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
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.
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。
War Horns
Gail Williams Interview
No newsletter devoted to IHS48 would be complete without hearing from Ithaca College’s most famous horn graduate, Gail Williams. In a career that has included the Chicago Symphony Orchestra, Summit Brass, the World Orchestra for Peace, and professorship at Northwestern University, to name just a few highlights, she has shared her formidable musical expertise as a performer and clinician all over the world. In this interview, she treats us to reminiscences from her time as a student at Ithaca College, tells us what we have to look forward to in the natural beauty of Ithaca’s surroundings, and gives excellent advice on many aspects of a successful career and balanced lifestyle. Enjoy! -KMT
Kristina Mascher-Turner: How did you come to choose the horn in the first place?
Gail Williams: My mom suggested I try the horn since I was left-handed. She had a rule that we (my two brothers and I) all play different instruments…so I got the horn.
KMT: Can you tell us about your teacher at Ithaca College, Jack Covert? What was it like studying with him?
GW: Mr. Covert was the most important person in my musical upbringing. He taught me the technique of the horn and the history of our instrument, exposed me to great horn players and great repertoire. But most importantly, he structured my horn playing by building a strong base. I had never had a horn lesson till my first lesson with Mr. Covert!
KMT: Ithaca, New York, is situated in a place of natural beauty, and you have a love of the great outdoors. Did this love begin while studying at Ithaca College, or had it always been a part of you?
GW: I have always loved the outdoors. Growing up on a beautiful Holstein farm in western New York State, Ithaca was a BIG city for me!
KMT: Do you have some special memories of your student days at IC that you can share with our readers?
GW: Ithaca is where I really fell in love with music. I had never really heard an orchestra or chamber music before then. On the first recital Mr. Covert gave during my freshman year, the program was the three B’s: Berkeley, Banks, and Brahms! I do also have to tell you that because I was new to “music life,” I balanced my life in Ithaca by spending time with my friends from my Holstein upbringing at the Cornell campus and their football games!
KMT: While you were a student at IC, you already started successfully taking auditions. How did you prepare?
GW: I didn’t really study any excerpts while I was at IC. I had to learn music and horn first! Too many students never learn the correct technique before beginning to play excerpts. I am so grateful to Mr. Covert that I played many etudes to form my background, my long base, so that I could pull from that base for orchestral playing.
Welcome from Marcus Bonna
It is with great satisfaction that we announce the 2nd publication of IHS E- Newsletter this year.
Coming soon, the 48th International Horn Symposium will be held in the beautiful city of Ithaca (June 13-18 ) in the State of New York . I'll be there eager to meet as many horn players as possible, and I am sure it will be an event full of new things and unforgettable performances.
I highlight in this issue the interview with the celebrated internationally renowned horn player, Gail Williams, graduate of Ithaca College, a pedagogical article from Peter Luff and a report with Dan Vidican of Lukas Horns.
I hope you do not miss your chance to register for the Ithaca Symposium and come enjoy the greatest Meeting of horn players of the year 2016 !!!
Until then,
Marcus Bonna
Advisory Council Member
International Horn Society
Some Important Aspects of Horn Playing
by Will Sanders
Over thirty years of teaching horn I have developed a unique philosophy and technical routine for playing and practicing horn. The exercises that I have created or use have been well thought-out and each exercise is designed to train and build varied aspects of horn playing in the most productive way possible. The main and most important element to successfully learning and mastering the horn is free flowing air. One must achieve a feeling of releasing the air instead of holding, pressing or squeezing the air. I try to avoid the word “support”, because it tends to imply that the air rubs, is held or is tense.
The horn methods of Farkas and Jacobs are good philosophies; however, good teaching is not something that can really be written down because there are almost as many different ways of playing the horn as there are hornplayers. People are so different and therefore the method of teaching must change from person to person.
Horn technique is built from the ground upwards in every aspect starting with posture and breathing. How the head is held in relation to the body can affect embouchure muscles and therefore it is very important that one stands in the most balanced, comfortable and relaxed way to allow the right muscles to develop. Good posture also ensures and helps build a strong and deep breathing technique. Alexander and Qi Gong techniques are very good for developing good posture and I have studied both of these myself for years. Once good airflow is achieved, with the diaphragm swinging freely, air should be concentrated on the lips to ensure that they swing freely. When the body is relaxed and in balance, one can start working on holding the horn correctly and placing it on the lips with the correct angle, low, relaxed shoulders and lip proportions. This has a lot to do with the anatomy of the person and is for every person different.
