Miklós Nagy Interview
For our Hungary issue, I needed look no further than the cantina of our Philharmonie. My good friend and colleague Miklós Nagy (Miki to his pals) is solo horn of the Orchestre Philharmonique du Luxembourg, as well as being a renowned soloist and member of the Budapest Festival Horn Quartet. We met recently and discussed his education, influences, philosophy, and of course, those famous high notes. Egészségére! -KMT
Kristina Mascher-Turner: So, Miki, the first thing our readers will want to know is, how do you play those high notes? What's your secret?
Miklós Nagy: There is no secret, I think. When I was young, I loved Baroque music very much. I listened to more trumpet than horn music. I especially loved Maurice André - his recordings, his performances, his high playing. I tried to translate this kind of playing to the horn. Unfortunately I couldn't play the trumpet, but I looked for Baroque horn music and bought a lot of Hans Pizka's editions of unknown Baroque concertos, over 20 pieces. This influenced my high horn playing. Objectively, the high horn needs a trumpet-style embouchure. The horn embouchure makes it very difficult to play above high C or D - even the best players have trouble with this. Another factor is the descant horn. If you play above the 12th natural overtone, it's hard, and a lot of mistakes can happen. When I was 18 years old and went to the Music Academy, I didn't have my own instrument. There was an old Alexander 107 descant horn in storage at the school. The valves didn't work, and it was in bad shape. I rebuilt it and started to play it, and immediately the high notes came easier and better than before. Also, my first teacher at the Music Academy, Imre Magyarí, was a good high horn player who could play many Baroque concertos without mistakes. He told me I could do it too. I wanted to imitate him. I trained myself day by day, always one half tone higher, one half tone higher, played Bach and Handel orchestral excerpts, found exercises to train the high horn. I trained almost every day in this way.
KMT: So, in other words, there's no shortcut - you don't wake up in the morning and go, "Ding! I've got that top octave!"
MN: No, unfortunately not. (laughs)
KMT: While we're talking about that, can you tell us about your early musical education? I understand in Hungary, this begins at a very young age.
MN: In my day, in the 1950's-1980's, we had the Kodály pedagogy system. All children had to study music. At the elementary school, there were two separate classes, the normal and the music classes. And the parents could select one of them.
KMT: So, it was the parents who chose, not the child?
MN: The parents chose. My mother loves classical music. She had season tickets for the Budapest Opera House. She never played an instrument, but she loved it. So she chose the music class for me. Every day we had music lessons - singing, solfège, chorus - and from the second grade (age 7) we started a musical instrument. My music teacher told me, "You are quite tall, left-handed...go to the horn teacher." So she took me to the horn teacher. The horn teacher gave me a horn and a mouthpiece, and said,"Come next week and play." This is my short story of starting the horn at the age of 7.
KMT: What was your first instrument?
MN: It was a Josef Lidl Brno F/compensating Bb horn. Lidl Brno, very bad instrument. I have one at home now. (Laughter)
KMT: You still have it!
MN: On the wall!
KMT: Who were your most influential teachers?
Kodály Pedagogy and the Horn
by Natalie Douglass
“To teach a child an instrument without first giving him preparatory training and without developing singing, reading and dictating to the highest level along with the playing is to build upon sand.”
Zoltán Kodály
I have experienced a bit of culture shock since arriving in Hungary, but not necessarily in the way you might think. While I have limited Hungarian vocabulary and I am thousands of miles from my hometown near Chicago, it has been the experience of jumping into vocalist culture that has made me feel like a foreigner. I felt completely lost walking into the first day of choral rehearsal, normally just orienting myself by finding four chairs in front of the timpani. A kind soul directed me to the mezzo-soprano section, where I have remained ever since.
So why I am interested in Kodály, then as a horn player? I first became interested in Kodály pedagogy while conducting my doctoral research. My own frustrations as a young horn player inspired me to consider how we might correct the “wrong-partial” syndrome that causes so many beginners to quit. While investigating methods of teaching solfege to children, I was immediately taken with the Kodály Concept. The method is vocally based, which means that the ranges are very suitable for horn playing and lend themselves exceptionally well to the tried-and-true progression of sing-buzz-play.
It seemed to me that it was time for some materials that integrate this approach to solfege and musicianship into horn instruction. So, I applied for a U.S. Fulbright grant to attend the Kodály Institute of the Liszt Ferenc Academy of Music in Kecskemet, Hungary, Kodály’s hometown. The faculty consists of world authorities on the Kodály Method, most of whom also teach at the affiliate Liszt Ferenc Academy in Budapest, as well.
A Letter from Philip Farkas
This month, the IHS E-Newlsetter has a special treat for you, a piece of correspondence between two legends, Hungarian soloist and pedagogue, Ádám Friedrich, and Philip Farkas (of Hungarian ancestry himself.) The two met and got to know each other at the IHS symposium in Denton, Texas in 1991. You can clearly see his personal warmth and appreciation of sincere musicality in these lines. Many thanks to Prof. Ádám Friedrich for sharing this gem with us. (Note that Hungarians list their last name first, which is why the letter starts with “Dear Friedrich!”)
PHILIP F. FARKAS
2232 East Cape Cod Drive
Bloomington, Indiana 47401
(812) 332-6543
October 4, 1991
Dear Friedrich,
What a happy surprise it was when your nice letter and photograps arrived yesterday. I am so pleased to have these souvenirs of our meeting in Denton, Texas at the Horn Workshop.
The photos not only reminded me that I now have a new friend… you, but also it reminds me of the way you play the horn. Yours was the most sensitive and musical performance of all the players. Some of them „showed off” with their wonderful technique, range, etc. But often I found it unsatisfactory in spite of this virtuosity. Why? Because it wasn’t always musical. Your playing was the most satisfying of all with your warm and expressive phrasing. It was musically very satisfying. I hope to hear you again and again, as to me this is the real sense of beautiful horn playing. The photos I will treasure. I enjoy your laugh at my making you pose for the embouchure photo. After all it is important to know about the embouchure that creates such great playing.
Please don’t worry about my not coming to Hungary. I realise what very difficult financial problems are faced in Hungary at this time. But one of these days my wife and I will take a holiday in Hungary as I feel very strongly the urge to see my father’s homeland. And now we have one more incentive to come to Hungary – our new friend Friedrich Ádám.
You did not say in your letter whether you will attend the next horn workshop in Manchester, England. But I hope very fervently that you will plan to attend. I would look forward to this very eagerly.
Again, thanks for your thoughfulness in sending the letter and pictures. I appreciate it very much.
My best regards and good wishes go with this letter.
Cordially,
Phil Farkas
Lesson with Yi Man
by Yi Man
English version
一个好的嘴型可以帮助演奏者更好的节省并运用气息，让圆号初学者在发展道路中走的更长远。
为了使嘴部肌肉能最大化的帮助演奏，我们几乎同时需要用到图二所示的四块肌肉并根据演奏片段的难易、音量、音的高低决定四块肌肉的松紧和使用量。同时这四块肌肉也是四个固定点，用力的同时也固定住我们的圆号嘴形，不轻易改变我们的震动点。
大家可以将自己想象成鸟一样（如图一），将嘴四周的肌肉都向前集中在一点上；也可以想象自己在亲嘴（如图三）特别注意唇边四块肌肉都是在原有基础嘴型的基础上向中间集中发力。因此，不要撅嘴、外翻。
为了练习巩固这四块肌肉的使用，我们日常可以添加一个小练习，如图二，四块肌肉同时向中间用力集中直到无法再紧绷的状态，并一直保持，直至肌肉酸痛发抖唇部无力支撑再休息。一天尽可能的循环多练习，这样对唇部肌肉是一种很好的锻炼个有助于我们演奏高音和增强耐力。
Lesson with Yi Man
by Yi Man
A good embouchure is crucial for a performer to better save and use the air. It helps beginners to establish a solid foundation for a further development.
In order to maximize the strength of muscles around your mouth and to contribute it to your performance, we need these four parts of muscles (figure 2) almost at the same time. As for the level of using them, it really depends on difficulties, dynamics and register of the music. These four parts of muscles can also be seen as four stable points. They help to settle our embouchure and vibration.Centering your four parts of muscles around your mouth and thinking about the strength to go toward front. It might be easier to get the idea of centering, by imagining a bird's beak which is always toward front, or as a kiss but without pouting or flipping lips out. (figure3.)
For strengthening these four muscles, a simple exercise can be applied in daily practice. As figure 2 shown to us, muscles from each corner of your mouth push toward the center at the same time until it can't be more tense. Keep this tension until fatigue then take a break. Remember, no pouting or flipping lips out during this practice. Do this exercise several rounds a day to keep establishing the shape of your mouth and strengthening the muscles. A good embouchure is the foundation for horn player who wish to be able to play high notes easily and improve strength and endurance.
War Horns
Interview of the Month: Rose French
Access to music and musical training can change lives, especially for inner-city youth. In this fascinating interview, Phoenix-based professional horn player, teacher, book author, and IHS exhibits coordinator Dr. Rose French shares her experiences at Rosie's House. Want to know what that is? Read on and let yourself be inspired! -KMT
Kristina Mascher-Turner: What was the impulse behind your interest in helping out underprivileged children in the first place?
Rose French: I was very fortunate to learn about Rosie’s House just after I had moved to Phoenix, Arizona in 2003. At first it was not as apparent to me why Rosie’s House is such an important place, but as I started to teach there, it reminded me of what a profound impact music and my music teachers had on my childhood. The truth is that I did not grow up any different from my students: I went to Head Start, a government program that provides comprehensive early education, health, nutrition, and family services to poverty-level children and their families. When it came time to pick an instrument in school, my parents could not afford to rent an instrument, which is how I ended up starting with the horn, since the school provided them. As a senior in high school, I finally purchased my own horn after auditioning at Duquesne University, sending a check every week for $50 to Bill Caballero from my job working at Sears! Fortunately, later in the year won a scholarship from my local symphony that helped me pay for the rest of the instrument.
From growing up in a small town in central Pennsylvania, I feel really fortunate to have the life and the experiences that I have had already, however it’s the education that makes all the difference. It’s important for me to show my students that it they can use the life skills that they learn from playing the horn to apply to their lives and to be whatever they want.
KMT: How did the founding of Rosie's House come about? Can you tell us a bit about the mission and scope of the activities?
RF: Rosie’s House is committed to playing a pivotal role in a child’s future and strengthening our community. Founded in 1996 by Rosie Schurz, a German immigrant, the Academy was established in a small home in an impoverished neighborhood in Central Phoenix, Arizona. Rosie’s goal was to create a save haven for youth to express their creativity and pursue their dreams.
Tom Greer — Moosewood
Meet Your Makers
The names “Tom Greer” and “Moosewood” are sometimes linked together, sometimes not! Moosewood Mouthpieces have been in circulation since 1990, when Tom and his wife Susie McCrea returned to the United States from orchestral positions overseas.
The first mouthpieces crafted by Tom were made while he was with the San Diego Symphony. Trial and error resulted in MANY mouthpiece “attempts” being scrapped. One of those NOT tossed, a freehand Dell’Osa-pattern #3 bore, remained in Jerry Folsom’s Kruspe for the rest of his career. The Moosewood JF3 was the first professionally-dedicated mouthpiece Tom created. Factors considered were Jerry’s tone color, his physical attributes and that it was to complement a Kruspe. Jerry’s intense and very musical style made this horn/mouthpiece pairing a considerable success.
As there were no “mouthpiece-crafting academies” it was vital to learn the elements of machining. Tom set to the task on a Navy surplus Atlas/Craftsman lathe. Through the famous “Atlas Craftsman Manual of Lathe Operation” and a subscription to “The Home Shop Machinist” he discovered the meaning of “autodidact”. Tooling for mouthpiece production is not available through machine supply houses. These pieces, tapered reamers, shaped cutters and cup contour tools, have to be custom-made. Tom taught himself how to machine steel tools, as in the 1800s, hardening them for use. He set up a hibachi with a forced-air “bellows” (hair dryer), bringing the metal up to correct temperature, hardening them through oil or water quenching. These same tools, some cut to reproduce older Geyer and Chambers contours, are still in daily use after 25 years. The backbore tools were made in the same way, and are still sharp and hard. Template patterns for more than 300 personal rim contours were collected over time; these patterns can enable hand reproduction, though it takes a lot of care.
