by Jonathan Stoneman

The Salome 6, L-R: Georg, Fergus, Klaus, Stefan J, Sarah, Stefan D

The Berlin Philharmonic Orchestra is one of the few classical music ensembles around which can expect to fill a concert hall every time it takes to the stage, and almost regardless of what is on the programme.  The orchestra is revered by the public and admired by the critics. What’s it like to be a member of the Berliner Philharmoniker’s horn section? To find out, Jonathan Stoneman visited the section during rehearsals for Strauss’s Salome in Salzburg.

It might be reasonable to expect that playing in an orchestra as consistently good as the Berlin Philharmonic would breed in its players either arrogance and complacency, or enough relentless pressure that only superhuman players would survive.  When seen in close up, on and off duty, the Berlin Philharmoniker horn section isn’t in either category. Why not? The answer is both simpler, and more complicated than you might expect.

By Kyra Sims

I sat with John Clark in a coffee shop on New York City's Upper West Side on a rainy day in February. We chatted about playing horn in the city, getting into jazz on the horn, and about his book Exercises for Jazz French Horn.

By Luca Benucci

The success of the Italian School of horn playing and teaching is due to the contribution of great soloists whose playing and teaching culminated in a special school and style of playing.  These players include Rossari, Belloli, Righini, De Angelis, Baccelli, Samson, and Bartolini. Today, the Italian School is divided into many technical philosophies but all converge into one musical ideal.

One philosophy, represented by a leading international hornist, Allesio Allegrini, is based on beauty of tone and virtuosity inspired by the greats of the past and present such as Luciano Giuliani and Domenico Ceccarossi.

My philosophy and approach distinguishes me from these greats – it is a combination of American tradition and techniques, European-style mentality (especially German), and Italian pathos, bel canto, plus a Latin temperament.  My teaching philosophy can be summed up in three letters:  A (air), B (buzz and blow), and C (canta/sing). Over the past two decades, thanks to Dale Clevenger and others, the technical level of horn players and other brass players in Italy has evolved greatly.

by Eric Reed

January 19, 2011

In three months since joining the Canadian Brass, I've learned so much! It has been an amazing experience, and it's an incredible honor to be a part of a group with such a storied place in the history of chamber music. Since September, we've been to the east and west coasts of North America and everywhere in between. We spent a week in Venezuela, and are headed to China in less than a week! It's tough to keep up with this schedule, and to maintain some sort of a normal life when I'm at home in New York City. But like I said, I've gained a lot from the experience so far, and would love to share some of this perspective on chamber music, the Canadian Brass and life as a musician with the HornZone readers!

On game day, a typical professional athlete wakes up from a good night's sleep to eat a hearty breakfast followed by a hot shower. Next he warms up and stretches before meeting with the trainer to get taped up and massaged. The coach gives an opponent run-down and pep talk. The athlete's cross training has consisted of weights, plyometrics, yoga, wind sprints, and distance running. At the end of the day, the athlete warms down, stretches, receives a massage and a hearty meal, and returns home for a good night's sleep.

A typical horn player, however, wakes up on concert day from an OK night's sleep to eat whatever is in the fridge. He probably hasn't had a massage in a year, if ever, and the conductor has not given a pep talk or a com- poser run-down. The musician's cross training regimen ... well, enough said there.

Although musicians are athletes, they do not always properly care for their bodies in the same way athletes do. Here are three items horn players can learn from athletes.