English version

por Gabriella Ibarra, Liber Oscher y José José Gimenez 

Con gran emoción los cornistas venezolanos recibieron y disfrutaron de la presencia de la singular y muy querida Sarah Willis. En su primera visita al país, Sarah estuvo trabajando con los chicos del Sistema Nacional de Orquestas y como venezolana me complace enormemente saber que la Escuela Nacional de Corno en Venezuela se mantiene en pie, dedicada con amor y excelencia a la formación continua de las nuevas generaciones de cornistas. Con orgullo aplaudo de pie la labor de todos los talleristas y profesores, pero en especial reconozco y agradezco el esfuerzo de los maestros Liber Oscher y José José Gimenez quienes además nos han brindado una breve reseña de tal evento, gracias!

En el marco de las celebraciones por el 47 aniversario de El Sistema, Caracas recibe a una de las celebridades más reconocidas del mundo de la música clásica. Se trata de Sarah Willis, cornista de la Orquesta Filarmónica de Berlín, y una figura notable en el mundo del periodismo musical. En su canal de Youtube, recibe miles de vistas en el mundo entero gracias a sus Hangouts, un programa de entrevistas a personalidades del mundo de la música. 

La noticia de la llegada de Sarah a Caracas tomó al Centro de Acción Social para la Música por sorpresa, noticia recibida con desbordante entusiasmo por su fanaticada de El Sistema: aquéllos quienes ya habían compartido con ella durante el evento "Encuentros" con Gustavo Dudamel en Los Ángeles, así como también aquellos que anhelaban conocerla en persona algún día. 

Su visita tenía un objetivo especial: darles un regalo a la nueva generación de jóvenes cornistas de la Sinfónica Nacional Infantil de Venezuela, trabajando con ellos en dos jornadas enteras con clases individuales y grupales. Los chicos de la SNIV se nutrieron de información relevante sobre la técnica del corno, la interpretación de obras de repertorio solista y respuestas a todas las inquietudes sobre la carrera y sobre el manejo de los nervios, tema que Sarah manejó con especial delicadeza y empatía, revelando que ella en sus inicios también enfrentó duros desafíos en un mundo altamente competitivo y compartió estrategias de mucha utilidad para combatir la ansiedad en la ejecución.

Después le tocó el turno a los colegas de las orquestas profesionales. La Escuela Nacional de Cornos, con el patrocinio de la fundación Hilti, tuvo la oportunidad de brindar dos días de Masteclasses a jóvenes profesionales de las orquestas de El Sistema, que incluyó trabajo de repertorio solista, calentamiento, técnica y un seccional de la 3ra Sinfonía de Mahler, que sería interpretada el 18 de febrero con la Orquesta Sinfónica “Simón Bolívar” y la propia Sarah Willis en la sección de cornos. 

Sarah posee una metodología de enseñanza simple, que permite enfocarse en lo esencial del buen tocar del instrumento. En su discurso pedagógico, Sarah  menciona  frecuentemente metáforas que ayudan eficazmente  a entender el funcionamiento del sonido en la interpretación musical. Su forma de dar una clase maestra es muy bien guiada con dos ideas fundamentales: ataques perfectos siempre, y un hermoso sonido. Estas dos ideas guían el desarrollo de la clase en torno a la respiración, la embocadura, la postura, el canto, dinámicas , proyección de sonido, posición de las manos, creatividad en el uso de articulaciones y belleza en las ligaduras, y especialmente el registro grave del corno. En esta última categoría, escuchar a Sarah Willis es en sí una clase magistral de corno grave, y es por eso que le dedicó tiempo para tocar junto a todos los participantes de la semana. Se hicieron ensambles de cornos y los cornistas de la Sinfónica “Juan José Landaeta”, la Barroca “Simón  Bolívar”  y la Sinfónica “Simón Bolívar” subieron al escenario a tocar en uno de sus encores del concierto "Mozart y Mambo", un show memorable de un imaginario Mozart Cubano, que reedita el Rondó del concierto número 3 para convertirlo en un jolgorio caribeño, con pregones e improvisaciones con mucho swing. En su interpretación del Concierto 3 en Eb mayor mostró un primer movimiento regio, con un fraseo elegante y una Cadencia exquisitamente improvisada. Un segundo movimiento ligero y sutil y un tercer movimiento enérgico, con un sonido pulcro y un manejo gracioso y alegre de la escena. 

El viaje de Sarah por Caracas culminó con su colaboración con la fila de cornos de la Orquesta Sinfónica “Simón Bolívar”, interpretando la tercera Sinfonía de Gustav Mahler, cuyo tema principal tiene a los cornos como protagonistas, cerrando con broche de oro la Celebración del 47 aniversario del Sistema. Los jóvenes cornistas de Caracas y el resto del país que se reunieron para conocer a su ídolo, quedaron más enamorados del corno y expectantes de un pronto regreso de esta maravillosa artista.

by Sarah Willis, IHS 55 Featured Artist

Dear horn friends around the world,

I am so happy to let you know that the sheet music to Cuban Dances, the first ever Cuban concerto for horn, has just been published!

https://www.youtube.com/shorts/z8SW2ezO7uE

Following the success of our first album Mozart y Mambo, I decided to commission a new horn piece for album 2, and I found six talented young Cuban composers to write it for me. With Cuban Dances, we have created a musical map of Cuba and its musical heritage in six movements from six different parts of Cuba. The result is a fresh and modern adaptation of Cuba’s most well-known dances—and it is the first time any of the composers have written for French horn!

Preparing and playing these dances—Son, Danzón, Guaguancó, Bolero, Chachachá, and Changüí—has been one of my greatest challenges to date. It’s not just the tricky technical horn playing but also because my Cuban friends told me, “If you can’t dance them, you can’t play them.” So dance them I did! We spent a long time preparing the sheet music, because many of these rhythms are simply not usually notated by the Cubans—they just instinctively know how to play them. The composers had to learn not only how to write down these rhythms for horn but also what the horn is capable of…and what it isn’t!

Nothing would make me happier than knowing that horn players around the world, like you, will discover and fall in love with Cuban music through Cuban Dances like I did. These dances are SO much fun to play, both with string orchestra and also in the chamber music version, and you can play the whole suite or mix and match the movements however you want. The proceeds of the sheet music go to our Instruments for Cuba fund which helps support young Cuban musicians. Times are really tough in Cuba right now, so we are grateful for your support. You can purchase Cuban Dances from Köbl.

I would love to hear from you if you perform them anywhere, or simply if you are playing along with the recording in your practice room—I often finish a day’s practice by playing along to the "Sarah-chá" at home, it makes me smile every time!

Enjoy!

All the best from Berlin,

Sarah

For Horn Hangouts and more horn magic, visit www.sarah-willis.com.

by Katy Webb

What do we REALLY fear when we say we’re afraid of missing a note or messing up on stage? We’ve heard all sorts of answers to this question, from “I don’t want to embarrass myself” to “If I do well, I could be Jen Montone’s next third hornist!” to “I did not spend all that money and eat all that ramen to fly across the country to play like this.” 

Dig a little deeper and imagine a time when you handled yourself well. You were able to share a GREAT version of yourself with others, yet you still had critics in the audience: you still weren’t the right fit for that job, or you were still out a few hundred bucks from your travel. Ramen aversion aside, was it truly the results that you feared? Or were you able to walk away from the experience with some amount of fulfillment? 

Katy, here. I may not have Jeff’s magical pig-farming background, but I do have a formal background in skill acquisition, which, although less muddy, I like to think is just as magical. My instinct is that it’s not truly the mistake or result we’re fearing. We fear whether we’ll be able to handle ourselves well under pressure. In other words, we fear our ability to self-regulate while preparing for and executing a performance.

Self-regulation is our ability to covertly monitor ourselves and adjust our internal states, emotions, and understanding, then overtly choose, execute, and adjust our performance strategies to move toward our goals, all while observing and adapting to environmental and social conditions. 

It sounds like a lot to juggle. Then add in that triplet section from the first movement of Gliere’s horn concerto, and . . . brain broken! Dr. Russell Barkely, clinical psychologist, to the rescue! He has brilliantly distinguished the processes which underlie our ability for self-regulation into seven cognitive functions. I’ve broken down insights from his research into tiny habits you can start practicing to strengthen your ability to self-regulate during a performance. This will get you closer to sharing the best version of yourself anytime, anywhere. Let’s dive in!

1. The Mind’s Brakes—Inhibition: Our ability to pause before reacting to events, impulses, or emotions so that we can consider options and choose freely among them, rather than be pushed and pulled by the circumstances around us.

• Pause to evaluate your stage. Is everything set comfortably? Can you see your music? (Can the audience see you?)
• You’re about to play your first notes…wait! What is most useful for you to think about right now? 
• Notice when you’re hyper-concerned about potential anxiety symptoms, then pause: choose a next thought that brings you more deeply into the music.

2. The Mind’s Mirror—Self-awareness: Our ability to direct our attention, not only outward toward our surroundings but inward toward ourselves. We can notice how we’re coming across to those around us and what predictable outcomes might occur from our actions.

• Video record your solo performance entrances and exits to see the first and last impressions you make on your audience.
• Regularly record and listen back to your practice sessions. 
• Post “blend check” sticky notes in your ensemble music to remind yourself to assess how you’re blending with your colleagues. 

3. The Mind’s Eye—Non-verbal Working Memory: Our capacity to think in senses beyond words. We can imagine or recall sounds and imitate others’ behaviors, taking the best of what they have learned to do while avoiding their mistakes. 

• Use storytelling throughout your performance by imagining pictures, sounds, tastes, touches, and scents and imitating those sensations with your sound.
• Listen to a favorite recording and imagine with all of your senses what it would be like for you to make those sounds.  
• Build self-reflection into your performance training. Use hindsight—truly looking backward—to learn from what worked and what didn’t.

4. The Mind’s Voice—Verbal Working Memory: The ability to talk to ourselves in our minds. Internalized speech allows us to guide behavior through self-directed instruction. It helps us stay on course towards our plans and goals, even when things get rough.  

• Develop your self-coaching ability by talking to yourself aloud in the practice room so that these intentional thoughts and cheers are louder in your mind on stage.
• Create a narrative about how you will play a piece line by line. Example: “I’m going to sit in my chair and feel deeply grounded by gravity. Then, I’m going to take a full inhalation in time and in the gentle style of the piece. I’m going to hear that D and execute it with a crystal-clear ping.” 
• Write succinct coaching statements on your music. Example: “Open hand,” or “Soar,” or….

5. The Mind’s Heart—Emotional Regulation: The process of responding to emotional signals and regulating them in service of our goals and long-term welfare. We can exert freedom over our impulsive reactions to events around us to be more measured, stable, and mature.

• Identify when you are adding personal feelings or narratives to facts.
• Imagine. If you did trust yourself, how would that feel? Produce that feeling in performance and use it to direct your attention to elevating the music.
• Practice your ability to perform an optimal reset: Empty the mind, be in neutral, do the next thing.

6. The Mind’s Fuel Tank—Self-Motivation: By regulating and even creating our emotions with the other processes discussed, we can stick with our plans, follow through on our goals, and resist distractions because we are using our own inner states to drive our behavior.  

• Schedule an after-performance reward so you have something to look forward to, no matter what.
• Collect success: Identify one thing you did well after every performance.
• Instead of relying on a limited tank, offload motivation to your environment by scheduling yourself to perform for others often.

7. The Mind’s Playground—Planning and Problem Solving: If we can hold images and words in mind, we eventually develop a means to play around with them. By analyzing something, taking it apart, and recombining its parts, we can find solutions and new possibilities.

• Instead of allowing yourself to be blindsided by mistakes onstage, mentally simulate how you will respond to them, should they arise.
• Visualize your performance and get a sense for where in the timeline you tend to feel most distracted from sharing your music. Then create a plan for what to do in those moments.
• Find a different way to think about sections of your music which you have not yet learned to execute reliably. If you can get it once, your thoughts leading up to and around it are usually what could use adjusting. 

Pick the one process you feel least comfortable with and start developing your awareness on how it plays into your performance. For example, my mind’s voice was quite soft! In a performance, I’d feel a lot of fear and doubt without the ability to explicitly navigate my way through. With practice and written reminders, I learned to make that voice stronger and coach myself well through a performance. Maybe your brakes need a little attention or your mind's eye made a little keener. Whatever it is, a little attention will go a long way. Enjoy your explorations!

Cheering you on,

Jeff Nelsen and Katy Webb

by Ian Zook

Volume 5—Jósef Brejza

Our next Horn on Record entry explores a lesser-known concerto for horn by Swiss composer Othmar Schoeck, recorded by the venerable Polish hornist Józef Brejza. 

This album, featuring Othmar Schoeck’s Concerto for Horn and Strings, Op. 65, was released in 1969 by Józef Brejza and the Zurich Chamber Orchestra, and it is the first recording of this concerto. It has since been recorded by artists including Hermann Baumann, Bruno Schneider, and Marie Luise Neunecker. (For an interesting history on the genesis of Schoeck’s concerto and its dedicatee Willi Aebi, check out this history furnished by Herman Baumann.) 

Józef Brejza

Józef Brejza was born in 1936 in Kończyce Małe, near Cieszyn, Poland. After early experiences playing the horn in a military brass band, he joined the Silesian Philharmonic as first horn and studied at the Academy of Music in Katowice with Adam Przybyła. Soon after graduating in 1957, he joined the National Polish Radio Symphony Orchestra as solo horn, where he performed between 1959-1962.

He was a laureate of many international music competitions, including the Geneva, Moscow, and Prague Spring competitions. Following his success in Geneva, he began playing with the Basel Symphony Orchestra while studying natural horn at the Basel Conservatory. Brejza decided to end his tenure with the orchestras in Poland and relocated permanently to Switzerland. There, he performed for the remainder of his career as a first horn in the Basel Symphony Orchestra. Brejza also premiered many works including Wojciech Kilar’s Sonata for Horn and Piano, Armin Schibler's Prologue, Introduction et Danse, and Musik für Horn und Schlagzeugensemble by Rudolf Kelterborn. He also gave the Polish premiere of Gliere’s Horn Concerto in 1957.

Brejza taught at the Conservatory of Music in Basel from 1965-1996 and then retired from both teaching and performing in 1997.

Now let’s enjoy the music!

The secondary theme in Schoeck’s Concerto is chromatic and searching, a contrast from the pompous and rhythmic spirit of the opening theme. Brejza plays with grand sustain here, pulling through the chromaticism and very subtly tapering the more tonal conclusions:

Excerpt 1

Later, near the end of the first movement, Brejza’s high range soars with declamatory finality:

Excerpt 2

The slow movement of the concerto contains sophisticated writing. Here, Brejza’s unflinching dynamics obscure any subtleties in the cantabile phrasing. He also chooses to play con sordino rather than the marked gestopft:

Excerpt 3

The closing Rondo is charming and effervescent music, harkening to our forested horn calls but with cheeky interjections of chromaticism. Brejza sails through the melody with tidy articulation and an enviable consistency throughout the range:

Excerpt 4

Schoeck’s Concerto closes with a melancholic melody that suddenly snaps back into the expected jaunty ending. Brejza’s most notable performing characteristics are on display here in his committed melodic sustain, full-throated dynamics, and succinct articulation:

Excerpt 5

We hope you have enjoyed listening to the Concerto, Op. 65 by Othmar Schoeck and learning more about our horn heritage from Poland. Do you have any feedback or album requests? Visit us at Horn on Record!