choices were either expensive antique horns or a few rather modern valveless horns that were being made. But fortunately I came from a family that made things. My father made airplanes as a hobby, - real airplanes in which we flew, and I grew up thinking that if you needed something, you just had to learn out how it was made, get the right materials and tools, and then go ahead and make it.
Parforce Ensemble
You haven’t lived until you’ve experienced a Parforce horn troupe up close! This ensemble from St. Hubert, Belgium, performing the Messe de St. Hubert, keeps alive a centuries-old tradition. Be sure to turn up the volume for the full effect of the natural horn’s boisterous cousin.
A Lesson with Herman Jeurissen
The standard of horn playing is nowadays far higher than it was at the beginning of my career. Through the media we have access to fantastic recordings, to knowledge about the many physical aspects of horn playing (embouchure, air control, body posture etc.) and to a lot of tools giving support to the mental aspects of stage performance.
There is however a reverse side to the medal. The equality in approach and sound ideal lead too many times to a humdrum uniformity. What is the deep sense of worldwide concert tours as almost all the orchestras sound more or less the same? Like in nature we absolutely need biodiversity. We should realize that in art, copies have basically hardly any value. With all the free modern media, we make ourselves completely superfluous, if we not are playing with a strong personal, not interchangeable, touch. All the available tools concerning developing embouchure, air control and mental stability are without any doubt very helpful, but at the end just tools. The ultimate goal is of course a unique, genuine expressive and musically eloquent presentation.
West Eastern Divan Orchestra
With this month's E-Newsletter being focused on horn playing from the Middle East, we thought it might be nice to hear these musicians, as well as read about them. Here is a live broadcast from the 2014 BBC Proms of the West-Eastern Divan Orchestra, an orchestra of young professionals from Israel and Palestine, brought together by conductor Daniel Barenboim. Enjoy--especially the Ravel Pavane (starting at about the 44 minute mark), beautifully played by principal horn Jorge Monte de Fez! Click the image to see the video on YouTube.
A few words from a horn player from The (Arab) Gulf…
by Peter Davida
Everything started in 2007, on a typically wet and humid day, driving on the highway in Malaysia’s main city of Kuala Lumpur, when one of my Hungarian friends from the Malaysian Philharmonic Orchestra called me to say not to hesitate any longer, but rather send in my application for the principal horn job of the yet-to-be-founded Qatar Philharmonic Orchestra. (Qatar is a tiny peninsula in the Persian or Arab Gulf. It shares a land border with Saudi Arabia and sea borders with Bahrain and Iran. The population exceeds 2 million people (most of them foreigners from all over the world.)
I was more then keen to make a change in my life; frankly speaking, I’d had enough of Malaysia after spending ten years there. I reached the limits of my tolerance when it came to coping with the local lifestyle and culture. I felt I was trapped there. I’d had enough of the orchestra as well and wanted something different. I was looking for a place where I could find enthusiasm, affection, less of the lukewarm MPO performances. (Everything was so different in the first five years of the orchestra - it was a real treat to be part of it. We were often described as the best orchestra in Asia (excluding Australia ;->) We played magnificent concerts with various famous soloists and conductors, but the magic - at least for me - was reduced to four or five good concerts per year by the end of my ten years there.)
I aimed for Europe. I wanted to be European again, be a part of it. I missed my culture, history, the colors, the vibe. I had enough of the "stupidity" in general. I tried to avoid sinking in a society in which I didn’t belong. After three auditions in a row, I ended up winning another exotic principal job, this time in Qatar. Bye bye European dreams...
I will never forget the dirty room with the "honky-tonk" piano at the Cairo Hilton at my audition. It was impossible to tune to it. My tuning slide fell on the carpet playing half way through the intro of Strauss 1! I also remember that the jury asked at the end of my last excerpt: "What the hell do you want to do in Qatar? Do you know the place? Do you really want to live there?"
Interview with Ranya Nashat of the Iraqi National Symphony Orchestra
Kristina Mascher-Turner: How did you first discover the horn and decide you wanted to play it? How old were you when you began playing?
Ranya Nashat: I discovered the French horn when I was 9 years old at the music and ballet school in Baghdad, where I was a student. The school policy was that they chose what students play. My teacher showed up and introduced me to his shiny French horn - I was mesmerized by the color. My parents were against what they called a “boy's instrument.” They wanted piano or violin or flute, but I was so determined to play the shiny new thing whose name I couldn't spell. The first time I saw an orchestra (Iraqi National Symphony Orchestra ) was in 2005. I saw and recognized my teacher playing. When I got out of the concert, I said to myself, this where I belong.
KMT: How common is it in Iraq for women to play the horn, and for women to make a career of music in general?
RN: It is not very normal for women to play horn in Iraq - I had only heard of one other before I started to play with the orchestra. Now it is only me, so that is why when I started teaching at the music and ballet school I wanted to teach girls more than boys haha! Trying to start my army of French horn girls. Yes, it is okay for women to make a career out of music, but it's challenging. We have 10 female musicians now in the INSO.
KMT: Can you tell us a little about the Iraqi National Symphony Orchestra? How old is it, and how did it get started?
RN: The INSO is the Arab world’s oldest orchestra. It was founded in the late 1940's by a group of musicians from the Institute of Fine Arts.
KMT: Do you only play Western classical music, or are you also involved in any other genres, such as traditional folk music or popular music?
